1966-2008 Festival Internacional de Jazz de Barcelona


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40 editions of a unique festival

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19 6 6 -20 0 8 festival internacional barcelona 40 editions of a unique festival


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© the project 2008 © of texts the authors © of photographs the photographers texts joan anton cararach guillem vidal enzo ansalone gianluigi bozzi david castillo nate chinen javier estrella miquel jurado ashley kahn albert mallofré ferran mascarell bill milkowski photomechanical print format digital consell d edicions i publicacions de l ajuntament de barcelona carles martí enric casas eduard vicente jordi martí màrius rubert jordi campillo glòria figuerola víctor gimeno joan a dalmau carme gibert josé pérez freijo printing imatge i producció editorial municipal legal deposit xxxxxxxx national book catalogue number xxxxxxxx national book catalogue number xxxxxxxx printed in spain printed on ecological paper the project diagonal 482 2º 2ª 08006 barcelona tel 34 934 817 040 www.theproject.es tito ramoneda michael ricci george wein design sonsoles llorens photographs antoni bofill ricard cugat gema darbonens josep moya-angeler eduard olivella carlos pérez de rozas isabel ramoneda carles rodríguez anna turbau archives album online jordi bonell fundació orfeó català-palau de la música daniel giralt-miracle albert mallofré alfredo papo the project jordi suñol la vanguardia george and joyce wein collection english translation nova language services no part of this publication may be reproduced stored in a retrieval system or transmitted in part or in whole in any form or by any means including photocopying mechanical electronic recording or otherwise without the prior written permission of the publisher with the collaboration of:


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19 6 6 -20 0 8 festival internacional barcelona joan anton cararach guillem vidal 40 editions of a unique festival


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1966-2008 40 editions of the barcelona international jazz festival introduction jordi hereu an enthralling history tito ramoneda birth and decline 1966-1976 my eight festivals alfredo papo freedom at santa maria del mar nativity scenes puppeteers and jazz albert mallofré an unstable transition 1980-1988 the miles effect miles duke martin luther king george wein tete montoliu from the beginning miquel jurado a shared goal javier estrella the story of a reconciliation enzo ansalone and gianluigi bozzi a new life 1989-2008 coming together to create ferran mascarell about a brand feeling at home at the festival historians critics and wise men barcelona on my mind ashley kahn thrilled to be in barcelona nate chinen the festival s clouseau michael ricci my dream walk bill milkowski a festival for history david castillo `bebomania in barcelona complete collection of programs for the barcelona international jazz festival index of names acknowledgements photo acknowledgements 7 9 10 36 38 42 46 64 70 74 78 80 84 120 122 124 128 129 130 132 134 138 140 146 158 164 167


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introduction i n spain when we think of jazz we think of barcelona barcelona and jazz share the same creative free and innovative spirit and so their love story is one that goes back many years from the first performance of a jazz band at the teatre principal in 1920 to the 40 editions of the barcelona international jazz festival that we are now celebrating barcelona was and still is a city that has inspired the best jazz musicians a place of refuge creativity and a unique atmosphere a mix of mediterranean and urban jazz sounds barcelona became the jazz capital of spain in the 1950s and 1960s with legendary concerts at the hot club and the jamboree in 1966 a group of jazz lovers with nothing more than their passion for jazz got the barcelona international jazz festival off the ground over the years it has become one of the main events on the calendars of jazzmen worldwide the festival has grown and evolved to the rhythm of barcelona with the arrival of democracy the barcelona city council took on the challenge of promoting culture as one of the symbols of the city s identity music here plays a fundamental part of our identity and thus the council supported and co-managed the festival which since then has been very successful with an excellent line-up and audience response this is also due to the efforts of the project festival organizer since 1989 during the last 40 years the festival has shaped its own personality from wisely acting as a sort of loudspeaker for the country s jazzmen emerging artists and international greats to holding concerts and activities throughout the city the sadly missed master tete montoliu miles davis herbie hancock ornette coleman and llibert fortuny are some of the names that have written the history of the festival which will certainly continue to be a must for all music lovers barcelona loves music and music loves barcelona our jazz festival is the outstanding example of this fact let yourself be seduced by its history improvisation and rhythm jordi hereu mayor of barcelona 7


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an enthralling history b arcelona and jazz an enduring and exciting history a history that was built with the passion and love for jazz felt by our country s jazz aficionados a history that would not be the same without the initial investment of firstly an impresario and later a group of enthusiasts who decided to make barcelona the first spanish city to hold a world-class international jazz festival the barcelona jazz festival is certainly the cornerstone upon which the history of jazz in our country is built 40 editions held over 42 years bringing the biggest names in jazz from around the world and promoting new trends and local artists these 40 festivals have served to stimulate creativity and create an enthusiastic following which is what really keeps the festival going with an audience of more than 40,000 and almost 93 of tickets sold for the 2008 festival it is in terms of paying spectators the leading festival in our country these 42 years of hard work have turned barcelona into the european jazz capital of fall festivals as chairman of the project and director of the festival for the last 20 years i feel proud to have contributed to a portion of the festival s great history moreover this 40th edition coincides with the 20th anniversary of our company therefore the jazz festival is a vital part of the dna of the project and the care and involvement we feel goes above our role as festival managers we have demonstrated this amply during these 20 years by carrying on with our work even in the most difficult times when lack of resources threatened the continuity of the festival keeping the festival flame alight tirelessly year after year makes us feel especially proud we look forward to working into the future with the same enthusiasm and our sights set firmly on the 50th anniversary by this date through the hard work of all of us who make up the great family that is the barcelona jazz festival we will witness our city achieve the reputation as one of the greatest jazz capitals of the world we have created this book to tell the story of our experiences over more than 40 years a story that had yet to be written and that we felt was important to tell we would also like it to be a sincere homage to all those who have participated in one way or another organizers institutions sponsors and in a very special way the fans the dedication of everyone involved has made this festival a reality but above all we wanted to keep alive the memory of those who are no longer here whose efforts on stage or behind the scenes have written the history of our festival in golden letters long live jazz tito ramoneda executive president of the project and director of the barcelona international jazz festival since 1989 9


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club organized the first jazz concert at the palau de la música with a triple bill of saxophone player benny carter the french hot club quintet and the barcelona hot club orchestra 1966-1976 born during the dictatorship over 11 very difficult years the jazz festival has brought true legends of 20th century music to barcelona in 1936 the barcelona hot a s in most european cities jazz arrived in barcelona by way of paris towards the end of world war i and before the start of the 1920s hotels theaters cafés restaurants and music halls welcomed jazz that was more or less true to the music born before the end of the 19th century in then far away united states it was jazz played by groups such as the nic-fusly band hired to play at the ritz hotel and artists such as pianist sam wooding leading the chocolate kiddies singer josephine baker who performed in barcelona accompanied by the local band demon s jazz and british jack hylton the leader of the best jazz orchestra in europe according to author jordi pujol baulenas in his book jazz en barcelona 1920-1965 this activity spurred on such an appetite for jazz that in 1935 the hot club was opened in barcelona echoing the famous french nightclub of the same name its main promoter according to alfredo papo in el jazz a catalunya was pere casadevall in the summer of 1935 the hot club programmed a festival devoted to jazz at cine astoria which was divided into three sections the first with short jazz films and the second and third sections consisted of live concerts in the fall the hot club programmed another similar event at the same venue the success of these two initiatives encouraged club managers to hold a third event this time more ambitious than the first two two triple-billed concerts headed by saxophonist benny carter the quintet from the french hot club featuring django reinhardt and stéphane grappelli and barcelona s hot club orchestra the first was held on january 29 1936 at the coliseum cinema and two days later the palau de la música catalana welcomed its first-ever jazz concert in their books both papo and pujol assure that audiences were delighted by the concerts however despite receiving enthusiastic reviews they were not without their detractors an article in la veu de catalunya written by a reviewer going by the initials of j.ll stated that benny carter s performance had been a trifling thing and that jazz in general was a sort of epidemic that would have to sooner or later disappear in revista musical catalana a magazine published by the orfeó català frederic lliurat suggested that jazz was an infantile art and primitive only worthy of the simple men who practice it simple men who move on stage as if they were victims of an epileptic attack or wanting to modestly imitate the innocent mimicry of an ape duke ellington and ella fitzgerald in a promotional image printed on the programs of the concerts they performed together at the palau de la música in january 1966 left a ticket to the historic show birth and decline 10


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11 1966-1976


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for lliurat jazz did not deserve to be played at the palau because it was an inferior art form not appropriate for a concert hall a concert hall finishing off his argument where we enjoy songs from our land and music by bach mozart beethoven brahms strauss and debussy fortunately history would prove him wrong as in every other aspect of spanish life at the time the franco regime and postwar conditions would temper the diffusion of jazz in catalonia but the hot club revival brought louis armstrong count basie dizzy gillespie and lionel hampton to barcelona to perform memorable concerts at the windsor cinema now defunct but it was curiously located near the headquarters of the current promoter of the jazz festival on avinguda diagonal and was witness to tete montoliu s extraordinary explosion onto the jazz scene such events are just a few that symbolized the renaissance of jazz in barcelona before the arrival of the festival a festival that would find its creative force in the figure of joan roselló founder and owner of the jamboree whose name was originally thought up by javier coma one of the founders of the jubilee jazz club born in 1957 and the hot club s aesthetic rival venue roselló was a man who was rarely seen without his sunglasses he had a curious fascination with everything associated with chicago of the 1920s and frank sinatra s rat pack such tastes gave him a singular personality his father had been a renowned beer brewer of plaça reial and therefore the son had other less hectic ways of earning a living than jazz a world that he had known very little about in the beginning toward the end of 1965 the period during which the jamboree programmed musicians like ornette coleman and dexter gordon roselló received a jazz proposal of the first order to organize the first duke ellington and ella fitzgerald concerts in spain the costs were high yet the man who would create the barcelona international jazz festival took the risk and organized ellington and fitzgerald s début for january 25 1966 both concerts being held at the palau where 30 years earlier benny carter stunned some of the guardians of good taste the financial and social success of that historic night encouraged roselló go even further in the fall of the same year barcelona would witness the launch of a first-rate jazz showcase its first festival at the palau de la música forty editions later we must still thank joan roselló the man with the sunglasses for his audacity in spain only san sebastián had started a jazz festival in the summer of 1966 but with amateur musicians and groups that could not compare to the dazzling line-up of the barcelona festival with four concerts between november 3 and 6 1966 i don t think i m exaggerating when i say that this first edition of the barcelona international jazz festival is a great artistic event even more so if we consider the fact that no other showcase of this type has ever been produced in spain with this proclamation printed on the handbill roselló presented to society the newly created barcelona international jazz festival the bar was set high right from left duke ellington and ella fitzgerald concerts press clipping below an advertisement for the concert right duke birth and decline ellington and ella fitzgerald welcomed at the airport by singer núria feliu from barcelona 12


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13 1966-1976


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14 birth and decline


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the very beginning dave brubeck max roach sonny rollins bud freeman the group accompanying illinois jacquet and roy eldridge tete montoliu and stan getz with astrud gilberto and a yet unknown gary burton were included in the festival line-up the first edition also offered well-attended conferences with speakers such as willis conover the renowned director of the voice of america radio programs andré hodeir the equally celebrated french critic and javier coma secretary of that first festival s organizing committee the first festival was decisive for jazz in barcelona the period prior to the festival was an era of clubs sporadic concerts and various events put on by the hot club mostly oriented toward friends the festival in contrast was the first jazz showcase to have a significant and popular impact on the city says coma it was amazing a great artistic success remembers enric vázquez another young founder of the jubilee jazz club who under roselló s instructions joined the organizing committee of that first edition roselló worked very hard so hard in fact that he brought journalists from madrid all expenses paid there weren t too many festivals that boasted the line-up that we had for the first edition adds coma the festival was the first jazz showcase to have a significant and popular impact on the city a festival supplied with exiles barcelona began its festival at a time when jazz in the united states had ceased to be popular rock was the music of the hour being a jazz musician was tantamount to being something of a dissolute in many social circles if a particular musician had been caught up in drug-related matters one could guarantee that prison would somehow interrupt his career as a result european nightclubs especially those in paris and copenhagen were according to musicians such as chet baker kenny clarke ornette coleman dexter gordon and johnny griffin considered to be the ideal places to work far away from a country that could be hostile to them while the american public expressed apathy european audiences were enthusiastic it s that mythical european jazz scene depicted in for example bertrand tavernier s round midnight a film not without its dark moments this would explain why jamboree was able to bring artists such as ornette coleman and dexter gordon at the end of 1965 not for a one-night concert but for several weeks jamboree lived off all those musicians that made the european rounds they would come to barcelona whenever they had a free night and this would continue during the initial period of the festival says enric vázquez the young member of the jubilee jazz club who acted as joan roselló s sideman at the time it wasn t difficult to get these artists to come and they did so for very little money for many musicians living in exile was hostile nonetheless this situation was beneficial to the jazz festival s launch duke ellington in one of his customary euphoric moments at the palau 1966-1976 15



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