JaZZ-ClaZZ Paquito D'Rivera & Sabine Meyer

• 1 Vals Venezolano 07:02
• 2 Oblivion 05:40
• 3 Suite Piazzolana 12:38
• 4 Borat In Syracuse 04:53
• 5 Afro 03:55
• 6 Dizzyness 03:54
• 7 Chiquita Blues 04:36
• 8 Paquito 04:11
• 9 Fiddle Dream 07:03
• 10 Toque De Clave 03:42
• 11 Contradanza 01:57
• 12 La Cachila 05:55
• 13 Los Tres Golpes 01:53
• 14 Brasilierino 04:35
• Total Runtime 01:11:54

Info for JaZZ-ClaZZ

He knows all about dreams. The melody for one of the fourteen pieces on JaZZ-ClaZZ came to him in a dream: Chiquita Blues, a tribute to Benny Goodman. The recordings in Germany went like a dream too, when Paquito D’Rivera took his Cuban flair to the Bauer Studios in Ludwigsburg. In the course of the intensive recording session, the German-Cuban connection played a total of seven duos, trios, quartets, and quintets: always with the right mixture of classical music and jazz, giving the project its name. “Some of these pieces like Ignacio Cervantes’ Los Tres Golpes and Waldir Acevedo’s Brasileirinho, from the recording 'Obrigado Brazil' with Yo-Yo Ma, and Vals Venezolano, Contradanza, Afro and Dizziness from my Suite Aires Tropicales, have been recorded in diverse formats, but here with the participation of Sabine, Wolfgang, Reiner and Alex they acquire a totally different character,” D’Rivera still waxes lyrical about the recordings.

The right mixture is very important to the Paq-Man, as D’Rivera is playfully nicknamed. Half of the fourteen tracks are his own creations, including the dream vision Chiquita Blues, or Fiddle Dreams, which he actually composed for violin and piano, but which he recorded for JaZZ-ClaZZ with Alex Brown at the piano, at the New York Knoop Studios, using his C clarinet in a studio for the first time. Or for example Borat in Syracuse, also created in the New York section of the recordings, inspired by nothing less than the globally successful movie Borat by British comedian Sacha Baron Cohen. The second half of the disc consists of new interpretations of pieces composed by other great names such as Chick Chorea, or, as with Toque de Clave, by the Cuban composer Gisela Hernandez, whose success in combining her Cuban roots with classical music fascinated Paquito D’Rivera and provided him with the perfect model for JaZZ-ClaZZ.

And so JaZZ-ClaZZ is pure musical pluralism and a work not of contrasts, but far more one of successful combinations: jazz and classical, Cuba-Germany, Ludwigsburg-New York, new and re-interpreted, sensitive clarinets and wild, rhythmic percussion. And a product which can be best described by Sabine Meyer’s remark in an interview: “The clarinet is very close to the human voice as a means of expression. You can convey best what you feel yourself.”

Featuring Trio Clarone:
Paquito D’Rivera, Clarinet
Sabine Meyer, Clarinet
Reiner Wehle, Clarinet
Wolfgang Meyer, Clarinet

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