{"id":47719,"date":"2019-12-11T13:30:54","date_gmt":"2019-12-11T12:30:54","guid":{"rendered":"https:\/\/www.tomajazz.com\/web\/?p=47719"},"modified":"2020-01-14T22:55:13","modified_gmt":"2020-01-14T21:55:13","slug":"peter-brotzmann-heather-leigh-jazzmadrid19-festival-internacional-de-jazz-de-madrid-concierto","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/peter-brotzmann-heather-leigh-jazzmadrid19-festival-internacional-de-jazz-de-madrid-concierto\/","title":{"rendered":"Peter Br\u00f6tzmann &#038; Heather Leigh (JazzMadrid&#8217;19 &#8211; Festival Internacional de Jazz de Madrid) [Concierto]"},"content":{"rendered":"<p>Por <strong>Coolcat <\/strong>y <strong>Roberto Garc\u00eda<\/strong>.<\/p>\n<p>JazzMadrid19 &#8211; Festival Internacional de Jazz de Madrid.<\/p>\n<ul>\n<li>Fecha: 29 de noviembre de 2019.<\/li>\n<li>Lugar: Centro Cultural Conde Duque (Madrid)<\/li>\n<li>Grupo:<br \/>\n<strong>Peter Br\u00f6tzmann &amp; Heather Leigh<\/strong><br \/>\nPeter Br\u00f6tzmann (saxos, clarinete)<br \/>\nHeather Leigh (<em>lap steel<\/em>)<\/li>\n<\/ul>\n<p><strong>Peter Br\u00f6tzmann: flores en la trinchera<\/strong><\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-47720\" src=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann-600x450.jpeg\" alt=\"\" width=\"600\" height=\"450\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann-600x450.jpeg 600w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann-200x150.jpeg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann-768x576.jpeg 768w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann-1536x1152.jpeg 1536w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann-73x55.jpeg 73w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann.jpeg 2048w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>La grandeza del m\u00fasico de jazz reside en multitud de factores. Claro est\u00e1, las aptitudes con el instrumento. Pero no menos importante es la iniciativa del trabajo en equipo. En este caso, del apoyo en el resto de la banda. Miles Davis tal vez no fuese el mejor trompetista. Los cr\u00edticos no le perdonan que no se atreviese alguna vez con el cl\u00e1sico \u201cCherokee\u201d. Sin embargo, fue \u00fanico como intelectual de grupo a la hora de concebir bandas y apuestas. Unido al af\u00e1n de experimentaci\u00f3n, siempre es importante colaborar con int\u00e9rpretes que inciten al desaf\u00edo. Y al contraste.<\/p>\n<p>Peter Br\u00f6tzmann, coloso de la vieja Europa, <a href=\"http:\/\/www.tomajazz.com\/perfiles\/brotzmann_carrera.htm\" target=\"_blank\" rel=\"noopener noreferrer\">es conocedor y maestro de la t\u00e9cnica<\/a>. Es el segundo nombre propio m\u00e1s relevante tras Hancock del Festival Internacional de Jazz de Madrid. As\u00ed, brind\u00f3 un soberbio ejemplo en el Centro Cultural Conde Duque. Junto a \u00e9l Heather Leigh, fiel escudera y maestra del lap steel. La colaboraci\u00f3n se remonta a un par de a\u00f1os y varios discos. El aleman congreg\u00f3 a un auditorio sobrecogido. Aguant\u00f3 la respiraci\u00f3n durante el recital con el orgullo y devoci\u00f3n de las grandes citas. La fama le precede al m\u00e1s importante de los m\u00fasicos de la libre improvisaci\u00f3n.<\/p>\n<p style=\"text-align: center;\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-47721\" src=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh-600x450.jpeg\" alt=\"\" width=\"600\" height=\"450\" title=\"\" srcset=\"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh-600x450.jpeg 600w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh-200x150.jpeg 200w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh-768x576.jpeg 768w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh-1536x1152.jpeg 1536w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh-73x55.jpeg 73w, https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Heather-Leigh.jpeg 2048w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><\/p>\n<p>Desde las primeras notas se mostr\u00f3 una propuesta musical rompedora e interesante. Con una austera puesta en escena, las capas s\u00f3nicas del <em>lap<\/em> <em>steel<\/em> comenzaron a sobreponerse. Llegaron aromas de bandas drone como Sunn O))) o Merzbow. Br\u00f6tzmann, por su parte, aguardaba temeroso. Clarinete en mano, procedi\u00f3 a emitir sus car\u00e1cteristicos aullidos. \u201cThis Word Love\u201d, del disco Sparrow Nights, invocaba terrores nocturnos. Record\u00f3 de forma impasible el afilado tono que le caracteriza. Un cuchillo afilado que acarici\u00f3 las gargantas de los presentes, at\u00f3nitos y sin asiento.<\/p>\n<p>El repertorio pivot\u00f3 sin mayor dilaci\u00f3n. Temas como \u201cThis Time Around\u201d o \u201cIt\u2019s Almost Dark\u201d cautivaron a un centro Conde Duque inmerso en tinieblas. Br\u00f6tzmann y Leigh dieron cuenta de la maestr\u00eda notoria. El alem\u00e1n altern\u00f3 saxofones alto, tenor y clarinete con facilidad pasmosa. La de Virginia, por su parte, jug\u00f3 con distorsiones que rozaron lo on\u00edrico. Paisajes desolados con especial regocijo en la disonancia. El p\u00fablico correspondi\u00f3 con aplausos entre composiciones. Fue el \u00fanico descanso ante el mantra de la invocaci\u00f3n. Los protagonistas no interactuaron con los congregados. Ni falta que hizo.<\/p>\n<p>Br\u00f6tzmann y Leigh deleitaron con un \u00fanico bis. Se trat\u00f3 de \u201cSummer Rain\u201d, la cual pasar\u00eda como sencillo radiable. Con ello, la lecci\u00f3n de un m\u00fasico incombustible sin l\u00edmite desde finales de los a\u00f1os sesenta. Una voz en ese desierto de trincheras del Free Jazz europeo. Quiso cerrar JazzMadrid 2019 con una muestra que aun\u00f3 experiencia y ortodoxia. El saxofonista record\u00f3 que es \u00fanico a la hora de establecer colaboraciones art\u00edsticas. Se une as\u00ed Leigh a un elenco que incluye a artistas como Evan Parker o Derek Bailey. Finaliz\u00f3 el concierto y, con ello, la \u00faltima ofrenda antes de la siguiente edici\u00f3n. Quedar\u00e1 el jazz.<\/p>\n<p style=\"text-align: right;\">Tomajazz.<br \/>\nTexto: \u00a9\u00a0<strong>Coolcat<\/strong>, 2019<br \/>\nFotograf\u00edas \u00a9 <strong>Roberto Garc\u00eda<\/strong>, 2019<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Roberto Garrc\u00eda (im\u00e1genes) y Coolcat (palabras), repasan la actuaci\u00f3n de Peter Br\u00f6tzmann &#8211; Heather Leigh en el Festival Internacional de Jazz de Madrid &#8211; JazzMadrid19: Peter Br\u00f6tzmann: flores en la trinchera  <span class=\"more-link\"><a href=\"https:\/\/tomajazz.com\/web\/peter-brotzmann-heather-leigh-jazzmadrid19-festival-internacional-de-jazz-de-madrid-concierto\/\">Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":47720,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4,18786,24012,15517,1038],"tags":[22109,15796,14136,23661,5470,15801,24011],"class_list":["entry","author-pachi","has-excerpt","post-47719","post","type-post","status-publish","format-standard","has-post-thumbnail","category-conciertos","category-_cool-cat","category-_roberto-garcia","category-textos","category-contenidos","tag-coolcat","tag-heather-leigh","tag-jazzmadrid","tag-jazzmadrid19","tag-peter-brotzmann","tag-peter-brotzmann-heather-leigh","tag-roberto-garcia"],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/Peter-Brotzmann.jpeg","jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":47774,"url":"https:\/\/tomajazz.com\/web\/instantzz-peter-brotzmann-heather-leigh-jazzmadrid19-festival-internacional-de-jazz-de-madrid-galeria-fotografica\/","url_meta":{"origin":47719,"position":0},"title":"INSTANTZZ: Peter Br\u00f6tzmann &#8211; Heather Leigh (JazzMadrid19 \u2013 Festival Internacional de Jazz de Madrid) [Galer\u00eda fotogr\u00e1fica]","author":"Tomajazz","date":"15 diciembre, 2019","format":false,"excerpt":"Enrique Farelo retrata en la Galer\u00eda Fotogr\u00e1fica - INSTANTZZ la actuaci\u00f3n de Peter Br\u00f6tzmann - Heather Leigh en JazzMadrid'19 - Festival Internacional de Jazz de Madrid.","rel":"","context":"En \u00abFotoblog - Galer\u00eda fotogr\u00e1fica\u00bb","block_context":{"text":"Fotoblog - Galer\u00eda fotogr\u00e1fica","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/imagenes\/photoblogs\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/07_PETER-BROTZMANN-3.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/07_PETER-BROTZMANN-3.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/07_PETER-BROTZMANN-3.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/12\/07_PETER-BROTZMANN-3.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":23990,"url":"https:\/\/tomajazz.com\/web\/peter-brotzmann-en-buena-compania-por-triplicado-en-not-two-cd\/","url_meta":{"origin":47719,"position":1},"title":"Peter Br\u00f6tzmann: en buena compa\u00f1\u00eda por triplicado en Not Two [CD]","author":"Tomajazz","date":"4 mayo, 2016","format":false,"excerpt":"A sus 75 primaveras, el tremendo soplador alem\u00e1n Peter Br\u00f6tzmann sigue mostrando una m\u00e1s que notable actividad tanto en directo como en forma de grabaciones discogr\u00e1ficas. El sello polaco Not Two pone en circulaci\u00f3n tres grabaciones del padre del seminal Machine Gun (Bro \u2013 FMP, 1968) en tres formatos distintos.\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2016\/05\/Br%C3%B6tzmann-Swell-Nilssen-Love_Krakow-Nights_Not-Two_2016.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":23996,"url":"https:\/\/tomajazz.com\/web\/hdo-brotzmania-0105-podcast\/","url_meta":{"origin":47719,"position":2},"title":"HDO 105. Br\u00f6tzmania [Podcast]","author":"Tomajazz","date":"4 mayo, 2016","format":false,"excerpt":"En HDO repasamos las tres \u00faltimas grabaciones de Peter Br\u00f6tzmann en el sello polaco Not Two: Br\u00f6tzmann \/ Swell \/ Nilssen-Love: Krakow Nights (Not Two, 2016); Peter Br\u00f6tzmann \u2013 Heather Leigh: Ears Are Filled With Wonder (Not Two, 2016); Bergman \/ Br\u00f6tzmann \/ Gjerstad: Left (Not Two, 2016). \u00a9 Pachi\u2026","rel":"","context":"En \u00ab*_Pachi Tapiz\u00bb","block_context":{"text":"*_Pachi Tapiz","link":"https:\/\/tomajazz.com\/web\/category\/pachi-tapiz\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2016\/05\/IMG_4003_BROSMAN_LISBOA2011_recorte.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":82779,"url":"https:\/\/tomajazz.com\/web\/3-days-of-music-dedicated-to-peter-brotzmann\/","url_meta":{"origin":47719,"position":3},"title":"3 Days Of Music Dedicated To Peter Br\u00f6tzmann (8 al 10 de febrero de 2024. Cafe Oto, Londres) [Noticias de jazz]","author":"Tomajazz","date":"19 enero, 2024","format":false,"excerpt":"Entre el 8 y el 10 de febrero de 2024 tendr\u00e1 lugar en Cafe Oto (Londres, UK), el evento 3 Days Of Music Dedicated To Peter Br\u00f6tzmann #Ciclodejazz #FestivalDeJazz #Festivalesdejazz #Noticiasdejazz","rel":"","context":"En \u00ab*_Redacci\u00f3n\u00bb","block_context":{"text":"*_Redacci\u00f3n","link":"https:\/\/tomajazz.com\/web\/category\/redaccion\/"},"img":{"alt_text":"3 Days Of Music Dedicated To Peter Br\u00f6tzmann (8 al 10 de febrero de 2024. 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En la edici\u00f3n de 2017 tendr\u00e1n lugar 14 conciertos. Entre otros, actuar\u00e1n Steve Lehman (28 de julio), David Torn (29 de julio), Coax Orchestra (30 de julio),\u2026","rel":"","context":"En \u00ab*_Redacci\u00f3n\u00bb","block_context":{"text":"*_Redacci\u00f3n","link":"https:\/\/tomajazz.com\/web\/category\/redaccion\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/05\/Jazz-em-Agosto%C2%A9Gulbenkian-M%C3%BAsica_M%C3%A1rcia-Lessa.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/05\/Jazz-em-Agosto%C2%A9Gulbenkian-M%C3%BAsica_M%C3%A1rcia-Lessa.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/05\/Jazz-em-Agosto%C2%A9Gulbenkian-M%C3%BAsica_M%C3%A1rcia-Lessa.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/05\/Jazz-em-Agosto%C2%A9Gulbenkian-M%C3%BAsica_M%C3%A1rcia-Lessa.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/05\/Jazz-em-Agosto%C2%A9Gulbenkian-M%C3%BAsica_M%C3%A1rcia-Lessa.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2017\/05\/Jazz-em-Agosto%C2%A9Gulbenkian-M%C3%BAsica_M%C3%A1rcia-Lessa.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]},{"id":47013,"url":"https:\/\/tomajazz.com\/web\/jazzmadrid19-una-aproximacion-por-pachi-tapiz-articulo\/","url_meta":{"origin":47719,"position":5},"title":"JazzMadrid19: una aproximaci\u00f3n. Por Pachi Tapiz [Art\u00edculo]","author":"Tomajazz","date":"6 noviembre, 2019","format":false,"excerpt":"Pachi Tapiz realiza un breve repaso a los conciertos m\u00e1s destacados de JazzMadrid19.","rel":"","context":"En \u00abArt\u00edculos\u00bb","block_context":{"text":"Art\u00edculos","link":"https:\/\/tomajazz.com\/web\/category\/contenidos\/afondo\/perfiles\/articulos-afondo\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/tomajazz.com\/web\/wp-content\/uploads\/2019\/09\/logo-jazzmadrid19.png?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/47719","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=47719"}],"version-history":[{"count":5,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/47719\/revisions"}],"predecessor-version":[{"id":48459,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/47719\/revisions\/48459"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/47720"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=47719"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=47719"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=47719"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}