SUITE TRANE (35 year Anniversary release, with bonus tracks from 1968)
One only had to listen to the tenor sax solo by John Coltrane in “Round about midnight” (by Thelonius: Miles Davis quintet, cover picture with dark red filter, trumpet, dark glasses, CBS Columbia, Miles, Trane, Red Garland, Paul Chambers and Philly Joe Jones: Help! . . . what a group!) to realize what this man was all about.
hen Coltrane left this earthy dimension and departed, we can imagine where… we assumed his physical absence, the missing of his presence, I don’t know: the news of that tour, of that other new release announced by “Downbeat” that we anxiously waited for… but, at the same time, when he died, we internalised his message of powerful lyricism in an even more profound manner: an unforgettable energy and “coltranean” musical poetry, if I’m allowed the expression.
Coltrane is dead, long live Coltrane.
We were very young in 1967 when it happened, but, since age has no bearing, his death moved us so deeply that, personally, I decided to render, in the best possible way, this tribute “in memoriam” to Coltrane; and all through those winter nights of ’68, following the decision to “create” a posthumous homage in his memory, I composed and orchestrated in the utmost solitude. Obviously, this was not a definitive solitude but rather a feeling shared by musicians and followers, since the work (I called it Suite Trane) was first performed in August of ’68 in the “Teatro del Globo” in Buenos Aires. It was performed with a truly “all star” orchestra, (an impressive assembly of talent shown on the credits) soloists and ensembles, who also, without any doubt, felt the need to pay homage to one of the most paradigmatic creators of the day….
I still hold my warmest feelings towards those great musicians from my country, for the faith and trust they bestowed upon my project and my person, given that, ultimately, I was personally responsible for the musical conception, orchestration and direction; in spite of my obvious youth these amazing musicians, many of them well established already and others about to be, collaborated and helped with all their support and talent in a completely selfless fashion.
Sometime later, a timely loan from the National Endowment for the Arts arrived, and the work firmly established itself in the recording world: it was taped in late ’69 and the first edition was released by Trova (1970) in Argentina by Rodolfo Radoszinsky. Afterwards came the release in Uruguay (Ediciones Tacuabé / Ayuí / 1971) done by composer Coriún Aharonián who edited their catalog in the neighboring country, and finally the US edition: (Catalyst Records / Springboard International / 1977) which earned important awards as the most important work of the year (Fernando Alvarado, Diario La Prensa, Buenos Aires / 1968) and “Best International Jazz Work” (Monthly Jazz Magazine, London / UK, 1969).
What could have been the Mexican release in 1975 was sadly not to be. The master tape never arrived at its destination. It was destroyed in the still-to-be-explained plane crash that killed David (Doodie) Graiver (the banker and carrier of the master tape from Buenos Aires) somewhere in our continental geography. Another one of the losses the kind of which we got used to during the 70’s.
And finally the moment has now arrived. After having received multiple suggestions in this respect and after having corroborated that the work still lingers in the minds of those who had heard it, we are finally re-releasing the album. This new edition by Whatmusic in London, UK, has been arranged through Fernando Gelbard (again), more than 30 years after the original release by Trova, with digital updating and re-mastered for CD (a must) naturally.
Since it is the first important work of my youth, and my very first recording production, it is almost obvious that this is also the first re-edition in my career as a musician. This is something that touches me deeply and for which I am thankful, again, to all the people that joined me in this effort, in its various stages of completion; but most pointedly to Coltrane and his/our Love Supreme. He knew how to inspire my spirit in such a way that I couldn’t help but feel the dire and inescapable need to write and compose the work. It was like something born when the silent and profound voice that awakens from the absolute, sometime in 1967, so suggested it.
Also, and thanks to the generosity of this new digital technology medium, we have included three bonus tracks, that were part of a recording session done in the same period that Suite Trane was being written, maybe during early ’68. We have added them with the intention that jazz lovers can “taste” somehow the interactive climate that prevailed at the Jam Sessions (we called them “pizzas”) of the late 60’s that were, definitely, the communication and experimentation grounds where we shared all our ideas and musical experiences. Where else?
The recording session was completely accidental and informal. In fact we had been invited that day to test a recording studio "Estudios Ion", of Buenos Aires, which had recently being acquired by our common friend Fernando Gelbard, who coincidentally engineered this session, almost a family affair. None of us suspected that this would be the same studio where, months later, we would record Suite Trane.
In this session we find Lapouble and González, as in the Suite; here I play the baritone sax (I can’t recall why Gustavo Bergalli didn’t arrive on time to the recording, since in those days we used to play together in a quartet without piano, like in Gerry Mulligan’s quartets), and on the piano, so as its absence wouldn’t be noticed, we secured the wonderful collaboration of “uncle” Santiago Giaccobe.
The bonus tracks are: (1) an original work by Baby López Fürst: “Hombre Amaestrado”, (Domesticated Man) - he’s probably blushing up in Heaven as he always did when someone paid him homage. (2) The Rodgers & Hammerstein standard “It might as well be spring” and (3) a blues that we improvised upon a tune that flowed spontaneously when I proposed it and that we called, with the connivance of my friend and columnist Lalo Panceira, “Blues de la calle 51” (51st St. Blues).
The name was in memory of the place where the jazz musicians in La Plata city used to meet up during the 50’s and 60’s: the block of 51st street between 7th and 8th. It had four well known joints crowded into a stretch little more than 40 feet long: “El Parlamento”, “El Capitol”, “El Tirol Shop” and “El Galeón”. The musicians were inspired by our patriarch and teacher – Mingo Martino, undisputed dean of the “Grupo Contemporáneo de Jazz” (Contemporary Jazz Group of La Plata), and impassioned by the unequaled wit and certified journalism of Talero Pellegrini: radio-man, humorist and jazzman. Isa!! Yahoo!
Alberto Favero, Madrid, January 2005
Alberto Favero was born in La Plata, Argentina, in 1944, at a musicians home. His father, Fermín Valentín Favero, a well known music teacher, founded the first music academy specialising in popular music forms and instruments in Argentina, which grew eventually to 17 branches countrywide and reached hundreds of pupils. His mother was also a singer and music instructor. They were his first teachers.
In 1961, at seventeen, he received the "New Figure Prize", awarded by the "Centre for Specialised Studies in Jazz" of Buenos Aires, directed by Walter Thiers.
In 1963 he graduated with a "Special Bachelors Degree in Music" from the Superior School of Fine Arts of the National University of La Plata.
In 1968 he obtained a degree as Piano Professor and in 1973 as Composition Professor, both from the Department of Arts and Audio-visual Media from the National University of La Plata.
His teachers, among others, were Luis Gianneo, Wilhem Graetzer, Alicia Terzián, Carlos Berardi, Nidia Berardi de Aragón, Ljerko Spiller, Earnest Epstein, Valdo Sciamarella, Enrique Gerardi, Edgar Willems and Marguerite Croptier.
suite in 5 movements for jazz orchestra and soloists (in memoriam John Coltrane) (1968)
composed, arranged and conducted by Alberto Favero
1 1st Movement (Opening) (Alberto Favero) 7:49
2 2nd Movement (Quintet) (Alberto Favero) 6:46
3 3rd Movement (Soprano) (Alberto Favero) 6:47
4 4th Movement (Requiem) (Alberto Favero) 7:39
5 5th Movement (Finale) (Alberto Favero) 6:14
6 Hombre Amaestrado (Domesticated Man) (Baby López Fürst) 5:43
7 It might as well be spring (Rodgers- Hammerstein) 8:52
8 Blues de la calle 51 (51st Street Blues) (Alberto Favero) 4:35
(track 7 does not appear on the LP)
recorded in Estudios Ion SA Buenos Aires in December 1969.
Sponsored by the “Fondo Nacional de las Artes”
Recording technicians: Osvaldo Acedo y Juan Carlos Manojas.
Master mixed at Estudios Audión Buenos Aires
Mixing technician: Nelo Villagra
Re-mixed and digital processing: Tim Barron (USA) y Pablo López Ruiz (AR)
Produced by Alberto Favero.
Bonus tracks recorded in Estudios Ion SA Buenos Aires in April 1968
recording technician: Fernando Gelbard.
Processing and digital re-mixing: Micky Hearne y Pablo López Ruiz (Buenos Aires, Argentina)
Orchestra for Suite Trane
trumpets: José Granata, Tomás Lepere (in the 1st, 3rd and 5th movements), Rubén Barbieri (in the 4th movement), Emilio Martino, Roberto Fats Fernández, Gustavo Bergalli (soloist/ also in flüegelhorn)
horns: Domingo Garrefa (soloist), Armando Izzi
trombones: Abel La Rosa, Jorge Ramírez, Christian Kellens (soloist)
tuba: Jorge Rodríguez
saxes: Luis Chachi Ferreira (soloist alto sax), Santiago Bo (alto sax), Horacio Chivo Borraro (soloist tenor sax), Oscar Tissera (tenor sax), Mariano Grisiglione (baritone sax),
Bernardo Baraj (soloist soprano sax)
bass: Jorge González (soloist), Raúl Curi
piano: Alberto Favero (soloist)
drums: Pocho Lapouble, Mingo Martino
percussion: Ernesto Ringer
Orchestra conducted by Alberto Favero
Quartet for Bonus tracks
baritone sax Alberto Favero
piano Santiago Giacobbe
bass Jorge González
drums Pocho Lapouble
© 2005 whatmusic.com