The Serralves Park, in Porto, hosts, on the first three Saturdays of July, five concerts of the 31st edition of the Jazz no Parque program, this year dedicated to the values of freedom, diversity and creativity.
The beginning of the festival, at 4:00 p.m. in the Casa de Serralves, is carried out by Maria da Rocha “on absolute ground”describes the organization in a statement.
The first of the three Saturdays of Jazz in the Park continues, at 6:00 p.m., at the Ténis do Parque de Serralves, with Luís Vicente who is “increasingly one of the inescapable names of the new European improvisation”.
In Serralves, the trumpeter will perform in a quartet with John Dikeman, an American saxophonist based in Amsterdam, bassist Luke Stewart, highlighted by Downbeat magazine as one of the 25 most influential jazz musicians of his generationas well as the drummer Pedro Melo Alves, leader of his own formations and outstanding “jazzman” of the new generation.
On July 9, at 6:00 p.m., the Norwegian Mette Rasmussen takes the stage “celebrated as one of the most vibrant and incendiary European improvisers”.
Mette Rasmussen, who during the period of the Covid-19 pandemic devoted much of her time to the study of composition, specifically with Ilan Volkov, focusing on neoclassical music with deviations from contemporary jazz, emerged, at the end of that period, with a new band: Trío Norte.
In Serralves he will perform together with bassist Ingebrigt Håker Flaten and drummer Olaf Olsen.
For the last day of Jazz in the Park, on July 16, two more concerts are reserved: “Intimate Strangers” by Sara Serpa at 4 p.m. in the Serralves auditorium and the Portuguese Ricardo Toscano, João Barradas and João Pereira at 6 p.m. h in Tennis.
The 31st edition of Jazz in the Park, the first in the post-pandemic period, hasin order to celebrate the values of freedom, diversity and creativity.
For Rodrigo Amado, who this year assumes the festival’s programming, the invited musicians are “artists who strongly project their own voice, expanding the possibilities of music for future generations” through “different aesthetic lineages, generations and nationalities, united by a common trait: an unconditional openness to different languages and influences”.
Source: Observadora
