Gigs

august

1aug8:00 pm- 8:00 pmPaul Grabowsky Trio with Special Guests
8aug8:00 pm- 8:00 pmPaul Grabowsky Trio with Special Guests
9aug8:00 pm- 1:00 amRadiosuccessi - Italian Divas
15aug8:00 pm- 8:00 pmOrigami Trio featuring Mirko Guerrini
16aug7:30 pm- 7:30 pmRadiosuccessi 'Certified Genuine Italian Swing'
18aug4:00 pm- 4:00 pmThe Eva Cassidy Show
20aug8:00 pm- 8:00 pmGianni Marinucci Quartet feat. Mirko Guerrini e Ilaria Crociani
22aug7:00 pm- 1:00 amJohn Montesante Ensemble
28aug8:30 pm- 8:30 pmGianni Marinucci Nonet feat. Emma Gilmartin

september

No Events

october

No Events

november

No Events

december

No Events

january

No Events



    

Go to the Music page to download a lead sheet.

Have a look at this wonderful song I just transcribed by Chet Baker.

And it is in Italian!!

This Friday, Paris Cat, 7.30 start. ...

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Transcribing!!
Every single jazz tutor or professional will sooner or later tell you to transcribe solos.
Including my father, who was a terrific jazz player. I can almost hear his voice…’you need to transcribe…note by note!’..
So, when I recorded my second album as a soloist ‘Mirko Guerrini e I Diavoli del Ritmo’ (Mirko Guerrini and the Devils of Rhythm’ I took my father’s words literally and transcribed a whole piece myself.
The whole album ‘Mirko Guerrini e I Diavoli del Ritmo’ is about the music of this legendary, mythological band called ‘Devils of Rhythm’ that the legend wants to be playing in Chicago at all the gangster weddings. One, night, during a party given by the boss Al Testone, the night club where the Devils were performing was set on fire. The band disappeared after that unfortunate event. One day, while waiting for my father in the music shop in Florence that my great uncle had, I found in a draw some charts of the Devils of Rhythm and one 78rpm vinyl with a recording of the Devils playing On the sunny side of the street. So, for the recording of my second album I took my father’s words literally and transcribed note-by-note the whole piece myself. Unfortunately the vinyl was badly damaged so it resulted to be On the scratchy side of the street.
Grab your coGrab your coGrab your coGrab your co Have a lisHave a lisHave a lis Have a lis njoy!
www.youtube.com/watch?v=VpEbPveTiXA
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www.youtube.com/watch?v=4m_G0Z1OQGs
As promised this is the 2nd chapter of my musical story. ‘Blu’ is the opening track of my second CD as a soloist (2001). It is a 12 bar blues plus 4 bars vamp used as an intro and an outro.
Once again, another attempt to cross post-bop with counterpoint. There are two different lines that create an intricate rhythmic plot. Solos are over a Bb blues.
The album is titled ‘Mirko Guerrini e I Diavoli del Ritmo’ (literally Mirko Guerrini & the Devils of Rhythm), and was released by the great Italian label Philology, thanks to the great trust that Paolo Piangiarelli gave me.
Not long before the recording I had been criticised for not being able to stick to one genre or one style. To answer that I produced this album, that includes a post-bop blues (Blu), a tribute to Peter Sellers and Henry Mancini (Cluseau), a rendition of Dmitri Shostakovic Valtz n. 1, a dodecafonic serial tune (I Diavoli del Ritmo) and a Brazilian Choro which is everything but a choro and a musical joke (On the scratchy side of the street) that I will elaborate in another post.
I curated the graphic project in all the small details, and I still remember working with the graphic ’til 3am to get to the result I wanted.
The story behind the CD is that I found in the music shop owned by my great uncle a bunch of manuscript with tunes played by the Devils of Rhythm, a legendary jazz band that disappeared mysteriously after they played at a mafia gangster's party in Chicago. Truth? Fantasy? Who knows…
Enrico Rava wrote the liner notes using his creativity and supporting the thesis of the existence of the Devils with a true (or dreamt) story happened to him in Chicago.
This is a review of the album by Ken Dryden:
Mirko Guerrini & the Devils of Rhythm (the only English translation provided in this Italian CD) is a competent quartet firmly in the post-bop camp. The leader, who is featured on tenor and soprano saxes as well as flute and percussion, is joined by pianist Stefano Bollani, bassist Raffaello Pareti, and drummer Walter Paoli. Guerrini composed 11 of the baker's dozen of songs, including the snappy hard to predict blues "Blu," the tongue-in-cheek mysterious "Cluseau" (which seems inspired by Henry Mancini's music for the bumbling inspector in the Pink Panther films), and the hilarious "On the 'Scratchy' Side of the Street" (essentially the old standard "On the Sunny Side of the Street," except with certain portions deliberately repeated as if you're listening to a skipping record). "Valtz" starts with the opening tuning up by a symphony orchestra before giving way to Russian composer Dmitri Shostakovich's lovely miniature as interpreted by the quartet. Pareti contributed the catchy but easygoing "Esercitazioni di Stile," played as a trio without piano. This isn't the kind of CD that one would normally purchase blindly in a record store or over the Internet, but if you've enjoyed most of the Philology releases you've heard, this excellent session will not be a disappointment.
If you want to know a bit more, or download the charts or even better to buy some of my music please visit my website at www.mirkoguerrini.com
Enjoy!
M
...

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Hi everyone,
I am starting a process of publishing some posts that will go through my music career. One tune, one story and one album every week.
To start off this journey, I have to commence from the very beginning: 'Colti con le mani nel bop' written in 1994 is the track that opens my very first album as a soloist: Tornando a casa.
Companions on this trip were a very young, but already robust player, Stefano Bollani, and a great rhythm section with Nicola Vernuccio on double bass and Andrea Melani on drums.
This tune was an attempt to explore the modern hard-bop language, with superimposed harmony, chromatic lines and modern arrangement techniques using counterpoint.
At that time (I was 21) I was still a Classical Composition student at the Florence Conservatorium, so still deep involved with counterpoint, fugues and form experimentation.
I was offered full funding to produce this recording. I was so undecided whether take the opportunity or drop the offer, but then many friends encouraged me to do it.
My mentor at the time, the great saxophone player Maurizio Giammarco said to me: 'you will never listen back to your early recordings, you will hate them one day'. He was true! I cannot listen to this recording anymore, but I don't regret any single note.
I hope you enjoy it as much as I enjoyed recording it.
...

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