Friday September 5 2014

FRIDAY SEPTEMBER 5, 2014

090514_Statuary Postcard

JC Fridays and Jersey Statuary present Arts & Music in Jersey City Heights.

JCFriday_PatioOverview

8-10AM Sample Black Rail Coffee

6pm -7pm: Performance by Classical Pianist Florencia Guzman
7 – 7:30pm Artist Meet & Greet with Jeankarlos Cruz
7:30pm – 11pm: Performance by Brazilian Bluegrass band, Matuto

More details TBA

Presented By Moriah Kinberg
Hosted by Margo and Walter Parks
JC Fridays is a city-wide celebration of the arts in Jersey City and is organized by Art House Productions

Artist Statement by Jeankarlos Cruz Paisaje Solea 2_9ft x 7ft
Experiences, time, and performance, are intangible elements. These paintings aim to marry the intangible with the matter. Literally, there is a physical history on the surfaces, a history of ideas that keep evolving until they give birth to a unified creation. An independent creation. One that is removed from the threads of direct reference, direct reality. A creation that was the result of a history of situations. Since those situations were different for each surface, naturally the result is a particular manifestation and perspective of that place: that environment, that creature, and that sea.
Vision is not only what we see, it is a position taken, an idea, a geometry: A point of view in the double sense of the expression. Not the philosophy of painting, but painting as philosophy. A philosophy of pictorial symbols. A beauty, free from the notion of beauty, because of its indifference.
I pursue painting as an independent way of thinking—Painting reacting to situations— Painting a constant search for a place, and internal place, a truth, both a collective and a personal truth- one that will help define existence or sanitize experiences, past experiences in order to walk forward. Painting as another form of thinking. A moral act, both personal and social.
hombresol_mujerluna_montagemIt is not an immediate reality the painting that I am chasing. It responds to daily life and the elements in the surroundings. But is a painting that stands in front of the retina with a big question mark, aspiring to find solutions for beauty. Beauty in a simple definition as harmony or the relation between one element and the other. Painting as a ritual that tries to weave and create an encounter between: the past lived, the ancestral past and the recent present to ascend spiritually or dig introspectively to a source of “collective memories.”
Jeankarlos Cruz, 2014

Florencia Guzman, born in Monterrey, Mexico, comes from a family of professional musicians, and represents the fourth generation of pianists. She acquired her first music knowledge from her parents and grandmother. She graduated from Nyack College, NY, NY, majoring in Piano Performance under the direction of Margrit Zimmermann.

Florencia has performed as a soloist with prestigious orchestras of Mexico and New York under the direction of renown conductors as well as alongside renown musicians. She has also performed numerous recitals as a soloist as well as chamber music and with opera singers in Mexico, Venezuela, and USA. Florencia also practices choral and orchestral conducting and has conducted the Nyack College Chorale and Collegium Ensemble in New York City as well as the U-HAC International orchestra at the U-HAC International program. Recently, Florencia won first place at the 2014 Nyack College Piano Concerto Competition and performed with the Nyack College String Orchestra under the direction of Sungrai Sohn in New York.
Florencia Foto
A little bit about Florencia Guzmán~
Florencia has over 15 years of teaching experience at an international level. Florencia has made Jersey City Heights her new home together with her husband where they founded Florencia’s Music Studio in 2012.

Florencia is an activist. She is passionate about defending animal rights and against animal cruelty. She lends her energy and talent by performing in events that raises social awareness.

Florencia believes that music has the power to sensitize people in a way that they can become more understanding, thoughtful, and compassionate.

MATUTO
In 2002, Clay Ross embarked on a musical odyssey that brought him closer to home. The South Carolina native moved to New York to pursue a jazz career and several years later found himself in Recife, Brazil studying the region’s folkloric music. Along the way he rediscovered the straightforward songs of his native South.

The guitarist and singer titled his Ropeadope Records debut Matuto, after a Brazilian slang reference to a man from the backcountry. Described as “Weird and Wonderful… Unorthodox and Delightful” by Jazz Times Magazine, the set allows Ross to carve a niche in a musical tradition created on another continent. He performs North American folk songs like “Home Sweet Home” and Blind Willie Johnson’s “John the Revelator” over South American rhythms Maracatu, Forró, and Coco typical of the northeastern region of Brazil.

In recording the album, Ross called upon the talents of NYC’s most sought-after musicians, including master accordionist Rob Curto. Born in New York, Curto is widely regarded as forró’s foremost ambassador in the States. An early devotee of North American swing music, bebop piano, funk, rock, and blues, he has combined these influences with his mastery of their Brazilian counterparts forró, chorinho, samba, maracatu, and frevo to produce stunning new results. He spent years living and playing in Brazil, completely absorbing and interpreting the country’s musical traditions. Curto was a member of the original scene that established forró, the dance music of northeastern Brazil, as an official dance craze in downtown New York.

Ross and Curto began exploring a shared musical vision and set about combining their individual repertoires into an extensive library of Pan-American influences. Focusing their talents, resources, and experience Ross and Curto set out to establish Matuto as a band.

In February of 2009 they received a prestigious Fulbright Grant and completed a six-week residency in Recife, Brazil. There, with drummer Richie Barshay (Herbie Hancock Quartet) and bassist Edward Perez, the band thrilled audiences at the Garanhuns Jazz Festival and the massive Rec Beat Festival, finding equal comfort along side jazz and blues legends, folk music traditionalists, and indie rock experimentalists. They also lead educational workshops in underserved communities and performed public concerts in theaters and auditoriums across the city. Later that year they headlined the American Folk Festival in Bangor, ME and the Montmagny World Accordion Festival in Canada.

Employing renowned musicians across NYC’s diverse jazz, roots, and world music scenes, Matuto features violin, guitar, accordion, bass, drums, and various Brazilian percussion instruments: the alfaia (a large, wooden, rope-tuned bass drum), the pandeiro (a Brazilian tambourine), the berimbau (a single-string on a bow struck with a small stick), and the agogô (a pair of small, pitched metal bells.)

In May 2013 the band will release their second full length album, “The Devil and the Diamond” on Motéma Music. This recording reflects the inspiring live show that the band has developed over hundreds of performances around the world. Appalachian fiddle tunes bounce with a Northeastern Brazilian lilt while the one string Berimbau resonates with a strangely effective blues riff. Curto spins long chromatic melodies over intricate arrangements and infectiously funky folkloric rhythms. Like a true southern preacher, Ross delivers colorfully satirical lyrics reminiscent of David Byrne, Tom Ze, and Caetano Veloso.

With an honest love for roots music, genuine Brazilian styles, and improvisational experimentation, Matuto creates a unique and inspired sound from the heart of New York City’s diverse musical culture.