Shkodra Jazz

Programi Shkodra Jazz Festival 2010

2010-06-08T12:47:00.000-07:00

10/06

10.30 – KINEMA MILLENNIUM ( Tirane) Konferenca per shtyp

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11/06

10.30 – MASTERCLASS

18.30 – TEATRI MIGJENI   Jorge Pardo, Isaac Turienzo Orges & The Ockus-Rockus Band

22.30 - LOKALET PARTNER JAZZ TIME JAM SESSION MILLENNIUM

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12/06

10.30 – MASTERCLASS

18.30 – RRUGA MUZE KOL IDROMENO  SHKODRA SOUDS CORNER   EIN ORGE(S) DUO

22.30 - RRUGA MUZE KOL IDROMENO JAZZ TIME JAM SESSION 

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Organizator gjeneral Shoqata kulturore “Rrok Jakaj”

Organizator i festivalit Optional Music International

Sponsor kryesorë të këtij edicioni janë: Ministria e Turizmit, Kultures, Rinise dhe Sporteve, Bashkia e Shkodrës, Ambasada Spanjolle në Tiranë, Ambasada Austriake në Tiranë, Agjencia Spanjolle e Bashkepunimit Nderkombetar per Zhvillim, Energji Ashta, Millennium.

Media partner:, TV Rozafa dhe Boom Boom Radio

Jorge Pardo is classified in two ways: jazz musician and flamenco musician.

2010-06-01T15:09:00.000-07:00

Leaning toward one or other style was also a process that just happened with time. "Like I said before I'm a musician by vocation. And that means I'm passionate about music. In that respect nothing's changed since I was a kid. I used to like anything so long as the sound captivated my imagination - I didn't care if it was the sound of a djembe hand drum or a guitar played by Niño Ricardo, or a jazz band, or a zarzuela Spanish operetta. Any music that caught my attention was good." The contacts he made at the conservatoire were decisive in that respect. "Out of my college friends one was in a rock group, another in a folk band, which was the thing in those days, there was a street musician... and all music students." But more decisive still was an ad he found in a classified section. "Jazz occupied the tiniest portion of this environment, but I found an ad in the newspaper which said 'If you like jazz come to the auditorium at the School of Industrial Engineering', which is in the center of Madrid." So they went along: "I went one day with Ángel Carrero and Santi el Pelucas, and sure enough there was a group of students - who in those days were the ones making that type of music - and I introduced myself, that's how I got into jazz".

When he started listening to a few albums, he saw "a whole world opening up before him, this was the freedom an artist needs to be creative, to do things, you could feel an atmosphere of transgression that was so present in those days, the last years of Franco's dictatorship. It's not that I'd really ever been mixed up in politics, but in those days it didn't matter if you were into politics or not, there was a feeling of social turmoil, mostly among the youth, who were searching for different ways of going against the norm." Hence his "approach to music smacks of someone who's come out of a music school". Inevitably, "the social conditions present in Spain back then had a marked impact on both my personality and my approach to music."

His influences at that time were, as they always have been, in all shapes and sizes: "I used to listen to King Crimson and I listened to Coltrane and to Camarón and Paco [de Lucía] in those days. And I listened to classical music, I also liked dance - I used to go to shows, flamenco and other genres too... In my student days I was into all kinds of things, I saw the rock groups that came and played like Soft Machine... I can't recall all of it, but I listened to practically everything that was around".

And what about flamenco? "I was a fan of flamenco, and at the outset I'd listen to Paco and Camarón's records, and Lole y Manuel, Manuel Gerena, Juan Villar, Lebrijano, Enrique de Melchor, Sorderita... anything that was close to hand in the capital of Spain at the time." He could never have imagined back then "that one day I'd be playing flamenco on an instrument. And that came about some years later at one of those meetings with Paco", when the guitarist from Algeciras proposed that Dolores come to a recording session and collaborate with him on something for 'La danza del fuego' on a tribute album to Manuel de Falla. "We went to the studio and just did our thing, and without a doubt the result was the basis - in terms of the sound - of what has since been the Paco de Lucía septet."

So Jorge Pardo is classified in two ways: jazz musician and flamenco musician. "I have feelings pulling me in both directions, it's like asking who you love more, your mom or your dad." Even so, there are factors that tip the scales: "Right now I feel closer to flamenco. Flamenco's the framework within which I express myself, the people I play with are flamenco, the result is flamenco, it's home for me. I'm well aware that I'm in that home environment, but within that environment I'm one of the oddballs." Jorge Pardo's perspectives go beyond duality though: "I'll keep adding ethnic influences and different ideas, like my links with the world of Brazilian music, I just can't help it, or like my links with music from the Maghreb, I can't help that either. There are people there I love, who mean a lot to me and whose music is profoundly important, though maybe not as much as flamenco or jazz... And let's not forget my love of Bach."

And within flamenco circles, have you ever been asked where you sprang from? "And where I was born, and whose son I was... at the outset, since I was a little unusual and the surname Pardo doesn't come up very often in the world of flamenco, they associated me with a clan of guitarists - the Pardo family, from Madrid, who are excellent artists. 'Are you something to do with los Pardo?' they'd ask". But this probing has never made him feel uncomfortable. "Inside the world of flamenco, bearing in mind that it's a little dog-eat-dog like the rest of the world, the people are amazing. They're people with a great sense of humor and, believe it or not, there's a great feeling of solidarity among them, within that family they share a very simple and very human set of values. I'm the oddball, but that's something I say myself, a personal reflection, it's not that anyone's ever made any comment to me... even though you might feel it sometimes."

Maybe any rejection is more likely to come from neighbors... "Well I guess that for a lot of those people, who live in their own little world, you don't even cross their mind, not even while they're dreaming... unless they're having a nightmare perhaps." But Jorge Pardo shows no bitterness towards anyone in this respect "In my opinion those people are also doing their thing, and their mission, while it doesn't interest me, is a positive one: they're keeping a flame burning, keeping an art form alive, the way they know best." And he adds that "the beautiful thing about art is that everyone says what they think and that's it. Further analysis starts to get a little silly... everyone should say what they feel and what they think. And if one person says, 'well I don't like that guy', then that's fine too, so long as it's said with due respect."

"Orges & The Ockus-Rockus Band" has a goal!

2010-05-28T23:32:00.000-07:00

We want to fresh up the Balkans’ Beat, mixing it with a great deal of Rock & Roll and Gipsy spices. That is our answer to the question regarding the origins of the Balkans. As known: The gate to the Balkans is Vienna. Geographically! But where does it end? May be some where in Tennessee? That’s what you will think, listening to "Orges & The Ockus-Rockus Band" 々 surrounding the exceptional guitarist and songwriter Orges Toce. And some how the Balkans always enjoyed black leather suits and the rock & roll look. Now the scenery is completed, whereas the great "Boban Markovic" invites "Elvis the Pelvis" to join him in an Albanian cafe… and J. J. Cale can’t fight shaking to the 7/8 Beat. So if you might start looking for a name for all this, just call it "Orges & The Ockus-Rockus Band"!!!

Te japim kontributin tone...

2010-05-23T15:36:00.000-07:00

Paqja ne bote eshte akoma nje utopi e madhe, por shpresa per nje te ardhme me te mire mund ta gjejme ne gjeneratat e reja dhe ne muziken qe nuk ka barriera, kalon dhe mbi diferencat raciale e kulturore.

Ambasadoret e Jazz-it

2010-05-23T13:55:00.000-07:00

Arti dhe kultura mund të jenë shpesh instrumente eficiente të diplomacisë globale. Ato mund të kapërcejnë mosmarrëveshjet politike dhe ekonomike, duke fituar zemrat dhe mendjet e popujve në mbarë botën. Një nga përpjekjet më të suksesshme të diplomacisë publike amerikane të fundit të shekullit të 20-të ishte programi "Jazz Ambassadors", “Ambasadorët e xhazit” dhe kjo muzikë mbetet edhe sot pjesë e rëndësishme e influencës kulturore amerikane. Një ekspozitë e re në Uashington shpreh pikërisht këtë arritje të diplomacisë muzikore të Shteteve të Bashkuara.

Gjatë Luftës së Ftohtë, xhazi ishte një instrument i fuqishëm i diplomacisë kulturore amerikane. Ai trasformoi marrëdhëniet mes superfuqive dhe ndihmoi t’i jepte formë imazhit të demokracisë në botë, veçanërisht për ata që jetonin nën komunizmin sovjetik dhe të Evropës Lindore. Në kuadrin e një programi të financuar nga qeveria amerikane, nëpër botë u dërguan “ambasadorët e xhazit”, mes tyre muzikantë të tillë të mirënjohur si Louis Armstrong, Dizzy Gillespie, Benny Goodman, Duke Ellington dhe Dave Brubeck. Nga vitet 50të deri në vitit 70të, ata bënë turne në 35 vende të ish Bashkimit Sovjetik, Evropës Lindore, Lindjes së Mesme, Afrikës dhe Azisë. Muzika e tyre ndikoi ndjeshëm në përshtypjen e popujve për Shtetet e Bashkuara, duke nxitur një pikëpamje pozitive për Amerikën dhe duke ulur tensionet e Luftës së Ftohtë.

"Askush nuk dilte jashtë atëhere, veçanërisht po të kemi parasysh njerëzit e zakonshëm. Kush mund të shkonte në vitin 1956 në Birmani apo Tajlandë? As që mund të mendohej. Ato ishin vetëm udhëtime imagjinare për shumicën e vendeve. Kështu ambasadorët e xhazit ishte mjaft të famshëm dhe mbaheshin si diplomatët e muzikës amerikane. Trashëgimia që ata lanë pas është ende me influencë”.

Curtis Sandberg është zv/president i arteve në Qendrën Ndërkombëtare Meridian dhe kurator i ekspozitës "Jam Session", një term i muzikantëve për interpretimet e çastit. Ekspozita e sponsorizuar nga Departamenti amerikan i Shtetit, do të hapet në vende të ndryshme të botës në tri vitet e ardhshme. Ajo përmban 100 fotografi nga veprimtaria 22 vjeçare e programit të “ambasadorëve të xhazit”.

"Këta njerëz ishin të mrekullueshëm. Ata u rrezistuan rreziqeve dhe sëmundjeve. Ato ishin turne të vështira. Ata liheshin shpesh jashtë deri në tri maj, në kushte mjaft të rënda. Ata ishin heronj”.

Trashëgimia e Ambasadorëve të parë të Xhazit ende jeton sot nëpërmjet programit të Departamentit të Shtetit "Rhythm Road", që përmban forma të ndryshme të muzikës, nga xhazi dhe bluz tek kejxhën dhe hip-hop. Misioni i tij është të ndajë me botën kontributin e veçantë të Amerikës në muzikë dhe nxisë mirëkuptimin ndërkulturore. Maura Pally, ndihmës sekretare e Shtetit për Arsimin dhe Çështjet Kulturore, thotë se diplomacia kulturore është edhe sot tejet e rëndësishme në botë.

"Diplomacia kulturore na ofron një mënyrë të veçantë për t’u lidhur me popujt, me të cilët nuk do të lidheshim në forma të tjera. Arti dhe muzika i kapërcejnë ndarjet fetare, politike dhe gjuhësore në një mënyrë që asgjë tjetër nuk mund ta bëjë”.

Ndërsa muzika mbetet pjesë e rëndësishme e diplomacisë publike amerikane, një brez më ri muzikantësh të xhazit po vinë në skenë. 9-vjeçari Geoffrey Gallante filloi të jepte shfaqje kur ishte 5 vjeç. Ai ka luajtur në orkestrën Duke Ellington dhe është instrumentisti më i ri xhazit që ka dhënë shfaqje në Qendrën Kenndy dhe në Shtëpinë e Bardhë.

"Unë kam patur rastin të luaj me vetë pianistin e presidentit. Unë nuk kam lujatur për presidentin Bush, sepse më duket se ai ishte në Irak. Është një stil i bukur muzike dhe dua të vazhdoj ta luaj atë”.
Ky brez i ri artistësh të xhazit do të vazhdojë të mbajë pishtarin e mirëkuptimit nëpër botë që i kanë lënë “ambasadorët e xhazit”.

Workshops

2009-05-30T10:00:00.000-07:00

One of the things happening at the Shkodra Jazz are the workshops with the music students of the local high school of arts. The lessons take place at a class on the second floor of this Preke Jakova High School, which tends to be jam-packed with teenagers and a handful of their teachers, listening to explanations of the new musical genres by artists attending the festival.

I heard, for example, that Brazilian pianist Roberto Hasbun had explained the slow and low volume bossa nova with the fact that it was developed in poor areas packed with houses with very thin walls. Any time musicians wanted to get loud, the neighbors would complain. Hence, the bossa nova.

I attended the one held yesterday by Javier Galiana and Spice Barberechos, a band that played later in the evening at Shkodra’s main concert hall, the Migjeni Theater. This was the typical classroom filled in with hormone high teenagers. Professors would sit in front of the musicians. The second and third row of chairs were filled in with students who seemed to be interested in what went around, while the last two rows were with mostly boys interesting in making some noise.

Galiana, who explained the flamenco rhythm, and how he fuses flamenco into jazz, also induced the children to do the las palmas, the constant clapping that is used to maintain the beat during flamenco singing. Even the singing, of Carlos Denias Moreno, provoked some laughter in the back row – this is an atypical way of singing in this part of the world – but the two tunes that the band played were good and caught the attention of the teenagers.

There was some hilarity. While Galiana, who is a pianist and composer, was trying to explain one specific rhythm and how it was fused with blues, one professor of the school, of the name Rafael Shabani, jumped up from where he was sitting on the first row, and turned to students, as if he wanted to explain to them what the Spanish musician was saying. But he was off the mark, he was saying something like “Music is constant processing and refining of material,” and he was jittery. I thought he was trying to make an impression. Some students on the back said, Bravo, just for fun. It looked a bit like the unsexy part of the Italian sexy comedies of the 70s.

Correction, Dimitroula Mou Iassou, is indeed titled Dimitroula Mou, and sang by Haris Alexiou.

Dimitroula Mou Iassou

2009-05-28T12:55:00.000-07:00

A bis at tonight’s concert at Piazza by Nico di Batista and Sokol Prekalori was a tune that Albanians of a certain age are very familiar with. It is a Greek folk song, Dimitroula Mou Iassou.

The history of it is that sometime in the early 80s, several Greek bands had come to Albania. Until then, communist Albania and Greece were in a state of war. Some of it was a legal leftover from the second World War, when Albania, part of Fascist Italy, legally attacked Greece during the Italian Greek war of 1940. But what had aggravated the relations between the two was that during the civil war between Communist and monarchist forces of Greece in 1949, Albania sided with the Greek communists and it also gave them shelter in the country.

Thirty years later, there was a rapprochement, hence those few Greek bands coming to Albania. One of them sang Dimitroula Mou Iassou (Dimitroula, approach me), and this became popular with the Albanians back then.

Sokol Prekalori was familiar with the tune, and Nico di Batista played accompaniment, to continuous applauses.

Tonight’s concert amassed most followers at the Piazza, where about fifty people huddled sitting while the seats at the bars were filled. “The festival has invigorated the Piazza,” says Mentor Bushati, a bartender. “In a normal evening, this street stands mostly empty.” Indeed, it was full of people, and not only the hundreds of strollers who do the evening walk in, walk out routine.

The repertoire was rich, Piazzolla, Al di Meola, the Balkans tune of Dimitroula, and other tunes that continued for about 80 minutes.

We got lucky, the rain, which started at 5.30 pm, had abated fifteen minutes later, and stopped at about 6. The concert started late, at about 7.15, but it went on well, and luckily, there was no rain.

Summer storm

2009-05-28T08:43:00.000-07:00

It seems a summer storm has set in just in time for the afternoon concert.

Duket stuhi

2009-05-28T08:42:00.003-07:00

Duket se sa ka filluar stuhia.

Late evening concert

2009-05-28T08:41:00.001-07:00

At 10 p.m., at the Millennium cinema of the city, pianist Daniele Tione and trumpet player Alberto Mandarini will have the late evening concert.

Koncerti i nates, tek kinema Millennium

2009-05-28T08:40:00.002-07:00

Ne darke, tek kafeneja e Kinemase Millennium, pianisti Daniele Tione dhe trombetisti Alberto Mandarini, ne ora 10.

Kitare e pare dhe akompanjiment ne te njejten kohe

2009-05-28T08:40:00.001-07:00

Kitaristi Niko di Batista, i cili luajti mbreme tek Piazza Park prane Kafes se Madhe, dhe do luaje dhe sot pasdite ne Pjace, ka nje kitare elektrike te bere vete me nje regjistrues te brendshem, gje qe e ndihmon te perballoje shume role gjate koncertit.

Per shembull, ai luan nje akord akompanjimenti per nje pjese, te cilen e regjistron kitara, dhe ia ushqen amplifikatorit ndersa Batista me pas merret me pjesen e kitares se pare ne te njejten muzike.

Di Battista eshte aktiv ne skenen muzikore te Italise se veriut, por gjithashtu luan muzike kur, te themi, kengetari gospel nga Los Anxhelesi Solomon Burke (autori i Everybody needs somebody) vjen te luaje ne Evrope.

Florian Jakaj, organizatori i festivalit Shkodra jazz dhe mik i tij, thote se Di Battista duket te jete i pari njeri te kete bere nje shpikje te tille per kitaren. Te tere e imituan me pas kete teknike.

Di Battista dhe violinisti shkodran me banim ne Venecia Sokol Prekalori do luajne pjese te repertorit te Dream Trio, perfshire dhe nje version me violine te Libertangos se Astor Piacoles.

First guitar and accompaniment at the same time

2009-05-28T08:39:00.000-07:00

Guitar Player Nico Di Battista, who performed last night at Piazza Park bar, and will be also putting a show in late afternoon at Shkodra’s Piazza street, has a self-made guitar equipped with an in-built recorder to enable him to have multiple roles while playing.

He would, say, play the accompaniment accord when starting playing a tune, which the guitar records, and it feeds it to the boom box itself afterwards, while di Battista engages in playing first guitar.

Di Battista is active in northern Italian scene, but he would also play music when, say, LA-based gospel singer Solomon Burke (of the “Everybody needs somebody” fame) comes to Europe, and hires European musicians to play for him.

Di Battista seems to be the first to have invented such a guitar, says Florian Jakaj, who is organizing Shkodra Jazz Fest, and is friends with him. Others have imitated such a technique afterwards.

Di Battista, and Venice-based violinist Sokol Prekalori will play at Piazza the tunes of the Dream Trio, including a violin version of Piazzolla’s Libertango.

Drummer and Painter/Baterist dhe bojaxhi

2009-05-28T08:35:00.000-07:00

Gigi Biolcati, a drummer who has been to Shkodra Jazz fests every year, is a painter three weeks of a month, while the fourth, goes to play jazz all over Europe.

“Germans are the best listeners of jazz,” says Biolcati, he says about the latter aspect. Of the first, he says he had learned painting buildings from his father, and enjoys it.

When he is asked what kind of music does he play, he says he plays jazz, and the others retort, “You play cold jazz, or hot jazz?”

Cold jazz can, apparently be the intellectualized jazz made from the last quarter of last century to this one, while the ‘hot jazz’ carries the familiar rhythms of be-bop and the standards, one can guess.

Gigi Biolcati, nje perkusionist qe ka qene ne Shkodra Jazz cdo vit, eshte bojaxhi tre jave te muajit, dhe javen e katert shkon per te luajtur ne te gjitha skenat e Evropes.

“Gjermanet jane publiku me i mire,” thote. Ndersa zanatin e bojaxhiut e ka mesuar nga i ati, dhe i pelqen.

Kur e pyesin c’muzike luan, thote se luan xhaz, dhe pastaj i thone, “xhaz te ftohte, apo te nxehte?”

Ne fakt xhaz i ftohte mund te quhet ai qe u luajt cerekun e dyte te shekullit te njezete e deri tani, me intelektual dhe i ndikuar nga kompozicioni kontemporan, ndersa mund te mendohet qe ‘hot jazz’ duhet te kete ritmet familiare te be-bopit, dhe te standarteve jazz.

The main street in Shkodra is bustling

2009-05-27T09:31:00.000-07:00

Apparently, there will be two shows this late afternoon here, the concert of Hasbun and Papa, and, on the other corner of the Kole Idromeno Street, there will be a folk festival with music from Albania and Kosovo.

Tonight, at 10.30, the Dream Trio, where Rrok Jakaj, the originator of the festival, used to play, is performing at Piazza Park, the outdoor cafe across the street from Kafja e Madhe, the Grand Cafe.

Dy shfaqje sot, njera pas tjetres, ne rrugen Kole Idromeno, i pari eshte koncerti i Hasbunit dhe Papa-s, dhe pas tij nje festival folklorik me muzikante nga Shqiperia dhe Kosova.

Sonte, ne ora 10.30, Dream Trio, grupi tek i cili luajti personi qe dha idene e festivalit, Rrok Jakaj, do luaje ne kafenene Piazza Park.

Mayoral support?

2009-05-27T09:26:00.005-07:00

The staff met the mayor of Shkoder today, and he thanked the team for putting up the activity. He also pledged increased support for next year. Crossing fingers!

Mayoral support?

2009-05-27T09:26:00.001-07:00

Papa and Hasbun performance

2009-05-27T09:20:00.000-07:00

Roberto Hasbun and Simon Papa took an audience of about 50 for a trip into the Brazilian experience in their concert at the Idromeno restaurant near the center of Shkoder last night, with about a dozen songs that covered from the experience of the military dictatorship in that country in the 70s, to the seduction of beautiful women and leftovers from those, to the religious, Catholic element, and, of course, football.

This was a good intro into the repertoire the duo will sing at the Kole Idromeno Street tonight at seven.

Hasbun, a guitar player who sings as well as plays the occasional drum, and Papa, a vocalist who has her own drums, kicked off with tunes from Papa’s recent album.

Both are active in northern Italy but also in a wider western European scene.

For two tunes towards the end of the program, they invited first Gigi Bioncati, and then Sokol Prekalori, a local violinist into what then turned to be more of a jamming. One song was called Terra, and involved reflections on the continuity of the earth. Bioncati can maintain rhythm of music on anything, give him a concrete slab and he can beat it to African drum rhythm. Prekalori as well, had his own soft violin tunes sneak in, and for those four playing for the first time with each other, the performance was quite enjoyable, though the violin and guitar interplay lost its way for some moments.

Not much comprehension or empathy went along with the audience, despite the good vocals and music. This was due to language barriers, and the fact that Albanians can be beaten only by uninterested Americans as far as their understanding of Latin America. But when the duo began the two last songs of the regular program, a religious tune, Ole Maria, or Maria, Watch, and the other on a football match between Brazil and Uruguay which Brazil won in the last minute, they clicked on the name of the composer. He was a composer from Southeast Brasil whose name was Lenini, and that rang a bell for the Albanians, who lived under a Communist dictatorship until eighteen years ago.

Among the audience, there were some who chatted, some local entrepreneurs with the odd Italian entrepreneur thrown in, but also some young local musicians who have followed the festival from day one, and from what I hear, from day one.

That table of entrepreneurs was very convivial, applauses laud and fast after a soft tune, but quieter after the final rush with more rhythmic music. When the musicians asked for some quiet to experience a soft love song, Luisa, they happily clinked and clanked their glasses and spoons on places with each other. Anyway, this does not have to be a piece on class warfare.

The local musicians sitting on the other table seemed to suck every tune in, and when the bis was done, they asked for a tris.

Hasbrun, who had performed with Gigi earlier that afternoon as well, cut it politely short: “For that,” he said, “we have to ask the trade union for permission.” The midnight had already passed.

Blogu i festivalit filloi

2009-05-27T02:21:00.000-07:00

Me ne fund filluam blogun e festivalit. Na u deshen disa dite, derisa u familiarizuam me logjistiken e qytetit (Internet wireless, kryesisht).

Na vizitoni kete jave per te rejat.

Setting up the blog on the festival

2009-05-27T02:17:00.001-07:00

It took us a while to build a blog on the event, mostly trying to figure out the logistics here. We managed to get areas with wireless internet in the town, after all. These first postings are made at this bar Fontana, just at the beginning of the newly restored pedestrian street where we had two of the concerts and are expecting to have some more.

Check for updates.

2009-05-27T02:11:00.000-07:00

Shkodra Jazz festival 5-th Edition

25/05
18.30 – RRUGA MUZE KOL IDROMENO SHKODRA SOUDS CORNER RAIFFEISEN BANK, SPECIAL GUEST
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26/05
10.30 – SHKOLLA E MUZIKES PROHELVETIA MASTERCLASS
18.30 – RRUGA MUZE KOL IDROMENO SHKODRA SOUDS CORNER RAIFFEISEN BANK, SPECIAL GUEST
22.00 - LOKALET PARTNER JAZZ TIME ROBERTO TAUFIC HASBUN & SIMON PAPA IDROMENO
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27/05
10.30 – SHKOLLA E MUZIKES PROHELVETIA MASTERCLASS
18.00 – RRUGA MUZE KOL IDROMENO SHKODRA SOUDS CORNER RAIFFEISEN BANK, SPECIAL GUEST
22.30 - LOKALET PARTNER JAZZ TIME THE DREAM TRIO PIAZZA PARK
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28/05
10.30 – SHKOLLA E MUZIKES PROHELVETIA MASTERCLASS
18.00 – RRUGA MUZE KOL IDROMENO SHKODRA SOUDS CORNER RAIFFEISEN BANK, SPECIAL GUEST
22.30 - LOKALET PARTNER JAZZ TIME JAM SESSION MILLENNIUM
__________________________________________________

29/05
10.30 – SHKOLLA E MUZIKES PROHELVETIA MASTERCLASS
18.00 – RRUGA MUZE KOL IDROMENO SHKODRA SOUDS CORNER RAIFFEISEN BANK, SPECIAL GUEST
20.00 - TEATRI MIGJENI JAVIER GALIANA & SPICE BERBERECHOS
22.30 - LOKALET PARTNER JAZZ TIME JAM SESSION CHICAGO
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30/05
10.30 – SHKOLLA E MUZIKES PROHELVETIA MASTERCLASS
18.00 – RRUGA MUZE KOL IDROMENO SHKODRA SOUDS CORNER RAIFFEISEN BANK, SPECIAL GUEST
20.00 - TEATRI MIGJENIROBERTO BISHA ALBERTO MANDARINI QUARTET SPECIAL GUEST DIEGO BOROTTI
22.30 - LOKALET PARTNER JAZZ TIME JAM SESSION TRADITA