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Música Imaginaria – Baldo Martínez Sextet (Karonte, 2024)

Música Imaginaria – Baldo Martínez Sextet (Karonte, 2024)

BALDO MARTÍNEZ SEXTET

Música Imaginaria (Karonte, 2024)

21

Octubre, 2024

Baldo Martínez Sextet. Música Imaginaria (Karonte, 2024). Baldo Martínez, contrabajo. Lucía Martínez, batería. Juan Sáiz, flauta, saxofón. Andrés Coll, vibráfono. Joao Barradas, acordeón. Julián Sánchez, tromepta.

 

Texto: Ricky Lavado

Fotos: Juan Fran Ese, Elvira Megías, Erre de Hierro, Antonio Torres

 

 

 

 

 

Dicen de Baldo Martínez que “en su contrabajo habitan todas las escuelas”, y por muy desorbitada que parezca la frase, resulta bastante más ajustada a la realidad de lo que parece. La entrega más reciente del incombustible compositor ferrolano nos llega de la mano de Karonte Records y lleva por título Música imaginaria. Se trata de un disco concebido al amparo del Festival de Jazz de Vitoria, creado gracias a una residencia artística auspiciada por el festival, y muestra del envidiable estado de gracia creativa en el que se encuentra el contrabajista, por un lado, y del importantísimo papel que los festivales juegan cuando no se limitan a programar conciertos, sino también a ofrecer infraestructuras para generar sinergias colaborativas entre artistas. En este caso, la sinergia que da forma a Música imaginaria representa un viaje casi perfecto por la geografía ibérica: a los gallegos Baldo Martínez y Lucía Martínez (batería) se unen el saxofonista y flautista cántabro Juan Sáiz, el vibrafonista ibicenco Andrés Coll, el acordeonista portugués Joâo Barradas y el trompetista granadino Julián Sánchez.

Cualquier persona familiarizada con la discografía de Baldo Martínez sabe que siempre es interesante y enriquecedor asomarse a cada nuevo capítulo de una carrera caracterizada por la excelencia (sí, así de bueno es), y en este caso la formación de sexteto elegida por el gallego viene a ser un all stars de la escena del jazz contemporáneo europeo actual. Viendo a los responsables de Música imaginaria, uno ya da por hecho que el material va a ser de calidad, pero en esta ocasión no se trata simplemente de un muy buen disco hecho por grandes músicos: este álbum es una de las obras más completas e indiscutibles que han surgido en este país en muchos, muchos años.

El sexteto excepcional comandado por Baldo Martínez nos ofrece una hora de música maravillosa, repleta de desarrollos sorprendentes y emocionantes, en forma de composiciones que vuelan libres y se van desplegando hacia caminos de una belleza arrebatadora. Todo es elegante aquí, todo suena emocional y cuidado hasta el extremo, todo encaja de una manera extraña y casi mágica en un collage improbable de jazz contemporáneo, improvisación libre y sonoridades deudoras del folklore. Todo es orgánico, natural y armonioso: hay luz en todo momento. Música imaginaria es un trabajo completísimo en el que vibráfonos, acordeones, fiscornios, marimbas y flautas se entrelazan de forma festiva, bella e imaginativa en torno a elementos más convencionales de la tradición del jazz como el saxo, la batería, la trompeta o el contrabajo para crear una obra fascinante, original, adictiva desde la primera nota y totalmente escurridiza a la hora de buscar etiquetas para intentar definirla.

Cada momento de este disco es un derroche de talento y creatividad que quita el hipo: el pulso juguetón y saltarín de “A través del muro”, en el que la banda se muestra exuberante en arreglos y explosividad tímbrica, o la solemnidad y dramatismo de “Gaia” (uno de los momentos en los que Baldo Martínez, generoso en todo momento a lo largo del disco, se pone al frente y nos regala una clase magistral de expresividad y emoción convirtiendo su contrabajo en un quejido misterioso antes de que la flauta de Juan Saiz haga despegar la pieza hacia la estratosfera); el ambiente mágico y soñador de las marimbas y vibráfonos de Andrés Coll en “Ruliña y su mundo”, con el acordeón de Joâo Barradas entregado al intimismo y a la melancolía; la belleza casi desarmante de “Luz de marzo” y sus fraseos de saxo desbordantes de clasicismo y elegancia; la abstracción desestructurada que poco a poco deriva en groove de “Todos fuera”; el misterio ambiental y brumoso de “Live in Oviedo” como cierre de disco, con la voz de Lucía Martínez resonando de fondo como lamento ancestral… El nivel creativo e interpretativo es altísimo en todo momento en este disco, y aunque no hay eslabones débiles en este sexteto (es apabullante lo bien que suenan estas seis personalidades), es de justicia destacar el trabajo de Lucía Martinez a la batería: el despliegue de recursos, versatilidad, clase e inventiva de Díaz en este álbum es de otro planeta. La brillantez y compenetración rítmica entre la batería y el contrabajo es fascinante a lo largo de Música imaginaria, ofreciendo a cada composición unos cimientos con una solidez, seguridad e inventiva que quitan el aliento y se convierten en colchones perfectos sobre los que el resto de elementos vuelan libres hasta alcanzar cotas de calidad realmente altas.

Escuchen este disco con atención, y cuando termine, escúchenlo una y otra vez; cada vez que se acerquen a él van a descubrir nuevos recodos de genialidad, talento y luz. Música que ensancha el alma.

 

 

Texto: Ricky Lavado

Octubre 21, 2024

Theo Crocker Interview – Summum Concert Series

Theo Crocker Interview – Summum Concert Series

THEO CROCKER INTERVIEW

Summum Concert Series

20

Octubre, 2024

By: José Cabello Llano

Photos: Summum Concert Series

*Listen to the podcast below

*Scroll down to read the text of the interview

In collaboration with Summum Concert Series, we had the privilege of having a brief chat with the renowned Theo Crocker.

In a brief conversation, we touch on interesting topics: Crocker’s upcoming European tour and his gig in Madrid, the members of his band, the purpose of his music, his instrument, and the music that has been influencing him lately.

 

 

 

In&OutJazz: Hey there, Theo. It’s a pleasure to host you as a very precious and special guest in In&OutJazz Magazine. We’re an independent journal that covers all types of music, but draws its focus from the avant-garde, contemporary, free and fresh music that is going on in this era. We’ve got up to 15 collaborators all over the world working to give a shout-out to all the artists out there that are pushing the edge in the musical and artistic scene, from which the name Theo Croker stands out significantly. We’re also supported by Europe Jazz Media, and we’re truly honored to have been invited to this Summum concert series. We’re going to head straight to this brief and short interview, for which I’m very excited. And yeah, tell us, how are you and if you’re looking forward to coming to Madrid again under the exciting program by Summum?

Theo Croker: Yes, so I’m doing very well. I’m very happy to be interviewed on this platform. I’m very much looking at coming to Madrid again. It’s actually one of my favorite cities in Spain, both because of the food, the people, but mostly the food.

Hahaha.

And yeah, I’m looking forward to it.

That sounds amazing. Right now, I’m afraid you’re in Berlin, right? Or you’re in Germany?

No, right now I’m in Montreux.

Oh, okay. Cool. And you’re coming to Germany at some point, right?

Yes, I am.

That’s awesome, man. I hope it goes great as always, for sure.

Thank you.

Tell us a little bit about the musicians with whom you’re sharing this experience with. What do you appreciate from them as a band? And what are the aspects that you admire most from each one of them? Tell us a little bit about the band that you put together, man.

Oh, great. So for this show in Madrid, I have, I’ll start with, I have two young gentlemen in my band. A drummer who’s 23, his name is Miguel Russell. He’s very young and he’s very good. He’s a wonderful drummer. He has a great sense of musicality, which is rare in drummers. He doesn’t just pound away. And he’s technically amazing for his age. I have a young pianist named Idris Frederick who has a very unique sense of music. He has a great sense of harmony and he’s very good at like cultivating kind of soundscapes with some of the keyboards and things in addition to playing piano. So it’s quite interesting. And then my longtime bassist of over 10 years, Mr. Eric Wheeler, who is one of the most, I mean, he’s like me on bass in the industry. He’s one of the most working bass players out there and he has a very strong sound. So, he’s really capable of, you know, keeping up when it comes to playing grooves and stuff like that. He keeps up with electric bass players, even though he’s playing an acoustic instrument. So, he has a beautiful sound.

That sounds amazing, man. That sounds amazing. I’m afraid you’re also collaborating with Jean Marcel and Marie, right? In other concerts, right? What do you think about them? Because I’m also aware of their young age too, right?

Yeah. I mean, I think they’re great. I mean, it’s really impressive. Yeah.

What do you appreciate most from them? Because I remember seeing you guys last year here in Madrid and my mind was blown by the drummer, right? And yeah, it just told me a little bit about them too.

Well, at that time last year, the drummer was new in the band. He had just, that was some of his first shows with us, actually. So now he’s a little more settled in, he’s done a few tours with me. And I just, I really like his musicality, you know? Like he, you know, he has his own sound and he knows all the music now. And we’ve brought out some new music from a new album that’s coming out next year.

Great!

So, it’s a little bit more, it’s just more exciting and more tight.

That’s awesome, man. What do you care for most when you’re playing live? What’s the purpose behind your music, if there is any?

Yes. I think when I’m playing live, I’m most interested in captivating the audience and giving them an experience that they can really participate in in the moment. You know, having them feel involved and, you know, having their energy inspire what we actually do in the moment. So, it’s different every night.

That’s beautiful. And is there any purpose behind this relationship you want to build with the audience? Any purpose, you know, any self-purpose, any, I don’t know, any religious motivation or anything like that?

Well, music is my religion. So, I feel like the purpose, my, you know, the reason why I’m self-motivated to do it is because I believe that music is to inspire and heal people. And in a world that we live in now and days like today, it’s very important to bring people inspiration and bring people healing through these types of vibrations.

Totally, totally, totally agree, man. That sounds totally fair.

Hahahaha.

Last two questions. I’m curious to know why at a certain point in your career did you choose the Monette trumpet?

Oh, because they’re the best trumpets you could possibly play. I’ve played all kinds of trumpets.

I was expecting that answer for sure.

You know, more importantly, I met Dave Monette during the pandemic because I was, my body, I was no longer able to play very long. I would play for a few minutes and then I would have sharp pains in my back and in my neck. And I went to feed Dave because he does a lot of craniosacral alignment, CST work. So, I didn’t actually go to him for a trumpet. But what I learned when he realigned my body was that the problems I was having were due to the normal issues of a conventional trumpet. And I discovered, I then learned that it’s been his life’s work to build trumpets that don’t injure your body. You know, over long periods of time. And it was interesting because when I got there, I couldn’t really play any of his horns. And I thought it was because they weren’t good horns. But after I got out of the sessions with him, after…, I think I did two or three days of sessions for the craniosacral work, I could play any horn on his table, any mouthpiece on his table. Like it didn’t matter. My body was aligned and the horn felt natural. So, he insisted that I don’t leave without a horn. And within actually, they built me a horn in a few days, actually, in five days. And five days later, I came back and picked it up and I haven’t turned it back since.

Man, so interesting. That’s impressive. That’s impressive.

Yeah, they’re amazing. I mean, they’re really in tune. They’re, you know, the sound, you know, they’re all individually built. So, they’re all different. But they’re just incredibly in tune. They’re fun to play. Like they really are fun to play because you just want to keep going and you want to keep exploring.

That’s it, that’s an important point.

Yeah, and they’re expensive, but, you know, you get what you pay for.

Yeah, no, no, totally.

With everything, you know.

I knew the answer. But, I mean, I appreciate everything you just said because it makes more personal, too, to get to know you better.

Absolutely.

That’s amazing. Last question, man. Very, very, very easy question. I’m very curious about it. What music are you listening to these days?

Oh, man. To be honest with you, right now, I am listening…, I was waiting for this question. I have been listening to Luther Vandross a lot. I have been listening to Luther Vandross, all of his albums. I’ve been listening to Slum Village a lot. I’ve been listening to Anita Baker. I’ve been listening to Tame Impala. And that’s about it. I’ve just been going in and out of those, you know, those artists right now, recently.

Man, that’s amazing. I like it. I like it. This is something I really, it always impresses me, man. When I ask artists about it, it’s always impressive. You would expect anything but when, yeah, when you just said all of these artists, it makes me feel in a picture of, I don’t know, Theo’s world right now, right?

Yeah.

It’s really interesting, man. Really interesting. Keep going with it.

Also, LL Cool J. He released a new album, and it’s really good hahaha.

That’s always great, yeah. That was all, man. Like, thank you a lot for tuning in. This was Theo Crocker talking about loads of interesting stuff. You’ll be able to listen to him and his band live at the Teatro San Pol in Madrid on Thursday, 31st of October. Pull up, y’all. It’s going to be great, for sure. And thank you again, Theo. And thanks to Summum Concert Series for the opportunity, man.

Yes, thank you!

It’s been a real pleasure. Yes, thank you. It’d be nice if you can turn on the camera so I can see you, man. I can wave to you and, I don’t know, see you.

See if I can get this to work.

Once more. But, oh, there you are, man. Such a great guy.

Hahahaha. ´

Well, I hope everything goes amazing these days.

Thank you.

And, I’ll see you on the 31st of October, man. It’s been awesome.

Awesome, thanks a lot. Take care, I appreciate it.

Bye, man.

Bye.

Octubre 20, 2024

Futuro Ancestrale – Giuseppe Doronzo | Andy Moor | Frank Rosaly

Futuro Ancestrale – Giuseppe Doronzo | Andy Moor | Frank Rosaly

Giuseppe Doronzo | Andy Moor | Frank Rosaly

Futuro Ancestrale (Clean Feed, 2024)

08

Octubre, 2024

Futuro Ancestrale. Clean Feed, 2024. Giuseppe Doronzo (baritone saxophone, Iranian bagpipes) | Andy Moor. (electric guitar) | Frank Rosaly (drums, percussion)

By Ricardo Vicente Paredes

Photos: Eric Van Nieuwland

In a title full of intention, the reed player Giuseppe Doronzo (baritone saxophone, Iranian bagpipes) together with Andy Moor (electric guitar) and Frank Rosaly (drums, percussion) present a diaphanous arc to reflect through their music, in the present, a future made of ancestors. A record composed of four guiding lines of thought – made up of themes from previous and current compositions. The album is a recording of the concert at the BIMHUIS hall in Amsterdam in June 2022, in the space of the complex dedicated to free jazz and improvised music.

This trio defies ready-made conventions and plunges us into primordial sound elements, whether through the use of Rosaly’s minimalist percussion, which draws subtle spectra from the cymbals, or through the use of distant voices coming from muezzins in imaginary minarets, or through the inebriated registers of the Iranian double-voiced bagpipe – the ney-anbān – operated by Doronzo. These concrete elements put into practice by Doronzo, Moor and Rosaly bring an ancestry that becomes organic and functional when intertwined with the other instruments, such as the baritone saxophone, the electric guitar and the snare drum and related percussion elements.

With ‘Neptuno’ the matrix of the discourse is inscribed, a brief entrance in which an idea of distant time is imposed, largely due to the sparse and torn timbres of the percussion brass and a languid tubular voice of breath coming from afar. In addition to the distant time orientation, they dare to play on the floor, organised by Doronzo’s previous writing in ‘Hopscotch’. An exploration between stimulus and response, coming from the release of the marker, either by the baritone or by the guitar, in a permanent rhythmic stimulus by Rosaly’s drumsticks. In a framework defined by the trio’s entertainment, it’s clear that they enjoy a broad, playful gift for understanding. A theme in which the electric strings of Moor’s guitar explore possibilities that a Derek Bailey once inscribed in the panorama of free music atonality. In another constructive revelation in real time between the three, there is the notion of sudden time, very much due to an exuberant sound manifestation. The rise of material as if it were lava through the sound of strings and drums. This is evident in ‘Magma’, where the expression of Rosaly’s dry, bubbling snare drum illustrates the matter that expels air before becoming rock. This emanation is heard in a wondrous bagpipe that leaves us in a state of sonic enchantment. The temporal idea explored so far is projected diachronically in ‘Digging the Sand’, with which they make a deep cyclical excavation of the bordered strings, a passage into the future, supported by a journey whose lulling by the sound of the muezzin’s call from on high transports this summoned ancestry. The ritualised tempo of the march is the warm, whistling phrasing that leads along an endless path that opens up to a final non-closure of the narrative, towards the future.

Since the future is only an imaginary construction, lived in the present, it is essential that it can be wished for with an idea of salvation. In this sense, and still in this time, this recording by Doronzo, Moor and Rosaly is linked to the philosophical reflections collected by the Indigenous thinker Krenak in ‘Ancestral Future’. This is the future we can start to live now, in a dance of wonder and celebration. We will have to listen with hope to the time to come, knowing how to wait for the moment when the ‘Graduate of Witchcraft’ is revealed, as a magical step that the very near future holds in the record.

Texto: Ricardo Vicente Paredes

Octubre 08, 2024

59º Jazzaldia Festival

59º Jazzaldia Festival

59º JAZZALDIA FESTIVAL

04

Octubre, 2024

La 59º edición de Jazzaldia en Donostia trajo consigo un sinnúmero de momentos memorables. La semana del 23 al 28 de julio la capital donostiarra volvió a cumplir con uno de sus mayores objetivos, cuidar la cultura de la música en vivo, atendiendo a un gran espectro de sensibilidades musicales, haciendo el equilibrio adecuado para impulsar el jazz como género de reclamo, alimento de otros paradigmas musicales a los que sobrevuela y que actualmente están en auge, aunque, de una manera u otra, rindiendo pleitesía al ensamblaje artesanal con el que el jazz se erige, género que subyace en la mayoría de las producciones actuales.

Uno de los platos fuertes de esta nueva edición de Jazzaldia fue sin duda los seis proyectos presentados por el carismático Jhon Zorn, que, valiéndose de una residencia ofrecida por el festival pudo traer al escenario a músicos consolidados y reconocidos en nuestras tierras y que son, además, imprescindibles en la composición grupal de Zorn, músico excéntrico donde los haya, pero genial a partes iguales. Su periplo dio inicio el miércoles 26, en el auditorio Kursaal con dos propuestas: Teresa de Ávila y Suite For Piano.

Teresa de Ávila es una obra conceptual de John Zorn inspirada en la vida y las visiones de la santa española. La actuación fue un encuentro trascendental entre la espiritualidad y la música contemporánea, uniendo a dos de los más virtuosos guitarristas del mundo: Julian Lage y Gyan Riley.

El escenario del auditorio, iluminado suavemente por tonos dorados y azules, reflejaba el aura de misticismo que impregna las composiciones de Zorn. Sin embargo, fue la música en sí la que transportó a la audiencia a un plano espiritual superior. Lage y Riley, con una conexión casi telepática, crearon un tejido sonoro tan delicado como intrincado. Las melodías, inicialmente suaves y casi susurradas, fueron creciendo en complejidad y dinamismo, como si los guitarristas estuvieran dando voz a las visiones extáticas de la Santa.

El repertorio, que en esta ocasión incluyó composiciones inspiradas en la inquietante novela A High Wind in Jamaica de Richard Hughes, se caracterizó por su atmósfera enigmática y siniestra. Las guitarras, a veces resonando con acordes plenos y otras con punteos inquietantes, tejieron historias de inocencia perdida y peligro latente.

Suite for Piano fue un viaje introspectivo y complejo, que entrelazó la tradición de la música clásica con las innovaciones del jazz contemporáneo. La pieza, interpretada por un trío excepcional compuesto por Brian Marsella al piano, Jorge Roeder en el bajo y Ches Smith en la batería, dejó constancia nuevamente de la versatilidad compositiva del prolífico saxofonista.

Desde los primeros compases, quedó claro que esta suite no era una simple reinterpretación de estilos pasados, sino una evolución natural de la tradición clásica. Zorn, inspirado en las Variaciones Goldberg de Bach y en la música para piano de Schoenberg, construyó una pieza que respetando el rigor formal de la música clásica la impulsa hacia nuevos territorios de expresión. Brian Marsella, es un pianista conocido por su dinamismo y profundidad, fue el protagonista indiscutible de la noche. Su interpretación fue precisa y apasionada, con una técnica impecable que permitió explorar las capas de complejidad en la composición de Zorn. Marsella, quien posee una formación única que abarca tanto el jazz como la música clásica, logró transmitir la esencia de la obra, equilibrando la claridad melódica con momentos de profunda disonancia y tensión. Jorge Roeder al contrabajo y Ches Smith a la batería complementaron a Marsella con una sinergia impresionante. Roeder, con su toque suave pero seguro, añadió una dimensión armónica y rítmica sosteniendo las intrincadas líneas del piano, mientras que Smith, con su estilo percusivo dinámico, aportó una energía que variaba entre lo sutil y lo explosivo, subrayando los contrastes dramáticos en la música. La obra fue una meditación sobre la estructura y el caos, lo previsible y lo inesperado. Las transiciones entre los movimientos fueron fluidas pero sorprendentes, manteniendo un estado de tensión constante. La habilidad del trío fue testimonio de la visión innovadora de Zorn.

Al día siguiente Zorn siguió su serie de conciertos en el mismo escenario. Esta vez las obras fueron Incerto y Simulacrum. Incerto, es uno de los proyectos más recientes de John Zorn que reunió a Julian Lage a la guitarra, Brian Marsella al piano, Jorge Roeder al bajo y Ches Smith a la batería. Dejaron claro que Incerto no es un proyecto para los débiles de corazón. La música, caracterizada por cambios de compás vertiginosos, melodías atonales y armonías poco convencionales, fue una verdadera prueba de la destreza técnica y la capacidad de improvisación de los músicos. Julian Lage, con su guitarra, creó paisajes sonoros que fluctuaban entre la delicadeza y la abrasividad, mientras que Brian Marsella aportó su singular visión del piano, mezclando líneas melódicas complejas con momentos de improvisación. Jorge Roeder y Ches Smith proporcionaron una base rítmica que oscilaba entre lo frenético y lo introspectivo, permitiendo que Lage y Marsella exploraran las composiciones de Zorn con total libertad. La química entre los cuatro era palpable, cada uno alimentando la energía del otro en una danza musical que fue tanto intuitiva como meticulosamente ejecutada. Incerto encapsuló la esencia del jazz moderno: una mezcla de tradición y experimentación, donde las reglas están hechas para ser dobladas y desafiadas. Zorn, a través de las composiciones y la dirección musical, permitió a estos virtuosos músicos mostrar lo mejor de su arte.

Simulacrum, el tercer proyecto del neoyorquino se hizo a trío, agrupación compuesta por John Medeski al órgano, Matt Hollenberg a la guitarra y Kenny Grohowski a la batería. Una propuesta en la que el jazz, el metal, el punk y la improvisación se mezclaron en una explosión de energía y virtuosismo. Simulacrum es una de las facetas más radicales de Zorn, un proyecto que rompe las barreras entre géneros y desafía a los músicos a explorar los límites de sus habilidades. Medeski, con su órgano, desplegó un torrente de sonidos que fueron desde lo ceremonial hasta lo infernal, creando una base sonora tan densa como hipnótica. Matt Hollenberg,  añadió una capa de agresividad y complejidad. Los riffs, cortados por el metal más duro, se entrelazaban con líneas melódicas caóticas y con los solos abrasadores que electrizaban el ambiente. Kenny Grohowski, a la batería, fue la fuerza propulsora que mantuvo todo unido, combinando la precisión del jazz con la brutalidad del metal y su capacidad para alternar ritmos complejos con patrones explosivos. Las composiciones, fieles al estilo de Zorn, presentaban abruptos cambios de tempo y dinámica, llevando al público de pasajes melódicos oscuros y ominosos a explosiones sonoras que desafiaban la lógica.

 La tercera jornada de Zorn en Donostia se llevó a cabo en la mítica plaza Trinidad. El segundo de los conciertos se anunciaba con gran expectación al ser el único en el que el mismo Zorn actuó como músico. Para cerrar esta serie de conciertos se eligieron los proyectos Chaos Magick y New Masada Quartet.

Chaos Magick, es una de las últimas exploraciones de John Zorn, contó con la presencia de John Medeski al órgano, Brian Marsella al piano eléctrico, Matt Hollenberg a la guitarra y Kenny Grohowski a la batería. El cuarteto se sumergió en una interpretación poderosa y provocadora, inspirada en las corrientes esotéricas del caos mágico.

Zorn dirigió la experiencia desde el trasfondo conceptual, construyó un setlist sin respiro, llevando a los músicos a explorar territorios sonoros donde las fronteras entre géneros se disolvían por completo. Medeski, guio la atmósfera del concierto con pasajes que oscilaban entre lo místico y lo explosivo, mientras que Marsella añadía texturas que desafiaban lo convencional, fusionando armonías disonantes con ritmos fragmentados.

Matt Hollenberg, fue un catalizador de la intensidad del concierto. Sus riffs abrasivos y los solos incendiarios crearon una tensión constante, llevando la música a un punto de ruptura para devolverla, retorcida y transformada, al núcleo melódico propuesto por Medeski y Marsella. Kenny Grohowski, por su parte, fue un motor imparable a la batería, creando un caos rítmico que, sin embargo, estaba intrincadamente alineado con la visión de Zorn, aportando una energía que variaba entre el jazz más libre y el metal más agresivo.

El concepto de Chaos Magick se manifestó no solo en la música, sino en la misma estructura del concierto. Las composiciones, con sus abruptos cambios de dirección y su mezcla de influencias, reflejaron la idea central del caos mágico: un sistema donde la verdad es maleable y donde todo es posible. La interacción entre los músicos fue tan libre como calculada, sugiriendo que, aunque el caos reinaba, había una lógica interna que dirigía cada nota y cada pausa.

New Masada Quartet, una de las formaciones más esperadas del Festival Jazzaldia 2024, cerró el evento con una actuación que fue tan vibrante como emocionalmente cargada. El cuarteto, liderado por el mismo John Zorn al saxo, e integrado por Julian Lage a la guitarra, Jorge Roeder al bajo y Kenny Wollesen a la batería, ofreció una interpretación que fusionó el espíritu del jazz con la intensidad y la improvisación características del universo musical de Zorn.

Desde el primer momento en que Zorn, con su característica energía y precisión, llevó el saxofón a sus labios, quedó claro que este concierto sería una mezcla de virtuosismo técnico y pulsión sonora desbordante. El New Masada Quartet, es una reencarnación moderna de uno de los proyectos más emblemáticos de Zorn. El compositor trajo a la vida las composiciones de la serie Masada con una frescura y una fuerza renovadas.

Julian Lage, mostró una destreza inigualable, manejando la guitarra con una fluidez que parecía casi sobrenatural. Sus solos, a menudo inesperados y siempre ingeniosos, fueron una conversación constante con el saxo de Zorn. Jorge Roeder y Kenny Wollesen, al bajo y a la batería respectivamente, formaron una sección rítmica que no solo sostenía el peso de las composiciones, sino que también añadió capas de complejidad y emoción. Roeder, con su bajo firme y melódico, ofreció una base sólida que permitió a Lage y a Zorn explorar los límites sonoros de cada pieza. Wollesen, como colaborador cercano de Zorn durante décadas, aportó una sensibilidad rítmica que va desde lo más sutil hasta lo más explosivo, complementando y elevando la música en todo momento.

El repertorio de la noche abarcó varias piezas de la serie Masada, cada una interpretada con una intensidad que reflejó tanto la profunda conexión entre los músicos como el compromiso de Zorn con su legado musical. La estructura de las composiciones, con sus ritmos judíos tradicionales fusionados con el jazz contemporáneo, creó un ambiente que era a la vez místico y eufórico.

Zorn, que siempre ha sido un maestro en desdibujar las líneas entre el pasado y el presente, logró con estos seis proyectos presentados en Jazzaldia, una vez más, conectar con la audiencia en profundidad, ofreciendo un manantial desbordante de creatividad y haciendo un homenaje, no solamente al jazz sino también un merecido tributo a su propia carrera.

Otra de las intervenciones más sonadas en la 59 edición de Jazzaldia de este año fue el merecido homenaje que el festival dedicó a William Parker, con el premio Donostiako Jazzaldia. Para rendir homenaje a esta figura tan destacada del free jazz, se llevaron a cabo tres conciertos en tres formatos y espacios diferentes.

En el museo de San Telmo, acompañado por la pianista japonesa Eri Yamamoto, Parker inicio el primero de los tres conciertos de esta edición del festival. La delicadeza melódica y la química entre Parker y Yamamoto fue la protagonista de este primer e íntimo concierto a dúo. El ambiente del Museo de San Telmo, con su arquitectura histórica y su atmósfera reverencial, proporcionó el entorno perfecto para este concierto. La acústica del espacio permitió que cada nota resonara con claridad facilitando el diálogo entre los músicos. Parker, con su imponente presencia y su dominio absoluto del contrabajo, impuso un tono de introspección que definiría la dinámica concierto.

Eri Yamamoto, por su parte, se sumó al diálogo musical con una sutileza y una sensibilidad exquisita. Su estilo al piano es una mezcla de lirismo con una capacidad innata para explorar las posibilidades armónicas más allá de lo convencional. Las melodías fueron de una belleza etérea, a veces melancólica, a veces esperanzadora, pero siempre profunda. Parker apartó del contrabajo para tocar el txistu, una flauta tradicional vasca. Este gesto fue un guiño a la herencia cultural de la tierra que le acogía añadiendo una dimensión espiritual a la actuación. El sonido del txistui, suave y melódico, se entrelazó con el piano de Yamamoto en una danza sónica que transportó al público a un estado de contemplación y serenidad.

Con el mismo ímpetu Parker volvió a los escenarios de Jazzaldia el 27 de julio, esta vez con Rob Brown al saxo alto, nuevamente Eri Yamamoto al piano y Ikuo Takeuchi a la batería, esta vez se lanzó con el alboka, un instrumento de viento típico de la zona norte del País Vasco, nada mal para ser un instrumento de reciente adjudicación. Parker asumió el rol de líder, pero lo hizo con la generosidad que lo caracteriza, permitiendo que cada músico tuviera su espacio para brillar. La química entre los integrantes del cuarteto fue evidente desde los primeros acordes. Parker y Yamamoto, quienes ya habían compartido escenario dos días antes, mostraron una conexión aún más profunda, mientras que la incorporación de Rob Brown y Ikuo Takeuchi añadió nuevas capas de complejidad y dinamismo a la música.

El concierto, free jazz en su máxima expresión, arrancó con una pieza que destacó de inmediato la interacción entre Parker y Brown. El saxo alto de Brown se lanzó a un vuelo melódico lleno de intensidad y emoción, explorando sus posibilidades instrumentales con una mezcla de lirismo y agresividad controlada. Parker respondió con líneas de contrabajo que anclaban la improvisación, creando un contraste que mantenía en suspense ciertas alusiones a las músicas orientales, principalmente cuando hacía uso de su arco.

Eri Yamamoto, al piano, aportó una sensibilidad y un lirismo que complementaron a la perfección la fuerza expresiva de Brown y Parker. Sus acordes, que recaían en la melodía, añadieron profundidad y riqueza armónica a las piezas. Yamamoto mostró una vez más su capacidad para moverse entre la delicadeza y la intensidad, haciendo que cada nota pareciera surgir de un lugar de profunda introspección. Ikuo Takeuchi, a la batería, fue el motor rítmico del cuarteto combinando la precisión con una libertad casi anárquica. Sus ritmos, a veces complejos y otras veces sutilmente marcados, fueron el telón de fondo perfecto para las improvisaciones del grupo.

Uno de los momentos más destacados de la noche fueron los momentos en los que los cuatro músicos improvisaron libremente, dejando que la música fluyera sin restricciones. Un ejemplo brillante de la filosofía del free jazz: una exploración colectiva donde la comunicación entre los músicos es tan importante como la técnica.

John ScofieldDave Holland Duo, fue el encuentro entre dos titanes del jazz contemporáneo, John Scofield a la guitarra y Dave Holland al bajo en una noche marcada por la maestría y la complicidad. Estos dos gigantes ofrecieron un concierto que fue una clase magistral de interacción musical y virtuosismo en la plaza de la Trinidad. Los dos músicos demostraron cómo la simplicidad aparente de un dúo puede dar lugar a una experiencia musical rica y compleja. Con décadas de experiencia a sus espaldas y un historial de colaboraciones que abarca lo mejor del jazz, la química entre ellos fue palpable. Scofield, conocido por su estilo único que fusiona el jazz con el blues, el funk y el rock, mostró una vez más por qué es considerado uno de los guitarristas más influyentes de su generación. Su toque, a la vez relajado y preciso, se movía con facilidad entre líneas melódicas sinuosas y las explosiones de acordes.

Dave Holland, por su parte, maestro del contrabajo, en este concierto demostró una vez más su habilidad para crear una base rítmica y armónica a la vez sólida y flexible. Con un sonido profundo y resonante, Holland mantuvo el pulso del concierto, interactuando con Scofield en un diálogo musical que fue tan fluido como estimulante. Su capacidad para explorar las posibilidades melódicas y rítmicas del contrabajo, manteniendo al mismo tiempo una conexión constante con la guitarra de Scofield, fue una de las grandes joyas de la noche.

El repertorio incluyó tanto composiciones originales como reinterpretaciones de estándares del jazz, todas ellas interpretadas con una frescura y una libertad que solo músicos de la talla de Scofield y Holland pueden lograr.

Chris Potter ofreció uno de los conciertos más esperados del festival en la icónica Plaza de la Trinidad en la que presentó su último álbum Eagle’s Point (Edition Records 2024), acompañado por los músicos más cotizados y demandados en el panorama del jazz actual: el pianista Brad Mehldau, el bajista John Patitucci y el baterista Johnathan Blake. El cuarteto llevó al público a un viaje musical lleno de interacción y creatividad en el que destacó, sobre todo, la finísima ecualización del talento y del poderío instrumental de cada uno de los músicos.

El concierto, que agotó todas las entradas, comenzó con Dream of Home, donde los suaves acordes de Mehldau se combinaron con el sonido cálido y carismático del saxofón de Potter. A lo largo de la velada, los músicos exploraron composiciones llenas de complejidad, como Cloud Message y Indigo Ildikó, destacando por su maestría técnica y la más que fluida conversación musical.

Donostia, durante las jornadas del festival, fue testigo también eventos electrizantes, uno de ellos sin duda fue el ofrecido por Marco Mezquida, que presentó su proyecto Tornado título que da nombre a su último disco. En una noche cargada de energía y emoción, Mezquida, junto a su trío, Masa Kamaguchi al contrabajo y Ramon Prats a la batería, demostró por qué es uno de los músicos más innovadores y versátiles de la escena actual. Tornado es un nombre que hace justicia al proyecto: una tormenta sonora que arrasa con todo a su paso, combinando el virtuosismo técnico con una creatividad desbordante. No es un proyecto que se conforma con seguir las reglas del jazz convencional. Mezquida y su trío, mostró una compenetración casi telepática de fluidez asombrosa.

Con un control absoluto sobre el ritmo y la dinámica, el músico menorquín alternó entre pasajes de una intensidad casi violenta y momentos de calma serena, creando un contraste que atrapó a la audiencia. Su habilidad para extraer del piano una paleta de sonidos tan amplia, desde susurros delicados hasta rugidos potentes. El repertorio de la noche incluyó composiciones originales que reflejaban la esencia de Tornado: una mezcla de lo impredecible y lo profundamente emocional.

Para continuar en la plaza de la Trinidad con Gregory Porter, acompañado por Chip Crawford al piano, Emanuel Harrold a la batería, Tivon Pennicott al saxo, Jahmal Nichols al bajo y Ondrej Pivec en el Hammond. Porter demostró que es uno de los grandes crooners del panorama contemporáneo, con un concierto que combinó elegancia, emotividad y un groove irresistible. Abriendo con una interpretación cálida y poderosa, su voz barítona envolvió la plaza, creando una conexión instantánea. La banda que acompañó a Porter fue más que un simple respaldo; cada músico aportó su propio brillo al conjunto. Chip Crawford, en el piano, demostró una sensibilidad excepcional, tejiendo líneas melódicas que complementaban la voz de Porter con un toque elegante y refinado. Emanuel Harrold, en la batería, añadió un pulso rítmico que, sin ser invasivo, mantuvo un groove constante y profundo, mientras que Tivon Pennicott, con su saxo, ofreció solos que añadían una dimensión extra de emotividad a las interpretaciones. Jahmal Nichols, al bajo, proporcionó una base sólida y rica, permitiendo a Porter y a los demás músicos explorar matices y dinámicas con libertad. Ondrej Pivec, al Hammond, añadió ese toque de soul y góspel que caracteriza gran parte del repertorio de Porter. El repertorio de la noche incluyó tanto clásicos del jazz como composiciones originales de Porter. Canciones como If love is Overrated y Holdin On fueron recibidas con entusiasmo, mientras que temas como Take Me to the Alley y Quizás, Quizás se convirtieron en momentos de comunión entre Porter y sus seguidores, quienes no pudieron evitar cantar junto a él.

El cierre del concierto fue un reflejo perfecto de lo que había sido toda la actuación: una mezcla de poder vocal, interpretación instrumental de alto nivel y una conexión genuina con la audiencia. No es de extrañar que esta sea ya la quinta vez que el cantante pisa los escenarios de Jazzaldia, como tampoco parece que será la última.

El domingo 28, como cierre de festival, William Parker ofreció el último concierto, esta vez en el teatro Reina Victoria. En esta ocasión optó por el formato a trío, descartando el saxo de Rob Brown con el que había contado el día anterior. En este tercer concierto toco el shakuhachi, un instrumento de viento típico de japón en una clara alusión a los músicos que lo acompañaban.

En este último concierto Parker recibió su anunciado premio- homenaje de las manos de Miguel Martín, el director del festival, que indicaba de manera explícita que William Parker es un titán de la música de vanguardia. El concierto fue algo más comedido en cuanto a la experimentación, las disonancias y el contrapunto que tanto caracterizan a Parker y que tantos quebraderos de cabeza suponen para los menos duchos en esto del freejazz.

William Parker a sus 72 años, ayudado por un bastón al caminar, no escatimó en palabras para dar las gracias por la escucha y el sentido homenaje recibido por el público de Donostia.

Jazzaldia, una vez más, nos deja momentos que se van a quedar en la memoria. La programación de este año, casi inabarcable, ha ofrecido una variedad de propuestas, todas suculentas para los amantes del jazz que sin duda lo han disfrutado y no solo imaginado. El próximo año será imprescindible abonarse y alquilar tres o cuatro vidas para poder abarcar todo.

Written by Pedro Andrade / Begoña Villalobos

Octubre 04, 2024

Tal Cohen Interview

Tal Cohen Interview

TAL COHEN INTERVIEW

03

Octubre, 2024

By: Claudia Tebar

Photos: Artist’s concession

In this exclusive interview, we had the pleasure of speaking with Tal Cohen, an artist known for his constant evolution and creative reinvention. With striking honesty, Tal reflects on the key moments of his career—the highs, the lows, and everything in between—offering a rare and personal look into his artistic journey.

 

In&OutJazz: Thank you Tal for being with us today. We would like to start from where your career is currently. The art of duo, with John Daversa. Is this your latest record?

Tal Cohen: Thank you so much for having me! At this point yeah. We just recorded another live album and that’ll be coming out soon. But yeah, that’s the most recent one, volume one.

Is this your second album as a band leader?

I suppose it is….no,  I had my first one I recorded in Australia in 2011 called Yellow sticker and then I did another duo album with a great vocalist called Danielle Wertz, and then I have another one with this saxophone player from Australia, and that’s another thing, but then I have Gentle giants which is the one with Greg Osby and then it’s this one yeah. So, there’s been a few but I would say that as of recent yeah, this one is the project that I would say I feel like very much a leader, a co-leader, me and John together, you know?

Why a duo?

During Covid we couldn’t have that many people in the same room, so John was like “you want to come and play?”. We started playing and we just kind of found this magic between us. And before you know it, it would go into a project and John was like “we should record” and suddenly we started getting gigs and suddenly the party kind of lifted.

Did you release this record under any record label?

This one was a self-release. We decided to do it under John’s company, which is a small company. I mean, it’s just him.

What about your other record “The Gentle giants”?

Gentle Giants is on Inner Circle, which is Greg Osby’s label.

What is your criteria for choosing a record label? What do you think is important?

That’s a really good point. I feel these days about record labels, it’s kind of... what are they actually going to give to us? I mean, what advantage do we get? Is there a distribution deal or anything like that, you know? This felt like we could just do it on our own and kind of cook it on our own because it was only the two of us, the budget was smaller also. And we recorded it at University of Miami and all that. So, this one felt like we could do more… on the other hand I will say that for the next record, we’re definitely shopping for a record label. What I think would be good for us is maybe ECM. I think that label would be good for the music, but that’s not an easy to get, you know.

The thing about this album is that we’re really trying to break away from the normal duo like thing. So usually when you think about a duo you might think it’s ballads and kind of slow you know. But this is like super high energy…, John plays three different instruments, he sings a little bit too, it’s a really diverse project and I feel like that’s why the audience is connecting with it, you know?

That’s very exciting! I’m looking forward to hearing it. Can you tell us about your experience as a Grammy winner.

It was with John, the Big band album. The first one he did was with The Beatles, it was like reimagining The Beatles, and then it got nominated for three Grammys, but it didn’t win, but he got nominated. And then later he did a project called American dreamers and it was to highlight what was going on, from what I understand, to highlight kind of what’s going on with the political situation where the people that were born in the states now had to deal with some political struggles to stay in the United States because their parents are not American, you know? You don’t have to write this because it’s kind of political, so I’ll leave that up to you, but it was called American dreamers. And it’s an amazing project, he wrote so much music for it, and he brought some of those people to play on the album. He flew them from around the country. Some of them were musicians, they could play really well. Some of them were musicians that maybe weren’t like amazing, but we found something for them to contribute. Some of them were great musicians. We had one alto player by name Santiago that I think was from Mexico and he was born here in the United States but now he was having to go back to Mexico and he was a great clarinet player and he played on the whole recording, he was fantastic. So yeah and he actually went to the Grammys and I actually was there participating and it was a great event. So I played on the whole album and I was featured on it, I was featured on the album and I was in the house band, I was the piano player for the album and then the album won three Grammys, best solo, best composition and then also won best band.

Best band, that’s the one you feel like it deserves to you, it’s like “oh I’m part of this”. Congratulations for that!

We are also interested in knowing your experience playing with people like Joe Lovano, Terence Blanchard, Greg Osby. Especially Greg Osby it’s been considered someone that has an eye for extremely creative people, everyone that he lets around him or he chooses to play his records are highly creative. How do you feel about having become one of the “Greg Osby guys”?

Yeah, I mean look I moved to the States 10 years ago or something like that, and I played with Greg Osby in Australia. I moved to Australia when I was very young. I spent 14 in Israel and then, when I was 15, I moved to Australia. Joe Lovano passed by Australia to do a tour and I got called for the gig and I played with Joe Lovano and then I played with Robert Hurst the great bass player and I even played with Ari Hoenig when they came and I was getting a lot of experience in Australia playing with some American players. When I moved to the states, Greg contacted me and he said “hey Tal, I want you to be in my band”.

I was very excited about it obviously. And then I called him to do Gentle giants after I won the money from the Freedman Fellowship which was a big competition in Australia. I played in the Sydney Opera House actually, and yeah it was amazing, sold out. It was amazing I played at the Sydney Opera House and I won a large sum of money at the time as the first place winner and that’s how I did that album Gentle giants and I invited Greg to play and Robert Hurst and I flew my friend from Australia Jamie Oehlers and we had a great, great thing. And then Greg called me and said “hey Tal, I want you to be in my band” We started touring a little bit with the quartet and we played a few venues in Chicago, Philadelphia, New York…, we started doing some things and then he said “let’s record the album”.

That was a great opportunity for you, no?

It was amazing and I remember, before we recorded the album, Greg sent me all the music like two days before and it was so hard, and I didn’t sleep for two days, just learning the music. Oh my…., I’m from a small town in Australia, Perth WA, where… Troy Roberts and Linda Oh are from there too. Linda is playing with Pat Metheny now. We’re all from the small town in Australia called Perth. And there’s just a really good school there that’s producing some really good musicians. And I moved here to Miami and Greg was like “hey can you do that”. Then we did a big tour in Europe, just me and Greg playing duo actually in Ukraine before the war, in Poland and we played in Ireland…, and since then I’ve just been kind of playing with Greg whenever the band gets called. I mean, the band and the record came out amazing. I love the record, I love how it came out. But just quickly I don’t want to talk too much, but going back to what Greg is…, Greg is so unique there’s no one like him he’s his own thing. From two notes you know it’s Greg Osby. And he’s so unique and he doesn’t say a lot, but there’s a lot going on in his brain, you know?

He’s also unique in choosing people…

He sees your soul…

Exactly that’s why everyone that plays with him is actually very unique also.

You’re 100% right. He has an eye for creativity, and he doesn’t want you to sound the same. Like, some of the songs there’s no chords on them, it’s all like just two notes that he chose and like improvised on this and it makes you play different things, you know?

He’s like putting you outside of your comfort zone.

When you’re playing this stuff, you feel really uncomfortable you’re like “what is happening? I feel so bad” but then you listen back to it and you’re like “ah! that was really cool”

Can you elaborate more on that?

It really feels like you don’t know what you’re doing but then you listen back to it and it sounds great! All your other senses are very active, because you can’t rely on everything that you know. All your musical sentences are at full capacity, well they’re all to the maximum because you don’t know what’s going on so you’re like in a dark forest or something so you’re super alert and you’re starting to see things you couldn’t see before “oh I need to go that way”.

That’s a super cool way to describe it. What are your strengths as a composer and interpreter?

Really good question. I feel like as a sideman, as an interpreter of other people’s music maybe, I feel like I’m pretty good at finding a way to play the music but also sounding like myself. I never struggled with that, I feel like when you listen to, say Greg Osby’s album, the new one Minimalism, you hear Tal Cohen playing what Greg Osby wrote but you also hear how I break away from it and become myself.

Right, you can adapt but also be yourself, a combination of you and whatever is going on around you.

Yeah, it’s a fine line between just being yourself and not playing the music at all, “I don’t like this I’m just gonna play”. I’m good at playing what’s written and making it sound myself, I feel like that’s a strength of mine. As a composer I feel that you can always hear some kind of melody, there’s always a sense of romanticism in my compositions even if they’re crazy there’s always a sense of some kind of melody there. Maybe it has to do with where I grew up and all that I don’t know. But there’s always a sense of some kind of melody. There’s always something that’s related… I’m not this guy that’s like…, I mean I love the tradition that’s really what I listen to, but I’m not this guy that’s like “we gotta keep the tradition alive”, you know? Like this jazz guys “it’s all about the 1950s we can’t let go!” That’s not me at all and it’s not Greg at all. But I feel like there’s always something there that’s melodic and connected to the tradition, I would say…

That makes sense. Can you tell us about your experience working with Inner Circle?

Of course, yeah, specifically with the record label…, the record label itself, first of all Greg has such a good reputation…, like if you’re on Greg Osby’s label that means that you’re saying something. So the record label is very prestige and very selective. So, the reputation of the record label is very high and if you’re on that record label you might not be famous, but you have like something to say and Greg believes in you and that stamp of approval just by itself has a lot to do, that’s already amazing. I did learn a lot I would say. The idea of the record label is that it’s a self-sufficient record label and that you can ask for the contacts and do what you want from there.

It is good to have that freedom, right?

Yeah, exactly. But it’s not like a thing that you gotta pay or anything. It’s like you’re on the record label, you can use all Greg Osby’s contacts and you can try and do what you can. And he’ll, all the support industry features on the website it’s really cool and all that. But it’s an amazing experience, it’s really cool to be on it, but the real experience for me was really to be on the album. The label is amazing and all that, the idea of the label is really cool but it’s really about the playing. I think the level is amazing, I hope that my next record will probably be on there. The one with John Daversa is kind of more on John’s kind of…but the next one will probably be on Inner Circle.

How would you describe your musical evolution? How is it happening in the technical level, style, projection? Are you moving in a specific direction?

Yeah, good point again, really good. So I live in Miami right now. I go to New York a lot to play, I’ve got a gig at Mezzrow, and I’m playing with the Mingus Big Band also… but right now I’m going to play with one of my favorite musicians in the world, Ignacio Berroa.

I suppose to answer your question in terms of evolution, I’m in Miami now and I had the privilege of playing with the most amazing Cuban musicians that ever walked the planet. Armando Gola, Ignacio Berroa, Ludwig Alfonso…etc. All these amazing drummers, percussionists, Felipe Lamoglia, amazing saxophone…, so those guys have really had a lot…, they also shaped my music… Of course, I’m not a Cuban piano player. I can do it but I’ll never be as like a Cuban piano player. But I just learned a lot of the style and it comes into my music and the openness and the rhythm that I play with and all that, it’s very different and really cool, so that has a lot to do with my evolution. Besides that, I feel like that I’m getting better at doing bigger gigs like with John Daversa…, and we played like big concert halls with, when you think about where I come from it’s a small town in Australia, it’s humbling and it’s beautiful, but also to find the confidence to say “I’m here and I’m going to play, and here I am”, you know? And I remember when I first moved to Miami I was practicing in the practice room and I got a call from Terence Blanchard and he said “hey Tal can you do a gig?” because he saw me playing and he said “can you do a gig?”. And I remember going on that gig and being so nervous. He’s one of the biggest names and I’d just moved to America and here I was like getting on a plane and the guys came pick me up and I was like “oh my god” … Saying “what happened?”, yeah, surreal. And then I go to the gig and you know it was Justin Faulkner playing drums and this great band and I was like “lower your heart rate”. I was so nervous and you know I just came to America and I thought “what’s happening”, you know?

Are you more confident about yourself now?

Exactly. I go to Mezzrow and I play with Ari Hoenig, and I’m just going to do my thing, and when I go and play with Greg I’ll do my thing…, a lot has happened many tours, many big gigs…, played with John Daversa, played with Ignacio Berroa. And now I go and play festivals and I do what I do and I feel like I wish I could have that now (perform with Terence Blanchard) because I’ll just enjoy it more. I won’t be so nervous, like “I gotta get through this without having a heart attack”. So I wish I could do that. So in terms of my evolution, I feel like I’ve found a way of playing like myself and matching myself to more things and being more in the moment and less stressed and it’s something that not enough musicians talk about because we’re always like “yeah man evolution is I got another gig and I got another thing and you know I’m gonna do another album”, but what about your personal evolution as a human being?

Usually people are “well my evolution is we’re going to do another album and that time I’m going to have Herbie Hancock on it, and next year I’m going to do another album and it’s gonna be with Chick Corea” and all go “oh, wow, great, yeah”. But what about the personal thing? I’ve grown as a human being and I feel more confident myself and my style to actually take on any gig and sound like myself. And you know what? Maybe if I get hired for a gig the person that hired me would be like “ah that’s not really my thing”, but I will still be confident about what I did because I played like myself and I did my best.

So now I feel like I’m more ready for more things, I’m more relaxed. Greg sent me the music for the album two days before. I was like “okay Tal well you’re gonna have to do this”. It was so hard. I listened to it, and I listened to it and I was playing it and I was like “oh my god I gotta do this”, I was calm, I didn’t sleep a lot and I went and I played like myself. And that’s really, that’s something that I’ve learned here in the States from doing so many different projects, different gigs, different things that you have to adapt and still be yourself and be able to function and not get too stressed or lose your head. So that’s also my evolution.

But it's the most interesting, I mean if we don't…

It's the way it works for me so yeah, if it works, it's fine. Then if in 10 years I will get bored of it or I will see it's not working anymore I will change it. But for the moment it was really a moment of pure joy for me to stay in my room and just try “oh this sounds cool”. And most of the times what happens is that many things sound cool and then after five minutes they are boring so then you have to understand which ones of the 10 really cool stuff you found. Then you just take one because the other nine are just fancy for five minutes and then…

So there's a cool process going there, it's cool. I tell you I'd rather have music that comes from pure joy and that is somehow naive but it's always truthful, than a sober academic music which sounds great and it's well produced but doesn't have that truthfulness to it you know. So this is personal opinion but I think this music, the music that you make touches people's hearts more often than the other one so…, you should know that from our part at least.

I got you, thank you!

¡ Cool, so, we're getting to the end. I'll give you three more questions they're brief. First one it's a little curiosity. How was playing with Enrico Rava? How was it?

I would just say to you, because now one year and a half has passed from that experience and I would say I can't wait to do it again.

Nice!

Because it was the first experience of that kind that I was having and I wasn't prepared at all for that so now I'm prepared because I did it just already once, and I have to say that it's an experience that made me grow so much in terms of music, but also in terms of person who plays music, in a more 360…

Yeah, yeah, great!

He is amazing he is pure joy again, since we used this term before, and it's amazing how…, I mean everyone who knows him, young musicians I think would love to become his age and having this joy in playing and in playing with young people, so he's really an enthusiast, and joyful and yeah and this was amazing because he was looking at me and he was smiling and he was happy about playing with me. And of course I at the same moment I was happy but   also frightened because for me it was like “oh my god I'm playing with Enrico” so that's why I'm telling you I would like to do it again cause I would come to it more ready.

Yeah, so cool. I guess this musical and personal and human encounters in life are the very the very best, the most interesting. They make you grow as a human being and that also includes musically, right? So, it’s so cool what would you just told, so cool…

And it's also funny that most of the experiences in life, I think to everyone, come in a moment in which you are not actually ready for that but the day after you are ready, it’s crazy.

Yeah, it's cool, how there is a smooth evolution in ourselves that keeps us always somehow frightened to what's coming but then also proud of what we just did and, I don't know, it's cool…, humans after all, it's awesome. Okay last question, a little bit bigger. So what would you say or how would you describe your evolution in your music career also considering where you’re focusing right now, like at the moment, and the projects you’re having right now. Like, how is your evolution and how is it that you are right now in the point where you're and tell us where you are at. Tell us what projects you have and where are you focusing right now and yeah…   

So, I've always…, so I started practicing improvisation and we can say I switched from the classical academical path 11 years ago, so I was 20, now I'm 31. And in these 11 years um of course I did some, I did a master's degree in a conservatoire, I did a lot of things, but you know, everything was kind of coming in the path, I didn't have a clear idea of what I wanted to do but I was just welcoming what came from the sides and these sides led me to where I am which, at the end, sounds to me quite linear…, curvy but linear. And it's amazing because I'm really happy of the path that I did, even if it was really, not by chance but I was leaving things to come in a very natural way and I was…, these years I have been always playing and I have, it's some…, maybe it's a detail but I think it's important: I've always   earned money enough to make my own living without I mean aside from my apartment.  And this now means playing in the festivals in the clubs and beautiful places, but for most of these 11 years meant playing at wedding parties and country parties so I really played a lot of kind of music different genres in different very different situations and I'm really happy about that because this gave me really a panoramic view of what music is, and also I'm really happy that my studies, even if they were a bit random I mean I was studying jazz fusion “oh I love Allan Holdsworth, I want to play like him”, and then “oh wow Steve Reich wow so…” and then “oh my god…” so it's all like that. My life is yeah, I get passionate of what I cannot do or what I don't know and I really jump into it and yeah in a sort of like a childish way but yeah and then I'm trying to convey all these in what I do, so again, it's really spontaneous and maybe some a bit naïve, but it's fine. And I'm happy that   the projects I'm working on are satisfying me in a personal and artistic way. This trio is the main focus of the moment of course so I'm trying to make it play as much as possible and we would like yeah…, I've been playing a lot in in Italy in these last years and I would like to start playing somewhere in Europe at least.

We would be delighted.

Yeah and then what's more? I have many other projects, I've just recorded an album with um classical double bass player and a countertenor. It's a project dedicated to Frank Zappa.   Yeah it's really a crazy project. Then I have another really nice project with a viola da gamba player and we play Bach’s two voices inventions and then from that we go to other   contemporary music repertoires. I still have my solo project which I would like to renovate somehow I mean I would like to have another solo project the one i had till now was really based on the minotaur, the Greek ancient myth of the minotaur and, because I like having inputs from the literature, from the ancient Greek myth and now I would like to work on some other issues but we'll see. Because in the middle what I also do is just playing the violin as a normal violinist for other people like a side musician so at the moment I’m in Florence because I’m involved in a theater production right. We have a tour of 72 shows in all Italy, the one of today would be the 19th, so we still have more than 50 to come. So yeah and it's fine because I don't have any teaching activity which is fine, but at the same time you know experimental music is not the easiest way of touring and having concerts, so I'm working also in the theater and I've been working with a pop artist for a lot of time and I've been playing in stadiums with him so it's all experience and it’s fine.

Yeah definitely, I mean it's so cool to know that you're up to as many things as you can and even more so it's cool to feel your energy and also how you approach things in that humble way that is also perceived in your music you know. I think the human that produces his or her music in that production in that in that same music he or she is producing, that's like a testimony you know that's definitely a cool contribution after all. So we were before asking you what contribution…, I guess throughout the whole interview we got a nice view of how you contribute to the world in general. So it was so cool to listen to you and to get to know you better.

Thank you thank you very much.

We're really happy of having had you and I don't know we'll keep up with you if we can and we'll have to to see what you're up to and to see if we can meet you again at some point   whenever in Europe or we're trying to go…, or in Spain, of course!

And also I have to tell you something which is important I tell you now because it's otherwise it would be it would be a problem, you know the name of the trio we played with in Münster, is was Terre Ballerine, you know Bega, of course because you were there. So actually, there was a change in the name. I won't explain you the reasons because it's a long story and anyway, with my press agents we were thinking that maybe an international name was maybe easier to pronounce and had a better impact so after a long brainstorming we found out that the new name of this trio, is just the name that changes, everything remains the same but the name is Relevé which is you know the classical ballet movement…

Yeah, ok, beautiful choice, good to know. Thank you so much Anaïs, we are in touch. It’s been a pleasure.

been a pleasure for me too, thank you. See you soon!

See you soon, good afternoon!!!

Octubre 03, 2024

Time To Stay – Sergio Pamies

Time To Stay – Sergio Pamies

TIME TO STAY – SERGIO PAMIES

Dave Liebman & Paquito D’Rivera

28

Septiembre, 2024

Texto: Pedro Martínez Maestre

 

 

 

New trad Records 007.  Sergio Pamies piano, composición y arreglos/ Alex Norris trompeta y flugelhorn/ Michael Thomas saxopfón alto y soprano/ Marshall Gilkes trombón/ Samuel Torres percusión/ Jimmy Macbride bateria/ Ricky Rodríguez contrabajo. Artistas Invitados: Dave Liebman al saxofón alto en «Time to Say»/ Paquito D’Rivera en el clarinete en «Nana para Sergito». Colaboraciones: Daniel Pardo flauta en “Miold Man”/ Miguel Fernández “El Cheyenne” percusión y palmas en “Time to Say”.

Time to Say es el sincero homenaje de Sergio Pamies a la rica historia del jazz latino en Nueva York.

Inspirándose en sus raíces españolas y en los ritmos afrocubanos que impregnan la escena musical neoyorquina, Sergio Pamies fusiona estas influencias con la tradición del jazz post-bop. Siguiendo los pasos de grandes figuras del jazz como Horace Silver, Slide Hampton y Art Blakey, Pamies teje un entramado musical complejo que es a la vez innovador y que se siente profundamente arraigado en la tradición del jazz latino.

Publicado por New Trad Records y producido por el galardonado con un Grammy Samuel Torres, el tercer álbum de Pamies reúne a leyendas del jazz como Dave Liebman y Paquito D’Rivera, llevando «Time to Say» a un nuevo nivel de sofisticación y de vitalidad. Ambos artistas aportan su arte y savoir faire a este excitante proyecto, llevando la música de Pamies a un nuevo nivel de sofisticación y energía, sin perder ni un ápice de su encanto y sensibilidad habituales.

Este álbum también cuenta con un colectivo de músicos afincados en Nueva York, todos ellos ligados a la aclamada y nominada al Grammy Terraza Big Band. Michael Thomas, Alex Norris, Marshall Gilkes, Jimmy MacBride y Ricky Rodríguez dan vida a la visión moderna del jazz propia de Pamies.

Estamos, sin duda, ante una obra maestra vibrante y llena de energía. Un gran trabajo, desde la composición a los arreglos pasando por la producción, que establece un nuevo estándar en la ya prolongada carrera de Pamies, que, no olvidemos, cuenta con dos magníficos discos como líder a sus espaldas: Borrachito (Bebyne 2010) y What Brought you Here? (Bebyne 2017). Además de una laureada carrera como sideman y arreglista en la que Sergio ha colaborado con una enorme plétora de artistas llegando en la que ha llegado incluso a firmar discos con Concord Records.

Texto: Pedro Martínez Maestre

Septiembre 28, 2024

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