25

Charles Lloyd

Teatro-Sala de concertos do Centro Cultural Caixanova. 25.06.2009, 22:00.
Price: Butaca: 12€; 1º Anfiteatro: 11€; 2º Anfiteatro: 10€; 3ª Anfiteatro: 9€

Rabo de Nube

Saxophonist Charles Lloyd, born in Memphis (USA) in 1938, is one of the most prominent and highly-regarded figures of the world of jazz. This time he brings to the fifth issue of Vigo’s Imaxinasons Jazz Festival his most recent musical project, Rabo de Nube, (ECM Records, 2008). According to the American critics, the return of Lloyd with this new album, heading his own quartet, is clearly indicative of two main things: first, that at the age of seventy this artist has not lost his taste for experimentation, and, second, that this band is perhaps the best ever led by this saxophonist throughout his long-lasting career. This opening concert will be a superb example of artistic excellence, thanks to the virtuosity of the band members now escorting this enigmatic saxophonist, whose legend emerges from his silence when he is not on the stage. When he is on the stage, however, he gives top-level jazz lessons.

With Florest Flower −recorded live at the 1966 Monterrei festival in the company of twenty-year old pianist Keith Jarret− Lloyd was the first jazz musician in history who sold one million copies of an album. Also, he was the first American jazzman touring the Soviet Union and visiting Moscow only one year later. Over the last twenty years he has recorded thirteen albums for ECM (some of them like Voice in the Night collaborating with his childhood friend, the great drummer, Billy Higgins) and is still today touring around the world. His 2009 performances include India, The Arab Emirates, Switzerland, Germany, France, Turkey, Austria, and The Netherlands, and he often jumps over the Atlantic, such as he did recently for his New York Carnegie Hall concert presenting his previous project titled Sangam. This is just one part of Charles Lloyd’s route for 2009, before he pays a visit to Vigo’s Imaxinasons Jazz Festival.

Charles Lloyd: Saxophone
Geri Allen/ Jason Moran: Piano
Reuben Rogers: Double bass
Eric Harland: Drums

Charles Lloyd, saxophone
Jason Moran, piano
Reuben Rogers, double bass
Eric Harland, drums

More information available on

www.charleslloyd.com

22:00 Charles Lloyd

00:00 Jazz in the Night

26

June

Rita Marcotulli

Auditorio “Martín Codax” do Conservatorio Superior de Música. 26.06.2009, 20:30.
Free

Tribute to Pink Floyd

Pianist and composer Rita Marcotulli, born in Rome in 1959, is one of the most prominent Italian musicians, and has been opening up new routes for jazz since the 1960s. Departing from the sphere of Brazilian music, she started her journey towards the Italian jazz scene, which was swarming with jazz lovers in the early 1980s. At that point, the presence of Trumpeter Enrico Raya was being requested outside of the country, and emerging jazz figures were being labelled as the new hope of Italian jazz. Among these were renowned European artists of the current times, including double bassist Giovani Tomaso (one of her side musicians in this tour) and trumpeter Paolo Fresu (guest musician in Imaxinasons 2006). A new and successful generation of instrumentalists was emerging, and Rita Marculli was one of just a few women in this group. The talent of Rita Marcotulli as a composer and her skills as a masterly and spontaneous piano instrumentalist were partially hidden for years, but have now come to the front line with projects like this Tribute to Pink Floyd. In 1987 the Italian magazine Musica Jazz selected Rita as the best jazz talent, and a few years later famous drummer Billy Cobham invited her to join his band for a tour. At the same time, she was collaborating with Palle Danielsson, Abders Jormin and Nils Petter Molvaer. On her return to Italy in the early 1990s and after spending six years in Sweden, she began to develop a number of musical projects of her own which have proved to be essential for her future development, working in partnership with singer Maria Pia de Vito and later on with British saxophonist Andy Sheppard, one of the most relevant and interesting European jazz soloists.

Rita Marcotulli, piano
Andy Sheppard, tenor and soprano saxophones
Giuseppe Matino, electric bass
Nguyên Lê, guitar
Pasquale Minieri, electric guitar, synthesizer
Michele Rabbia, percussion
Giovanni Tommaso, double bass
Mark Mondesir, drums
Gennaro della Volpe “Raiz”, voice

More information available on

20:30 Jacobo de Miguel & Ton Risco
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Rita Marcotulli

27

June

www.josetxogoia-aribe.com

Josetxo Goia-Aribe & La Orquesta Jamalandruki

Auditorio “Martín Codax” do Conservatorio Superior de Música. 27.06.2009, 20:30.
Free

La Orquesta Jamalandruki

Jamalandruki is the name of an illusionist born in the 1930s in the Spanish Northern town of Pamplona. He travelled all over the province of Navarra taking his tricks to all the villages and towns, so that they became part of the imaginary of many of the children who saw his shows. Among them was saxophonist Josetxo Goia-Aribe. Josetxo is now paying tribute to this magician −a man who passed away in loneliness although he had charmed his public for decades− with his last project titled La Orquesta Jamalandruki. In his constant search for close referents for his music through a process of investigation, Goia-Aribe explores a wide variety of sounds, ranging from folk to jazz. With this album (number six in his career) he intends to follow the routes marked by this obsessive peculiar illusionist, someone who brought times of real magic and excitement to his public.

If there is one thing that characterizes the work of Josetxo Goia-Aribe is that permanent journey across his own musical landscapes, using jazz as his vehicle for communication. This combined with his persistent interest in using his knowledge of traditional music, coming to a point close to transgression, have led the critics to deem his style as both personal and easily identifiable, peculiar and friendly at the same time.

With his quintet (four wind instruments and percussion) and with La Orquesta Jamalandruki, this composer brings to Vigo a jazz project loaded with the sounds of popular bands and festivals as well as of local shrine processions: he will take us back to the years of childhood an to the joy associated to it. A jazz sound evoking the old good times and built on the basis of imagination, i.e. the common knowledge and the wealth of experience we all have deep inside of us.

Josetxo Goia-Aribe: Saxophone
David Herrington: Trumpet
Marko Bellizi: Trombone
Luis Orduña: Tuba
Guillermo McGill: Percussion

More information available on

Anouar Brahem

Auditorio “Martín Codax” do Conservatorio Superior de Música. 27.06.2009, 20:30.
Free

Le Voyage de Sahar

Le Voyage de Sahar is the consolidation of this very singular trio headed by Anouar Brahem (Tunis, 1957) who plays his oud −the Arab lute−, François Couturier’s piano and Jean Lois Matinier’s accordion. This musical trek throughout the deserted and hot landscapes of the Magreb and with reminiscences of the cold European lands involves a certain sense of continuity after their previous work Le pas du chat noir (ECM, 2002), an album envisaged as a piano project, which was then redesigned after the trio members −Brahem, Couturier and Martinier− realised of its great potential if it was conceived as an instrumental combination. Both minimalist and mesmerizing Le Voyage de Sahar (ECM, 2002) shows the love and passion for improvisation and jazz of this artist from Tunis, and provides a clear view of Brahem’s groundbreaking sound as featured in this trio format.

Brahem’s courage was easily noticeable in many of his previous works, but this time he goes beyond that, as the instruments join together and provide a sound that is both exciting and provocative. Among his achievements Brahem has managed to use the oud as a solo instrument, escaping from previous formations where it was exclusively used for accompaniment purposes. Moreover, he has been most productive over the 1990s and has recorded a number of albums for the German label ECM, while simultaneously collaborating in films sound tracks, such as Férid Boughedir’ Asfour stah (1990), Nouri Bouzid’s Bezznes (1992), and Moufida Tlatli’s Samt el qusur de (1994). Once the Lebanon conflict between Hezbolá and the Israeli army concluded in 2006, he himself directed the documentary Mots d’après la guerre (2007) starred by Lebanese scholars and artists.

Anouar Brahem : Oud
François Couturier: Piano
Jean Louis Matinier: Accordion

More information available on

www.anouarbrahem.com

20:30 Josetxo Goia-Aribe & La Orquesta Jamalandruki
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Anouar Brahem

28

June

O.m.e.g.a

Auditorio “Martín Codax” do Conservatorio Superior de Música. 28.06.2009, 19:30.
Free

Orquesta de Música Espontánea de Galicia (Galicia’s Spontaneus Music Orchestra), conducted by Fred Frith

We can listen to the sounds of Tibetan bowls, saxophones, computers, double basses, casseroles, baby’s rattles, shaman’s maracas, and violins. We can appreciate that the band is suddenly divided into two independent orchestras. Or we can be puzzled when we see the orchestra’s conductor −in this opportunity the world renowned Fred Frith (born in Heathfield, UK, in 1949)− making his indications to request a very specific musical note using bizarre and enigmatic gestures. It is not at all easy for the public to listen to the music of Galicia’s Spontaneous Music Orchestra. They will witness a real process of on-the-spot musical creation with the instrumentalists transforming the conductor’s gestures into melodic sounds. Each session, then, becomes a unique piece of work, breaking away from the ideas and mind-set traditionally associated to the old concepts of “album” or even “repertoire”. The close to twenty instrumentalists who participate in this project (with their origins in a wide array of different artistic and musical styles) intend to involve the audience in this experience, making the public a necessary building block of the full OMEGA experience. The unorthodox British composer and guitarist Fred Frith is now joining forces with this spontaneous Galician movement.

Elena Vázquez Ledo: Violin
Xacobe Lamas: Violin
Pablo Pérez: Double bass
Mauro Sanín. Hurdy gurdy
Andrés Castro: Sitar
David Santos: Electric bass
MIG: Electric guitar
Txabi Souto: Electric guitar
Pablo Rega: Electric guitar
Madammecell: Piano
Quique Otero: Keyboards
Fernando Abreu: Clarinet, bass clarinet
Pablo Sax: Soprano and tenor saxophones
Chefa Alonso: Soprano saxophone
Isaac Feliu: Trombone
Xesús Valle: Computer
María Move: Voice
POP: Voice, resonant objects
Carlos Castro: Vibraphone, Percussion
LAR Legido: Drums
Patxi Valera: Drums and umbrella
Fred Frith: Orchestra conduction

More information available on

19:30 O.m.e.g.a

Miroslav Vitous

Teatro-Sala de concertos do Centro Cultural Caixanova. 28.06.2009, 22:00.
Price: Butaca 12€; 1º Anfiteatro: 11€; 2º Anfiteatro: 10€; 3ª Anfiteatro: 9€

Remembering Weather Report

The band The Weather Report was the best symbol of the movement called “electric jazz”. It brought together Czech double bassist Miroslav Vitous, American saxophonist Wayne Shorter and Austrian keyboardist and composer Joe Zawinul, as well as percussionist Airto Moreira and drummer Alphonse Mouzon but these two as members of the original band exclusively. The group remained active until the mid 1980s −with double bassist Jaco Pastorious joining the band in 1975− and was established under the strong influence of Miles Davis’ work in albums like Bitches Brew. One of the most representative figures of European jazz, Miroslav Vitous (born in Prague, Czech Republic in 1947), pays now homage to the band in this innovative Remembering Weather Report project, a collective experience aimed at merging jazz with rock and funk tunes, and in which he was involved for three years.

All the musicians who participated in The Weather Report project acknowledge how much important the band was for their careers later on. Zawinel himself, for example, used to adapt the tunes of the band for big bands. Now it is another one of the band’s founding members who brings back to life the legacy of The Weather Report. For his first album as a band leader −titled Infinite Search (Embryo, 1970)− Vitous enjoyed the support of saxophonist Joe Henderson, pianist Herbie Hancock, guitarist John McLaughlin, and drummer Jack DeJohnette, which is indicative of the confidence that some of the greatest jazzmen of the time had put in the talent of this young Czech jazzman. He, then, collaborated with musicians like Stan Getz and Herbie Mann, and in the early 1980s he established an exceptional and incomparable trio with Chick Corea and Roy Haynes. Currently, the admiration for Miroslav Vitous runs in parallel with his character as a worship instrumentalist, and he is one of the many referents of the European jazz scene. It is for this reason that his return to this issue of Imaxinasons −after his visit for the first issue of the festival−, being this a festival particularly committed with the development of a European jazz style, is the best news we could ever have imagined.

Miroslav Vitous: Double bass
Franco Ambrosetti: Trumpet
Robert Bonisolo: Saxophone
Fabrizio Sferra: Drums

More information available on

miroslavvitous.com

22:00 Miroslav Vitous

29

June

20:30 Round table discussion/Lecture

21:30 Lucia Recio & Fred Frith

23:00 Jazz in the Night

30

June

11:00 Master Class: Fred Frith

20:30 Round table discussion/Lecture

Agustí Fernández

Salón de actos do MARCO. 30.06.2009, 21:30.
Price: 2€

With an extraordinary professional career, pianist Agustí Fernández (Born in Palma de Mallorca, Balearic Islands, in 1954) is a first-class figure of avant-garde music in Spain. If the international recognition of an artist could be measured in terms of both the number of times he is requested to play all over the world and the quality of the artists demanding his participation in concerts, there is no doubt that Agustí Fernández would be taking a top position in this potential ranking. Fernández has featured in numerous and most relevant jazz events worldwide and is greatly admired by jazz followers. Nonetheless, he has never considered himself a jazz artist strictly speaking, and has managed to build up a solid and consistent career where experimentation is his particular engine for growth, while avoiding to be constrained to the limits of any specific movement or style. His projects involve a type of free improvisation where there is a dialogue through which his tunes find a certain sense of continuity in the absence of any preconceived musical plan: he tries to find the most suitable language and uses pauses and silences in order to be able to focus his attention on those aspects he wants to underscore.

His bands range from duets to trios and other band set-ups, including, for example, the album recorded in 2003 with the Evan Parker Electro-Acoustic Ensemble (of which he is a member since 2002), titled Memory/Vision. With this album he became the first Spanish instrumentalist ever recording for the very prestigious German label ECM. He is convinced that contemporary music −in all its different facets and textures− must take a prominent and permanent place in our society. Agustí Fernández is a teacher of improvisation at the Catalonian High School of Music since 2001, and is the first professional of this kind holding a permanent chair in an official Spanish teaching centre.

Agustí Fernández, piano

More information available on

www.agustifernandez.com

21:30 Agustí Fernández

23:00 Jazz in the Night

1

July

20:30 Round table discussion/Lecture

21:30 Marc Ducret

23:00 Jazz in the Night

2

July

23:00 Napoleon Murphy Brock featuring Low Budget Research Kitchen

20:50 Marching Bands

CMS Trío. Colina Miralta Sambeat Trío

Teatro-Cine Salesianos. 2.07.2009, 21:00.
Price: 3€

The musical know-how of each one of these trio members should be enough to write a full jazz treatise. The combination of the long-lasting careers, the experience and skills assembled by the three turns this trio into one of the most remarkable events of recent Iberian jazz. The critics spare no praise when talking abut them, and they are labelled as all-stars, top-class illusionists of jazz music. Double bassist Javier Colina, drummer Marc Miralta and saxophonist Perico Sambeat are close old friends and have performed together for the recording of New York Flamenco Reunion, a project headed by Peralta which merged jazz, flamenco and Latin rhythms and which included both versions of other authors’ songs and original tunes. A few years later, the three friends are back together −this time without any further accompaniment− with the purpose of exhibiting their artistic and technical expertise, intermeshed with the complicity of their enthusiastic public and with the good mood that is characteristic of the band while they are on the stage.

Saxophonist Perico Sambeat (Valencia, Spain, 1962) is one of the Spanish jazz artists with greater international renown. He has received numerous awards and has joined forces in a number of albums with artists like Bernardo Sassetti, Bob Sands, Chano Domínguez and Llibert Fortuny, among others. The fabulous musical value of Javier Colina (Pamplona, Spain, 1969) is evidenced in the high quality of the artists for whom he has been a side musician, either within the boundaries of jazz −such as George Cables, John Hicks, Loui Bellsom, Jimmy Owens and Tete Montoliu, among many others−, within the scope of flamenco −like Carmen Linares, Enrique Morente and Tomatito−, and also in the Cuban musical scene, including here Compay Segundo and Chucho and Bebo Valdés. Marc Miralta (born in Barcelona in 1966) began to play the drums at the age of seven, could find the time to be instructed in classical percussion, and learned how to play the Hindi drums. He attended lessons at the Berklee College of Music in Boston and has performed with artists like Pat Metheny, Paquito D’Rivera, Gary Barton and Tete Montoliu, among others.

Javier Colina: Double bass
Marc Miralta: Drums
Perico Sambeat: Saxophone

More information available on

21:00 CMS Trío. Colina Miralta Sambeat Trío

Napoleon Murphy Brock featuring Low Budget Research Kitchen

Praza do Rei. 2.07.2009, 23:00.
Free

Zappa Project

Murphy Brock is an artist easily identifiable through his saxophone, his peculiar voice and his sense of humour, along with his very special dancing style. And all of them were elements that distinguished this jazzman when he joined the band of the brilliant Frank Zappa in the early 1970s: congratulations, therefore, to all the Galician followers of this myth of American music. There is no doubt that saxophonist and singer Murphy Brock will be one of the main attractions of this fifth issue of Imaxinasons. Having played a relevant and active role during the most exceptional stages of Zappa’s career, Napoleon Murphy Brock comes to Vigo with the accompaniment of Low Budget Research Kitchen, an eight-member band established in Porto (Portugal) in 2006 with the exclusive purpose of playing the music of Frank Zappa. Since then, they have performed in numerous venues and in different events in Portugal. Now they bring to this 2009 issue of Imaxinasons a first-class show featuring as guest star Napoleon Murphy Brock.

It was precisely Frank Zappa who first discovered Brock’s music in Hawaii when he was playing in a club with the soul band Gregarious Movement. Zappa convinced him to join his band. That was in 1975. Shortly after, Brock became a member of the group The Mothers of Invention and was involved in albums as important as the live record Roxy and Elsewhere (DiscReet Records, 1974) or Size Fits All (DiscReet Records, 1975). What Zappa saw in Napoleon was not just a saxophonist, but also a singer and a frontman. Once his collaboration was granted Napoleon became a principal figure of Zappa’s projects until the end of the 1970s. The Low Budget Research Kitchen project has taken a central place in the most relevant Portuguese jazz festivals. Imaxinasons is prepared to receive them in their first foray in Galicia, with the additional value of bringing with them one of Zappa’s most prominent and superb collaborators.

Napoleon Murphy Brock: Saxophone and voice
Pete diMosso: Soprano and tenor saxophones, flute
Guido Soprano: Alto and baritone saxophones, bass clarinet
Kubilai Khan: Guitar
Dexter Greenberg: Guitar
Johnny Edgar Zim: Keyboards
Lou Serdozza: Keyboards
Frankie Figueroa: Electric bass
Tony Carbone: Drums

More information available on

00:30 Jazz in the Night

3

July

20:50 Marching Bands

21:00 Andreas Willers

Santiago de la Muela Jazz Orchestra

Praza do Rei. 3.07.2009, 23:00.
Free

Many of the characteristics of some of the best jazz artists can easily be found in Santiago de la Muela, along with all the skills and expertise which are necessary for a Spanish instrumentalist of the current times. Apart from his masterly ability to play the guitar and the intelligence of his compositions, Santiago de la Muela has the energy and the passion required to embark himself upon most ambitious projects, whether it is to set up a big band, to convey his know-how to young novel musicians or to defend the interests of jazz professionals, like when he headed the Madrid jazz association or when he participated in associations established with the aim of supporting jazz.

Born in the Canary Islands, he has a thorough knowledge of those which should be the main duties and abilities of a crossover musician in the national jazz context, including composing, making arrangements and performing, but also those related to managing, promoting, and of course selling albums.

The fact that he has been capable of establishing and maintaining a big band alive is very good news, as the financial, structural and managerial problems involved are many-fold. And it is particularly hard if the orchestra is intended to be well conducted, if a solid rhythmic section is to be maintained −with double bassist Christian Pérez and drummer “Sir Charles” González−, if you have in the band one of the very rare Spanish solo jazzwomen −pianist Marta Sánchez−, if you have brought together a bunch of young artists who manage to bring back to life the age-old spirit of traditional big bands, and if the live repertoire of the orchestra includes a well-balanced mix of jazz standards and original tunes −with songs like Samba Pepita, dedicated to the guitarist’s mother, or Fin de Trayecto, dedicated to one of his Republican relatives killed in combat in the 1936 Spanish civil war, both included in his record Líneas Paralelas. These appear to be more than sufficient reasons to understand why Santiago de la Muela Orchestra was so warmly welcomed in the national jazz circuit.

Santiago de la Muela: Guitar, arrangements, composition and conduction
Christian Pérez: Double bass
Carlos “Sir Charles” González: Drums
Marta Sánchez: Piano
Juan Ramón Callejas: Alto and soprano saxophones
Juan Luis Ramirez: Alto saxophone, clarinet
Ramiro Obedman: Tenor saxophone, flute
Alejandro Pérez: Tenor saxophone, bass clarinet
Rafael Serrano: Baritone saxophone, flute
Cheryl Walters: Trombone
Luis Zenner: Trombone
Antonio Tercero: Trombone
Iker Aierbe: Bass trombone
Jonathan Badichi: Trumpet, flugelhorne
Raul Gil: Trumpet, flugelhorne
Carlos Rossi: Trumpet, flugelhorne
Antonio García: Trumpet, flugelhorne

More information available on

23:00 Pepe Evangelista Cuarteto
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Santiago de la Muela Jazz Orchestra

4

July

11:00 Master Class: Nils Wogram

20:50 Marching Bands

Lucas Niggli

Teatro-Cine Salesianos. 4.07.2009, 21:00.
Price: 3€

Big Zoom

Percussionist Lucas Niggli (Camerun, 1968) has now established the Big Zoom. This quintet brings together the members of his previous long-lasting and most successful trio formation, Nils Wogram, Philipp Schaufelberger and himself, and the new excellent acquisitions of Anne Le Berge and Barry Guy. The group began its adventure last year featuring in selected festivals, and Imaxinasons has turned out to be one of their venues of choice to provide a highest-level jazz encounter of this kind. Lucas Nigglis’ proposal ranges from power rock to free jazz and touches a number of different registers, with and excellent combination of pre-composed tunes and improvisation. The basic solid working structure of the trio has managed to take in smoothly the new resources now incorporated to it with the new members. The trio has become a quintet. The Zoom has now turned into a Big Zoom.

In sum, Lucas Niggli is travelling to Vigo’s Imaxinasons Jazz Festival with a superb band. And he is travelling with his usual colleagues, Guitarist Philipp Schaufelberger and trombonist Nils Wolgram. Wolgram already participated in the first issue of Imaxinasons with the Root 70 quartet, whose sound resembled that of a small-size but simultaneously most efficient orchestra thanks to the many resources of this German artist. That was the structure of Zoom. The Big Zoom structure involves the intervention of groundbreaking double bassist Barry Guy, with his participation both solo and with his own orchestra in the previous issue of Imaxinasons, and of the fabulous American flautist (now resident in Amsterdam) Anne La Berge, a woman who can manage to pull down any preconceived idea about the flute that you may have after her many years of musical exploration.

Lucas Niggli. Percussion
Anne La Berge: Flute
Nils Wogram: Trombone
Philipp Schaufelberger: Guitar
Barry Guy: Double bass

More information available on

www.lucasniggli.ch

21:00 Lucas Niggli

Omar Sosa

Praza do Rei. 4.07.2009, 23:00.
Free

Afreecanos Quartet

With his seventeen albums (plus number eighteen, which is about to be launched), with the acknowledgment of both critics and public, and with the most prestigious jazz festivals featuring his music, Omar Sosa (Camagüei, Cuba, 1965) is a worldwide recognized figure of Latin jazz. The path followed by this Cuban pianist does not fit any pre-established and rigid classification, as his music combines in an explosive fashion the American and African musical traditions. Sosa is not at all reluctant to practicing fusion, and his musical initiatives are a faithful reflection of his own ideas about music and jazz. From his view, jazz is much more than just a type of music: it is a full-fledged philosophy, a lifestyle which offers the possibility of mixing and combining varied styles and genres, to the point where it becomes a wide-open space for artistic freedom and creativity.

Sosa will bring to Imaxinasons Afreecanos (OTA/Harmonia Mundi, 2008), a piece of work about Africa −a continent that is approached as the point of departure for jazz− brewed in the multi-cultural Barcelona of the 21st century. The project’s name is a play on the words “Africa” and “Free”, since as the Cuban saying goes “Everything comes from Mother Africa”. Without this legacy Omar Sosa would never have been the kind of artist he is, such as he himself admits. In his attempt to process that wealth of traditional old-age values and tunes, Sosa embraces jazz in a piece of work that depicts the female side of the African continent. On the stage his band will feature bassist Childo Tomás from Mozambique and a usual member of the Cuban’s trio formation, singer and instrumentalist from Senegal Mola Sylla, and Marcos Ilukán, a Cuban percussionist often present in Europe’s Latin circuit. Over the last years Sosa’s contributions to music have been acknowledged by a growing number of jazz fans, by the specialized jazz journals, and by his fellow-colleagues as well. He was nominated for the 2004 and 2006 awards of the British BBC Radio 3 within the “Americas” category. In 2005 the New York Association of Journalists nominated him for the award to the best jazz album for Mulatos, and only one year later this album led him to become a finalist for the Grammy awards to the Best Latin Jazz Album.

Omar Sosa: Piano and Rhodes piano
José Julio “Childo” Tomas: Bass and marímbula
Mola Sylla:Voice and hand percussion
Marcos Ilukán: Percussion

More information available on

23:00 Carlos López
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Omar Sosa

5

July

Abe Rábade Septet

Teatro-Cine Salesianos. 5.07.2009, 19:30.
Price: 3€

Open Doors

Abe Rábade (Santiago de Compostela, Galicia, 1977) is an indispensable figure of Iberian jazz who has participated in numerous groundbreaking initiatives and projects. When he was four he began to learn music, and by the age of seventeen he made for the USA, where he gained a cum laude degree in Jazz Composition and Piano Performance at Boston’s Berklee College of Music. He has been living in Santiago since the year 2000. The starting point of his brilliant jazz career came only one year later, when he obtained with his trio the second prize in Getxo’s Festival (Basque Country) for Babel de Sons (Xingra, 2001); also that year he won the Tete Montoliu award to the best young pianist of the year in Spain, given by the Spanish Society of Authors Composers and Publishers (SGAE). Currently, he is combining composition with performance activities, and is teaching at Pontevedra’s Jazz Seminar, of which he is also co-director with Paco Charlín.

His project Open Doors is a format that reflects the basic underlying musical structure of the Abe Rábade Trio, one that has brought great joy to his faithful public, and is conceived as a one-piece composition which includes eight well-differentiated parts interlinked with preludes, featuring each time a different soloist. The project is loaded with lyricism and is the result of Abe’s personal interests, giving his piano −which acts as the thread that shows the way to all the other instruments− a leading role but without interfering with or hiding the role of the other band instruments. It may seem contradictory, but the fact is that this Galician pianist has managed to combine what could be deemed as a personal and intimate work with the complexity of a septet structure. The large number and the high-quality of the band members does not result into an excessively complex plan or into a kind of affected music; quite on the contrary, Rábade approaches this as a very personal project, as an exercise of honesty, where he dedicates some tunes to his own home town (Campo de Estrelas), to his sister, poet Maria do Cebreiro (Cebreiro) or even to a marine casualty which resulted in an oil spill and, therefore, in a collective disaster (Prestige).

Abe Rábade: Piano and composition
Chris Kase: Trumpet and flugelhorn
Vicente Macián: Alto saxophone
Jesús Santandreu: Tenor saxophone
Toni Belenguer: Trombone
Pablo Martín: Double bass
Bruno Pedroso: Drums

More information available on

19:30 Abe Rábade Septet