Ulcerated by bliss, in the manner of the philosopher Emil Cioran, us music lovers we seek, insatiable and stubborn, those sounds that we provide spaces of freedom. In these terms, it is when you turn a mood that goes from the passion for great music knows the 'melofagia ', that is to say, when the music is done as necessary as the very act of breathing. In this emotional framework and not in another, this is where we immerse ourselves in the delicacy of the Colombian musician Ricardo Gallo. We quickly caught his rhythmic, of a universe jazz that does not give rise to indifference. His compositions, present in the second album "Urdimbres y Marañas" enable us to appreciate the universe of sound, the aesthetic sensibility and the voice of their own for a musician owner of their language.
In the present production "Urdimbres y Marañas" we perceive a sound structure rich in dynamism, punctuated by the improvisation of fresh eloquence, alien to simplistic tricks. The music of Ricardo Gallo offers a definitive answer to the current colombian jazz, consolidating in reaffirming our country and internationally, in a well-deserved acceptance from the presence of Antonio Arnedo with its interesting musical triptych. While there is no doubt that the musical study conducted by Ricardo Gallo in New York has allowed him to build with great professionalism, his strength is musical and aesthetic what lofty in the jazz scene Colombian. The professional rigor does not always lead to the musical conceptualization, and much less to understand the music as a malleable material, playful and irreverent ... and it is precisely here where the legacy of the colombian rhythms permeate with the lyrical improvisatory jazz cadences.
Art, in its diversity of expressions, it is a place of events. In the materialist of Tapies painting, for example, some of these spots breathes, expresses a tear, has life, is saying something in each glance that capture that another complaint form. It is a painting where 'happens' something. In music, for its part, this type of event aesthetic is absent most of the times, prevail over the vacuum that entertains, fleeting entertainment, without touching deep sensibilities. In the sound of Ricardo Gallo something is happening, something passes musically, and this makes rico its language. We can say that Ricardo Gallo is a musician cheeky, with the professional competence of 'jalonarnos' with his exquisite jazz, fool, as a kiss inappropriate but poured into passion. With his quartet each topic breathes by itself, to the beat of the beat of their own and lucky listeners.
Every musician is the reference of the other, or of himself. In this dual condition of interpreter moves the Ricardo Gallo. Dare to point out their musical references is makes us an interesting game with the sound memory. When we listen with their long phrases going through the musical spirit of lenni Tristano, participate in the pre-history of the free-jazz, on the other hand the rhythms and pauses is one step closer to the pianist Mayra Melford, resulting in a formula that jazz chooses to Ricardo Gallo at the vanguard of the national jazz. Status that, far from any pretension of figuration and mood light prints and informally in the style of this musician that captures the colombian rhythms in a gaze of the universal music. It is the libertarian spirit who appreciates this type of presences, and especially if it belongs to our beloved Locombia.
Abril 2 – 2013 Twitter:@jazzero
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