ALFRED ARTIGAS QUARTET – Permiso

PERMISO

Artist : Alfred Artigas Quartet

Release Date : December 18, 2017

Label : Underpool

Format : Digital / CD

Produced by Alfred Artigas
All compositions by Giovanni di Domenico and Oriol Roca
Recorded at Underpool Studio, Barcelona
Recording & mixing: Sergi Felipe
Mastering: Joan Hernàndez
Artwork & design: Robertiko Ramos and Pepon Meneses

Buy album:

Permiso és la banda sonora d’un Alfred Artigas viscut, ple d’experiències que inspiren les vuit composicions originals d’aquest disc on les diferents cares de l’amor en són protagonistes.

Personatges com McArthur Wheeler, l’atracador convençut de ser invisible, Eroerido, que gravita sobre la necessitat de ferir de mort l’heroi que la societat ens convida a encarnar, o Ullapool, una escena de repòs després de la batalla, són el punt de partida per escoltar un quartet que sap descriure a la perfecció cada una de les històries que trobem a Permiso.

Artigas, que manté una forta relació amb l’illa de cuba ha inclòs també en aquest disc una versió d’un bolero que va popularitzar Benny Moré, Fiebre de ti i ha encarregat a l’artista cubà Robertiko Ramos la portada, que el propi autor descriu amb ironia com una versió tropical d’ El Jardí de les delícies del Bosco i que ens parla d’una manera d’entendre la vida i la música.

 

“Permiso es un  trabajo en equipo, sentimientos compartidos y ambientes fabulosos.” Candido Querol, B-Ritmos (ESP)

 

Alfred Artigas – Guitarra

Toni Siagi – Piano

Marc Cuevas – Contrabaix

Oriol Roca – Bateria

www.underpool.org

DAVE BIANCHI – Kashmir Sweet House

Kashmir Sweet House

Artist : Dave Binachi
Release Date : December, 2017
Label : Whatabout Music
Format : CD/Digital

Recorded at Dry Town Studios, Barcelona

Mixing & Mastering: Dave Bianchi 

Production: Dave Bianchi

 

Buy album:

The fourth album from Whatabout Music founder and producer Dave Bianchi. A much more stripped-down approach to his music, featuring orchestral work with violinist Lisa Bause and cellist Sasha Agranov.

“Kashmir Sweet House” also includes Dave’s cover of PJ Harvey’s “The Garden” from her 1998 album “Is This Desire?”

 

 

Dave Bianchi: vocals, guitars, keys
Lisa Bause: violin
Sasha Agranov: cello
Miguel Serna: bass
Oriol Roca: drums
Yally Street: bassoon on “Kashmir Suite”
Ivo Saint: additional violin and solo on “Kashmir Suite”
Paolo Atzei: sitar on “Kashmir Suite” and “Mazes”

 

www.whatabout-music.com

ORIOL ROCA TRIO – MAR

Mar

Artist : Oriol Roca Trio
Release Date : September 15th , 2017
Label : el NEGOCITO Records
Format : CD

Recorded at Studio Grez, Brussels February 18th 2017

Mixing & Mastering: Manolo Cabras 

Production: Oriol Roca & Rogé

 Artwork & Photography: Àlex Juan 

Go to ORIOL ROCA TRIO

Buy album:

The Barcelona percussionist Oriol Roca has performed alongside some of the best improvisers and composers of creative music in Spain, as well as collaborating with European figures like the Italian Paolo Angeli and Norwegian Jan Bang. But this is the first time Roca leads and writes music for his own band with the album Mar, published by Belgian label el NEGOCITO Records.

 

Mar is a record of high emotional intensity, sometimes serene and at others volcanic, where north is always the melody. His two fellow musicians of the trio are Italians living in Brussels who he has shared projects with for fifteen years: the pianist Giovanni di Domenico, collaborator of Jim O’Rourke and Arve Henriksen and the double bass player Manolo Cabras, sideman of Enrico Rava and Charles Gayle.

 

It’s an uneasy serenity Oriol Roca settles into on his new recording Mar.  All of the ingredients necessary for a strong dose of tranquility are present: melodic fragments suggestive of possible endings, the murmur of percussion like slow, easy breaths while dreaming, and highly-charged, vivid imagery.  But the drummer, along with his trio of pianist Giovanni Di Domenico and double bassist Manolo Cabras achieve a tone that is subtly ominous and reveals a strange beauty. Bird is the worm (USA)

 

“Oriol Roca est de ces batteurs qui nous démontrent, par cette grande sensibilité qui le caractérise à la fois comme musicien et comme compositeur, que l’art de la percussion consiste à souligner l’impulsion d’une musique, non de taper sur quoi que ce soit. ‘Mar’ est un album gorgé de plaisirs éphémères, une musique qui prend le temps d’être concise, pour aller à l’essentiel et ne dire les choses qu’une fois.” Citizen Jazz (FR)

 

“Oriol Roca est un batteur d’une sensibilité frémissante qui ne manque pas de muscle pour autant. À l’écoute de ce magnifique trio, son jeu n’a cessé de nous renvoyer à l’un des plus grands percussionnistes qu’ait connus la free music, l’immense Barry Altschul (Sam Rivers, Anthony Braxton), dont Oriol apparaît aujourd’hui comme l’évident héritier.” Focus Vif (BE)

 

“Oriol Roca est un excellent batteur qui nous offre un album sobre et profond qui ouvre une infinité de portes pour l’avenir de ce trio, que l’on suivra avec intérêt.” Improjazz (FR)

 

Un trabajo pausado, plácido y envolvente, que requiere su escucha atenta Tomajazz (ESP)

 

  • Giovanni di Domenico: piano
  • Manolo Cabras: double bass
  • Oriol Roca: drums

 

Label: www.elnegocitorecords.com

Booking: www.elcolmadomusic.com

 

 

MEMORIA UNO – SONS OF LIBERTY / LIVE IN GRANOLLERS

Sons Of Liberty / Live at Granollers

Artist : Memoria Uno

Release Date : July 1, 2017

Label :Multikulti Project (PL)

Format : CD/Digital

Recorded Live at Casino de Granollers (Barcelona) by Adrià Vidana Ruiz on February 26th, 2016.
Design by Witek Oleszak

Buy album:

There it is, the third album – after Crisis and Cook For Butch – of an amazing group of Iván González Memoria Uno. The name says everything about the author’s intentions and does so in virtually every language in the world. The group was formed to form the world of new exciting music, keeping in mind the multidimensional history of the art of improvisation, composition and directing, drawing from it, with enormous enthusiasm.

Every concert of Memoria Uno is a unique event both, due to the fact that the members of the orchestra change month to month, but also due to the personal and instrumental size, applied improvisation techniques, accumulation of musical personalities responsible for the final effect.

Ivan picks musicians for Memoria Uno who know his working methods well, but who at the same time are proficient enough improvisers to deal with every stage situation. The concert with Granollers proves it in its every second.

If the phenomenon of group improvisation has for years been the London Improvisers Orchestra, then the case of Memoria Uno proves that the competition on the European music scene is growing at a supersonic speed.

Before the original listening of this recording, you will not be provided with an extensive perception manual. Too many words could significantly limit your imagination. Immediately launch this disc and let every sound be a surprise!

 

Liner Notes by Andrzej Nowak, Trybuna Muzyki Spontanicznej
  • Iván González, conduction
  • Julián Sánchez & Pol Padrós, trumpets
  • Tom Chant & Albert Cirera, tenor and soprano saxophones
  • Alfonso Munoz, alto and baritone saxophones
  • Christer Böthén, bass clarinet
  • Pablo Rega, guitar
  • Agustí Fernández, piano
  • Johannes Nästesjö & Àlex Reviriego, doublebass
  • Núria Andorrà, percussion
  • Oriol Roca & Ramon Prats, drums
  • Sonia Sánchez, dance in Conducción #77 ( Part V and Part VI)

MUT TRIO & MASA KAMAGUCHI – My Ship

My Ship

Artist : Mut Trio
Release Date : April 15, 2017
Label : Fresh sound Records
Format : CD

Recorded at Dry Town studios, Barcelona on March 15th 2016

Recording engineer: Dave Bianchi

Mixing and mastering: Josué Pascual

Artwork: Alex Juan

Producer: Mut Trio

Executive producer: Jordi Pujol

Go to MUT TRIO

Buy album:

On the Barcelona scene (and beyond) the leaderless MUT Trio has a unique and idiosyncratic voice. It’s a voice that combines sparse structures and eloquent improvisation. A voice in which space and silence are equal partners alongside the instruments. It’s a voice that continues to evolve on this, their forth recording.

 

The MUT sound still features Miguel Fernández’s agile tone and minimal, fragmented phrasing, Albert Juan’s infinite textures and melodic refraction, and the cymbal-infused percussive landscapes of Oriol Roca… but with the addition of occasional live collaborator Masa Kamaguchi on bass, the sonic palette has broadened a little. Yet in bringing this deeper timbre, Kamaguchi is at home with the ‘less is more’ MUT philosophy and adds a variety of string-rattling subtleties without the slightest injury to MUT’s trademark mesmerising flow and cliché-free clarity.

 

MUT Trio is about melody. Often partial, splintered even; tuneful shards are repeated, turned over, given fresh response, pushed through the looking glass, creating unpredictable journeys for the listener. From the precision and pace, to the hint of the souk, or the folk-ish roots of their music… some possibilities only become apparent (or possible) once in motion, and MUT are in constant motion.
It’s been said before – notably by Ornette Coleman – that you cannot intellectualise music without diminishing it in some way, what really matters is the emotional response. MUT Trio’s music is primarily an emotional endeavour: curiosity, melancholy, joy (from quiet to fierce), liberty, wonder, and warmth, this is music alive with feeling.

Text by Dave Foxall

  • Miguel Fernández: tenor and soprano saxophones
  • Albert Juan: guitar
  • Oriol Roca: drums
  • Masa Kamaguchi: double bass

 

www.freshsoundrecords.com

DAVID MENGUAL SLOW QUARTET & CARME CANELA – Extraña alegría de vivir

U

Artist : David Mengual Slow Quartet & Carme Canela
Release Date : April 19th, 2017
Label : Bebyne
Format : CD

Recording engineer: Sergi Felipe

Recorded at Estudis Underpool, Barcelona on February 24th & 25th 2017

Mixing and mastering: Dave Bianchi at Dry Town studios

Producer: David Mengual

Executive Producer: Iñaki Sandoval

Photography and artwork by Carles Roche

Go to DAVID MENGUAL SLOW QUARTET

Buy album:

El poemario de Sandro Penna, complementado con la poesía de Màrius Sampere, ha sido la semilla que ha generado el nacimiento de esta nueva propuesta. Sus poemas, empapados de gritos ahogados, y llenos de musicalidad, han sido el embrión perfecto para cocinar las composiciones de este disco. Sin duda la persona mas cercana, humana y musicalmente, a esta sensibilidad estética y formal, es la gran cantante Carme Canela. Su personalidad, trayectoria y musicalidad, encaja perfectamente con la intención del proyecto. El gratificante resultado de este encuentro, ha derivado en este disco. Se podría resumir en tres palabras: Sinceridad, emoción y felicidad de encontrar un espacio de libertad y expresión. La música retratada en este disco, es como si fuera una huella del itinerario creativo del proyecto, que no contempla ninguna posibilidad de abandonar el proceso. En la grabación, crecen las colaboraciones de Benet Palet, Sandrine Robilliard y Marco Mezquida.

 

  • David Mengual: double bass
  • Carme Canela: vocals
  • Pintxo Villar: tenor sax, vocals
  • Dani Pérez: guitar
  • Oriol Roca: drums
  • Sandrine Robillard: cello
  • Marco Mezquida: accordion
  • Benet Palet: trumpet

 

www.bebyne.com

SKRUFFY BACKPACKS – Unmentionable Plagiarism

UNMENTIONABLE PLAGIARISM

Artist : Skruffy Backpacks
Release Date : July 28, 2017
Label : Nuevas Músicas Colombianas NMC
Format : CD/Digital

Recorded on February 2014 at Underpool Studio (Barcelona, Spain)

Sound engineer and mixing: Sergi Felipe

Music by: Juan Pablo Balcazar

Buy album:

  • Juan Pablo Balcazar: electric bass
  • Dani Comas: electric guitar
  • Miguel “Pintxo” Villar: tenor and soprano saxophone, piano, vocals
  • Oriol Roca: drums

 

Contact & booking: www.jpbalcazar.com

ROGER PUIG – PÍCNIC AL BÚNQUER

PÍCNIC AL BÚNQUER

Artist : Roger Puig
Release Date : September 3, 2016
Label : La Casa Calba
Format : CD

Recorded on September 2014 and March 2015 at Teatre de Ca l’Eril (Guissona, Spain)

Sound engineer and mixing: Joan Pons

Mastering: Yves Roussel

Photography and artwork: Maider Mendaza

String arrangements: Aleix Puig

Music and lyrics: Roger Puig

Buy album:

Roger Puig: vocals, backing vocals, electric and acoustic guitars

Enric Gómez: electric bass

Artur Tort: piano and Philicorda organ

Oriol Roca: drums and percussion

Nico Roig: electric guitar and backing vocals

Quartet Brossa (Aleix Puig, Pere Bartolomé, Imma Lluch, Quico Pugès): strings

Joan Pons: acoustic guitar, backing vocals, banjo, keyboards and analog tape

Roger Mas: backing vocals

 

Contact & booking: www.lacasacalba.org

PICCOLA ORCHESTRA GAGARIN – VOSTOK

Vostok

Artist : Piccola Orchestra Gagarin

Release Date : July 18, 2016

Label : Whatabout Music

Format : CD

All music composed and arranged by Piccola Orchestra Gagarin. Except Piaghesa (elaboration on Sardinian traditional song by Paolo Angeli), Krutitsa vertiysa shar goluboy (elaboration on Russian traditional song by Sasha Agranov). Recorded at Dry Town Studios, February 9th 2016 Barcelona. Sound engineer: Dave Bianchi. Mixing and editing: Dave Bianchi. Produced by Piccola Orchestra Gagarin © Associated producer: Anma Productions / Le Arti Malandrine / Whatabout Music. Distribuited by Goodfellas and Rer Megacorp. Photos: Xavi Puig & Nanni Angeli. Art Design: Hertog Nadler.

 

Go to PICCOLA ORCHESTRA GAGARIN

Buy album:

Piccola Orchestra Gagarin lives up to its name in every way. It’s small because there are only three players, but it sounds like an original orchestra (with instruments tuned to that point). And (Yuri) Gagarin is a nod to history’s first cosmonaut launched into space, with whom they share the same uncertainty when they go up on stage, never rehearsed.

 

This trio with the Italian Paolo Angeli (Sardinian prepared guitar), the Russian Sasha Agranov (cello) and Catalan Oriol Roca (drums) has released their second album “Vostok” honoring the spaceship Yuri Gagarin used on the first flight on April 1961.

 

Paolo Angeli: prepared sardinian guitar, vocals

Sasha Agranov: cello, saw, vocals

Oriol Roca: drums, percussion

Press

 

Creo que fue Tom Waits quien dijo que aborrecía las emisoras de radio musicales temáticas, algo habitual en su país pero ajeno al nuestro, abandonada como está a su suerte la radio digital en España. Razón no le falta al estadounidense, nada más estrecho de miras que un mundo monocorde. Por eso creo que le gustaría el segundo disco de la Piccola Orchestra Gagarin, porque sin ser una emisora sí es un emisor de diversidad. Será que desde el espacio se puede tomar perspectiva de la riqueza musical del planeta.

Vostok, relevo de aquel peculiar menú de degustación que fuePlatos Combinados, es el nombre de la nave en la que viajó el astronauta Yuri Gagarin. El ruso, primer humano en viajar al espacio, falleció irónicamente en accidente de aviación, hecho que la POG conmemora aquí con una marcha fúnebre, himno doliente sobre el que bien hubiera podido recitar Waits, megáfono en mano, firma del baterista Oriol Roca. Y es que en esta carrera músico-espacial, el trío barcelonés se instaló desde el inicio en el terreno de la ironía, incluso involuntaria, como la de abrir disco dedicando un tema a Mandla Maseko, anunciado como el primer africano negro en viajar al espacio. Todavía está esperando.

Ironías aparte, lo de la POG es algo muy serio, aunque su presencia escénica, embutidos en unos peculiares trajes espaciales, invite a la chanza. En serio, el salto que ha dado el grupo de seis años a esta parte es cósmico. Si el primer disco era la grabación de su segundo concierto, fundamentado en la casi más absoluta improvisación, ahora nos ofrece una versión de estudio (pre)meditada, muy bien estructurada y con la novedad de la incorporación de varios temas con firma. Se mantiene el sello del inconfundible canto sardo de Paolo Angeli en Piaghesa, y se incorpora Sasha Agranov con una nana tradicional rusa que le cantaba su madre de pequeño, Krutitsa vertiysa shar goluboy, intensa, nostálgica, emotiva, biberón de alta graduación.

A Tom Waits creo que le podría gustar, porque el disco tiene incluso un punto canalla, y sobre todo porque se abre con sonoridades africanas que después son rusas para inmediatamente tornarse árabes al rendir homenaje a la grande entre las grandes de la canción epigcia, Oum Kalthoum. Siendo terreno instrumental, el trío capta muy bien los giros rítmicos y la estética de su música, ayudados en gran medida por la capacidad de mutación tímbrica de la guitarra de Angeli. Sin ser un continuo de improvisación como en el caso del anterior disco,Vostok va hilando temas con fluidez, como si el satélite fuera avanzando alrededor de la tierra y captando señales que la POG naturaliza e integra en su propio idioma, a medio caballo del rock progresivo, el folclore y el jazz.

Terreno indefinido, que no diluido, porque con tan poco arsenal instrumental la Piccola suena grande, poderosa, versátil, tierna incluso. A la espacial, melódica y, sí, tierna Cançó de bressol de Oriol Roca -Uri en su versión musiconauta– le sigue Crater malaria, un breve ejercicio de exploración colectiva, que marca ese tono de humor inocente y asombro extraterrestre del trío. Humor de bourbon en el brillante cierre de disco, cuando la música danza bajo unas palabras que, de forma pedagógica, aconsejan cómo afrontar los riesgos de la bomba atómica. Lo dicho, ¡la bomba! Carlos Pérez Cruz, El Club de Jazz

 

In 2013 I bought a CD (Marcel·lí Bayer’s “Les Narrations”, in case you’re interested) and with it came a free sampler disc, “Jazz from Catalonia 2012”. New to town, it was a good introduction to the variety of jazz and improvisation in Barcelona and one of the stand-out tracks was Piccola Orchestra Gagarin’s Corsicanskaya.

Now, here we are in 2016, and POG have a new disc available, “Vostok”, named after Yuri Gagarin’s planet-leaving craft from April 1961. The previous disc, “Platos Combinados” was a live recording, capturing POG’s quirky, charming, wry, folk- jazz explorations, and “Vostok” continues the same journey; if anything, travelling further afield.

This is a highly compelling album. There are multiple modes of entry – African rhythms, re-worked traditional songs, almost-classical grandeur, free noise, etc. – and you’re bound to be sucked in by at least one of them. Once inside, the kaleidoscopic, ever-transforming musical vista will keep you there as one facet leaps smoothly to the next. Not to mention Agranov’s agile and entrancing cello, Roca’s deceptive anti-rhythms and ear for detail, and Angeli’s chameleonic stringed grace. And yet, despite the broad variety of flavours, it all forms a completely natural whole.

The space and cosmonauts theme is established from the off, but with a difference. Mandla Maseko is or will likely be the first black African in space (excuse the uncertainty – Google?!) and so the disc starts with POG branching out into some African percussion rhythms. Other highlights include Krutitsa vertitsa shar goluboy which is more familiar POG territory, a take on a traditional Russian song of unrequited love sung by Agranov (after just one listen, I found myself humming the chorus refrain in the shower, which hopefully is a good thing…)

The counterpart to Krutitsa… is Piaghesa, a traditional Sardinian song with Angeli on vocals. Both songs offer that folk-y mix of wistful hope and melancholy but filtered through a willingness to experiment and explore. Between them bookend the group’s roots nicely. But wait, what about the third member of the triumvirate? Roca’s Catalan upbringing is represented by a couple of cançons of which the lullaby Cançó de bressol is particularly affecting with its stately, soothing, semi-classical vibe.

Meanwhile, Dum Kalthoum conjures the air of a souk  – hot, dusty, raw spices – with the angular drumbeats pushing all three in unexpected directions. Crater Malaria is pure free-form fun. And returning to space, Himne follows a BBC-ish announcement of Gagarin’s death with a powerful, sombre-yet-celebratory funeral march (and the homages to fallen cosmonauts continue with Laika come home).

We close with a dose of POG humour, as Duck and cover draws inspiration from a 1951 US civil defense film, advising children what to do, “when an atomic bomb explodes.” The upbeat, cheery music, complete with quirky bells, shakers and squeaky toys, is the perfect commentary on the straight-faced commentary that informs us that an atomic bomb may knock down signboard and, “break windows all over town.”

“Vostok” is fearless Mediterranean fusion (Agranov may have been born in St Petersburg but the family moved to Israel soon after) with a Cold War space exploration theme and an absence of unnecessary formalism. Sounds good to me… and it sounds better with each listen. Dave Foxall, A Jazz Noise

 

Secondo capitolo discografico per il trio formato dal violoncellista Sasha Agranov, il batterista Oriol Roca e il mentore Paolo Angeli con il suo strumento ibrido tra chitarra e contrabbasso con sezione ritmica inclusa. Il loro quartier generale è Barcellona, si sono conosciuti in un bar malfamato e hanno registrato l’album Platos Combinados, una lunga suite tra jazz, classica e elettronica. Tra mandolino, luneddas e altri strumenti atipici Vostok rilancia la fantasia di questo connubio unico e originale, con maggiore enfasi sulla parte ritmica: Mandla Maseko è una jam session con un mix di batteria in puro stile Stewart Coppeland con archi e pizzicato; Llama un brano fusion sospeso tra Branduari e Paolo Conte. Krutitsa e Himne fondono il sound di Nick cave con il mood di Tarantino; Oum Kalthoum ha un taglio classico ed è l’apice del pathos dell’album mentre Duck and cover è una bizzarra composizione blues con un lungo speech sovrainciso. Piaghesa come stile ed interpretazione mediterranea rendono la Piccola Orchestra Gagarin una sorta di Madredeus 2.0; con la stessa profondità è delicatezza, tra fado e canto. La contaminazione e l’energia del trio si riverberano soprattutto nell’esibizione dal vivo, una tempesta di suoni affascinante e coinvolgente. Guido Biondi, Il Fatto Quotidiano

 

Uno di quei dischi che sfugge a etichette e incasellamenti di qualsiasi natura. Jazz? World Music? Avant-garde? Divertissement? Tutte queste cose insieme, ma anche tanto di più. Il trio composto dal violoncellista russo/israeliano Sasha Agranov, dal chitarrista (e non solo…) Paolo Angeli e dal batterista e “rumorista” catalano Oriol Roca, al secondo lavoro, dopo l’altrettanto brillante “Platos Combinados”, fornisce una serie di input all’ascoltatore, input talmente forti che l’ascolto di “Vostok” diventa una di quelle esperienze che, seppure per soli quaranta minuti, ti inchiodano alle cuffie (nel mio caso) o alle casse dello stereo. Il melange sonoro, soprattutto gli intrecci fra il cello di Agranov e la chitarra “preparata” di Angeli, è talmente tight che risulta in alcuni momenti persino difficile distinguere i due strumenti (una delle peculiarità dello strumento del musicista sardo, una chitarra “sarda” equipaggiata con pedali, pick-ups, martelletti e persino delle eliche, è che può essere usata ad arco e a pizzico), come nel brano “Llama”, uno dei più belli del disco. La parte ritmica (spesso un ritmo de-strutturato o sovrapposto poli-metricamente a quello dei temi) è affidata a Oriol Roca, originale e sempre ben inserito nel contesto sonoro. “Vostok” è un omaggio all’astronauta sovietico Yuri Gagarin, primo uomo a viaggiare nello spazio, che morì, ironia della sorte, in banale incidente aereo. Molti sono le tracce che rimandano al mondo dell’astronautica, anche grazie all’uso di frammenti sonori con voci o interviste dell’epoca: dal brano d’esordio “Mandla Maseko”, intitolato al primo space-voyager sudafricano e che all’Africa deve sonorità (la chitarra ricorda evidentemente il timbro della kora) e drumming e dove appare la voce di Mandla-Maseko-himself , campionata in un’intervista, a “Laika Come Home” che ricorda la cagnetta che venne lanciata nello Sputnik 2, a “Himne” dedicato a Gagarin stesso. Curiosa la track “Duck and Cover”, dove il campione è di un documentario che invita a bambini a difendersi nel caso di… scoppio di una bomba atomica. Altri brani sono quelli dove l’ispirazione tradizionale è più forte: “Piaghesa”, con la voce di Angeli, a richiamare uno dei brani del repertorio del canto a chitarra, argomento sul quale il musicista sardo è un’ autorità in materia, avendo ad esso dedicato i suoi studi di etnomusicologo, fino alla pubblicazione del libro “Canto in Re”; il risultato non è così iconoclasta come nella “Corsicanskaya” dell’album precedente, ma di indubbio effetto. Poi “Krutitsa”, il cui tema, bellissimo, e anche facilmente memorizzabile, mutuato da un brano tradizionale russo. Apice del cd è “Canço de Bressol” composizione di Roca che, da un semplice tema, si sviluppa intrecciando distorsioni, eliche e post-rock: brano capolavoro ! In conclusione, un bel lavoro, solido, suonato bene, che lascia eguale spazio, anche a livello compositivo, ai tre musicisti i quali, e non è sempre scontato, mostrano anche di divertirsi parecchio, specie se vestiti da astronauti. Gianluca Dessì, Blogfoolk

 

Den italienske gitaristen Paolo Angeli, har de senere årene markert seg som en av de aller mest originale gitaristene sør for Klampenborg. Han har gjort en rekke soloplater, og plater og konserter med andre musikere i Italia, og med sin helt særegne gitar (prepared sardinian guitar), hvor strengene går i alle retninger, som gjør at han kan spille gitar, cello, fele og alle andre tenkelige strykeinstrumenter på en gitar. Så vidt jeg vet, så forefinnes det kun to gitarer i verden av dette slaget, den ene tilhører Pat Metheny og den andre Angeli.

I denne trioen har han med seg cellisten og vokalisten Sasha Agranow og trommeslageren Oriol Roca, i 11 låter, hvor de fleste er komponert i fellesskap.

Musikken er svært variert, og vi får musikk som kan være russisk inspirert, italiensk og fra områdene mellom de to landene.

Angeli er en glitrende gitarist, som utnytter den sardinske gitaren på sin helt spesielle måte. Han har full kontroll på alle strengene og sammen med cellisten Agranov, blir dette en plate med stryke/strengeinstrumentene i fokus. Roca blir på mange måter den som holder det hele sammen, ofte med litt tungt trommespill.

Vi får en reise i rommet sammen med de tre «astronautene», og det er liten tvil om at denne romferden foregår i et russisk romskip, for den musikken som fremføres er vel omtrent så langt fra den amerikanske musikken det er mulig å komme.

Hele veien er dette sjarmerende og morsomt. Vi tar med på en reise som er spennende, utfordrende og vital, med sjefsastronaut Angeli i storform.

Innimellom kommer det et og annet transportstrekk som ikke er av det mest spennende, men slik er det vel på en romferd. Det er først når de tre slår seg løs og slipper litt opp, at det spennende skjer. Og på «Vostok» skjer det ofte!

Dette er en slags hyllest til astronauten Yuri Gagarin, og i låta «Himne», av Roca, får vi en slags italiensk kjærlighetsballade, som jeg velger å tolke som en hyllest til Sovjets største romfarer.

Hele reisen ender med en advarsel om atombomben, i låta «Duck and Cover», en slentrende swinglåt, med akkurat passe utglidninger, og med en morsom tekst, og det hele blir et ironisk sleivspark til USA.

En morsom og spennende plate i grenseland mellom folkemusikk og jazz fra Russland til Italia, humor og ironi. Jan Granlie, Salt Peanuts

 

Ceux qui s’inquiètent de l’arrêt récent du programme de la navette spatiale américaine peuvent être rassurés, la relève est prête à entrer en action avec le trio Piccola Orchestra Gagarin (Paolo Angeli, Sasha Agranov, Oriol Roca). Les douze pistes sont très variés mais la fraicheur est omniprésente. On sent la bonheur d’être ensemble, de jouer, de creer et on imagine que le trio doit être excellent en live. Mais sur le CD il est déjà très bien. Ce trio n’est que de bonheur, et représente une étape intéressante dans la musique de Paolo Angeli, que je suives depuis quelques années maintenant. Ici, il a trouvé des complices à sa mesure, Roca est un batteur énergique et créatif. Un disque hautement recommandé, un voyage dans l’espace vraiment pas cher, merci au trois! Joël Pagier, Jazzman Magazine 

 

Si la improvisación es una exploración del espacio sonoro, la Piccola Orchestra Gagarin se lo toma al pie de la letra y viste de astronauta. Orchestra que, de tan Piccola, es sólo de tres: el ruso Sasha Agranov (chelo), el sardo Paolo Angeli (guitarra sarda preparada) y el barcelonés Oriol Roca (batería). Fans del ruso Yuri Gagarin (en los bandos de la carrera espacial eligen –por paralelismo con las condiciones laborales del jazz- a la cenicienta), sobrevuelan paisajes del planeta musical en una combinación muy particular de vuelos de improvisación libre que pueden aterrizar, si el giro orbital de la inspiración lo permite, en la estación de la música tradicional sarda (de la que Angeli es un experto con libro). La particularidad de su instrumentación, la falta de prejuicios y su escaso sentido del ridículo (ni la Unión Soviética más decadente permitiría semejantes trajes espaciales), les permiten ser cercanos al público más refractario y dar luz a una música estelar que lo mismo vuela muy alto que levanta el polvo de las carreteras secundarias. Carlos Pérez Cruz, El Asombrario 

JAZZ FROM CATALONIA 2017

Jazz From Catalonia 2017

Artist : Various artists

Title : Jazz From Catalonia 2017
Release Date :
June 26, 2017
Label :
Catalan Arts
Format :
CD

The aim of this compilation is to give visibility to the music sector in Catalonia and show the vitality of the Catalan record labels. To this end, the CDs are distributed in different fairs where the Department of Culture attends, as well as among international professionals interested in the music produced in Catalonia. The song selection is made by professionals (journalists, programmers, music critics, etc.) based on simple criteria such as quality and internationalization capacity of the different musical ideas. All three discs contain information about each group, as well as the contact details of the record labels and their respective management offices.

 

Oriol Roca appears on the following tracks:

 

Krutitsa vertitsa shar goluboy by PICCOLA ORCHESTRA GAGARIN included in the album Vostok (Whatabout Music / Le Arti Malandrine 2016)

 

X