Receiving the witness
Wednesday, September 24, 2008
Can You Fake A Abortion
All those hands were rested on relentlessly black and white keys, conveying that message in their own unique code, floating between Lopes breeze flowing from the old hat, energy that would allow me to know different horizons. Sauter piano that old emerged the magical notes José Natalio used to play, notes that serve to form part of the stars that would guide by diverse horizons. With each chord, each counterpoint, with each download, the signals appeared carefree define routes unimaginable, amazing and wonderful sounds made roads that are treasured in that cluster cells made of mankind, that same humanity that always wore clothes made with eighth notes and treble clef, with threads of sevenths and ninths, embroidered with dots and silences.
One after another, the stories never failed to appear leaning out between each of the keys, writing stories that were invisible in that booklet, whose endless sheets are still today a reference point, taking as a leading figure of the skinny gold, Agustín Lara, pen and jarocho sound that accompanied so many loves, and stories. All this was played that old piano Sauter, where the left hand which was handled José Natalio swordsman in his final match with skill, with nuances and cadences Caribbean, and his right hand was pure precision and force, releasing fine complex chords and melodies on each key carving their unique stories.
Sensitivity his way from those encounters and stories full of sounds, the voices of Pedro Vargas, Tona La Negra and Juan Arvizu were frequently invited to these gatherings where they were forming all. However, those meetings in my grandfather's house had also its nuances Venezuelans. Antonio Lauro, Antonio Carrillo, Pablo Canela and Laudelino Mejías, among others, emerged as a benchmark in the landscapes that José Natalio etched on his piano for beginning the thing there.
With the passage of time, references were appearing from different corners of the globe, via Lorenzo, the old man, whose tastes ranged from colorful best known rancheras to boleros to Tito Rodriguez. Bridge, meanwhile, would come later. All this represented - and still does - a fabulous flask where different sounds were mixed uniformly, slowly, the heat of tropical sun, cooked in coconut water, allowing each of them could exist without impeding other in perfect coexistence. Rhythms arrival ticket had been doing these, appearing in all its glory, spilling secrets and flavors that came to him that special touch, the secret of the chef, the skill that was needed.
Of those tireless hands caressing black and white keys generously received the baton in the form of witness, to stay in this relentless journey in this sort of discovery of different sounds that lull my ears every time, every time I am invited to follow traveling without a passport or visa, where the labels are left behind, a sign of the universality of sound. All thanks to José Natalio, and the old piano Sauter.
One after another, the stories never failed to appear leaning out between each of the keys, writing stories that were invisible in that booklet, whose endless sheets are still today a reference point, taking as a leading figure of the skinny gold, Agustín Lara, pen and jarocho sound that accompanied so many loves, and stories. All this was played that old piano Sauter, where the left hand which was handled José Natalio swordsman in his final match with skill, with nuances and cadences Caribbean, and his right hand was pure precision and force, releasing fine complex chords and melodies on each key carving their unique stories.
Sensitivity his way from those encounters and stories full of sounds, the voices of Pedro Vargas, Tona La Negra and Juan Arvizu were frequently invited to these gatherings where they were forming all. However, those meetings in my grandfather's house had also its nuances Venezuelans. Antonio Lauro, Antonio Carrillo, Pablo Canela and Laudelino Mejías, among others, emerged as a benchmark in the landscapes that José Natalio etched on his piano for beginning the thing there.
With the passage of time, references were appearing from different corners of the globe, via Lorenzo, the old man, whose tastes ranged from colorful best known rancheras to boleros to Tito Rodriguez. Bridge, meanwhile, would come later. All this represented - and still does - a fabulous flask where different sounds were mixed uniformly, slowly, the heat of tropical sun, cooked in coconut water, allowing each of them could exist without impeding other in perfect coexistence. Rhythms arrival ticket had been doing these, appearing in all its glory, spilling secrets and flavors that came to him that special touch, the secret of the chef, the skill that was needed.
Of those tireless hands caressing black and white keys generously received the baton in the form of witness, to stay in this relentless journey in this sort of discovery of different sounds that lull my ears every time, every time I am invited to follow traveling without a passport or visa, where the labels are left behind, a sign of the universality of sound. All thanks to José Natalio, and the old piano Sauter.
Tuesday, September 23, 2008
Normal Temperature 6 Week Old Baby
Suka Jazz Valencia (The Overview)
Suka Live Jazz ... from Valencia
Suka Live Jazz ... from Valencia The atmosphere looked unbeatable all - or nearly all - which had to be and were either sitting or standing, as was to enjoy a night promising jazz, a lot. The actors or, rather, that reveal the character, music, and were in position start drawing sounds with the complicity of the air, ringing of the strings or the incessant tapping of the mallets on the drums and cymbals.
Pablo Gil
With the flight of the first notes, Pablo Gil showed us their latest production entitled Suka - Live Jazz where purported to show the atmosphere created in Caracas, where was this live recording. However, this time the place chosen to open the way for expressiveness, virtuosity, talent and sensitivity was not exactly Suka, but the mythical Oh Que Bueno!, Traditional site of the city of Valencia, Carabobo state capital city in Venezuela, a sort of refuge where jazz and musical expressions iotras has managed to secure space for some years.
Robert Koch
energy emanating from the fiber of each musician was taking up space, and the music was awesome, arrogant, thick and mix with the magic large audience that was cited, and all power was made possible by the chemistry between musicians and audience, sufficient reason to reach heights never achieved.
Carmelo Medina
many musical virtues arose from those responsible for taking flight. One by one, and together, showed their skills and what they can deliver when it comes to making good music. Pablo Gil air distilled in pot stills to offer high volume, with notes vaporized coming up like lights and made this kind of mix of jazz, funk and rock emerged alive own. Andrés Briceño unsurpassed, always with the humility that characterizes him, gave us good overtones of what a drummer should be: energetic, creative, full of all impeccably maintained virtuosity years in charge of drums. Carmelo Medina, the patio, wore their best clothes as a guitarist, always at your level - tall and solid - as one of the best exponents of the six strings in our country. Roberto Koch, tell apart, provides the security, skill, expertise and elegance to the moment you press the strings of his electric bass, highlighting why it is applied to many of the musical works in the country.
Andrés Briceño
An unforgettable night, with lots of lights from the union of jazz, funk and rock provided by 4 excellent musicians who gave their best, amalgamated as a single unit, but without losing the sense that only jazz available. Bravo for them.
repeat Thursday, September 4, 2008
Nero Vision Seriennummer
Baroko
Music will always be a vehicle to get various ideas to make life together, so that achieve the necessary co-existence between different musical trends and new routes to get sounds. That is why a September 3, 1993, Luis Pena, Efren and Miguel Sevilla have Petrucelli agreed on ideas and the cultivation of sounds and silences to establish Baroko, one of the groups long career in musical orbit of Valencia, Venezuela.
To celebrate its fifteenth anniversary, Baroko gave a concert at the Cultural Center Sucre Eladio German city of Valencia, Venezuela, where they showed us the reasons which have remained as one of the greatest jazz groups level our region, with a repertoire that covers topics of Venezuelan popular music and original compositions by the band, where jazz is presented as the main character, which is accompanied by sound elements of the geography of Venezuela and other regions world. Again, the creativity, talent and high level of musicians was evidenced Baroko each of the interpretations that were heard in a night of celebration for music.
This time Baroko consisted of Oswaldo Flores on electric guitar, offering solos full of energy, emotion and complexity, which has put him in a privileged level among the performers of the six strings in our country. Reinaldo Fernández - class pianist - gave us full performances of skill, elegance and good taste, as has been their property. Behind the drums and cymbals, Frank Polo, versatile drummer with extensive training in the field of academic music, provided the rhythms with the strength required in these cases. Finally, Michael Petrucelli did own dark bass notes, providing the weight necessary to complete the map of sound raised for a moment like this. the surprise of the night was delivered by Venezuelan singer Gilberto Ojeda, who did the vocals of Venezuelan issues with a high level of performance that drew respectable applause from the audience who witnessed the concert.
A concert that left us a pleasing flavor and a rich experience sounds raised by a band that, with jazz as a starting point, has reached new heights with its original proposal of careful preparation and high dose of emotion. Baroko Bravo, and keep going in that way raised, where the music will remain a factor to unite minds and talents.
To celebrate its fifteenth anniversary, Baroko gave a concert at the Cultural Center Sucre Eladio German city of Valencia, Venezuela, where they showed us the reasons which have remained as one of the greatest jazz groups level our region, with a repertoire that covers topics of Venezuelan popular music and original compositions by the band, where jazz is presented as the main character, which is accompanied by sound elements of the geography of Venezuela and other regions world. Again, the creativity, talent and high level of musicians was evidenced Baroko each of the interpretations that were heard in a night of celebration for music.
This time Baroko consisted of Oswaldo Flores on electric guitar, offering solos full of energy, emotion and complexity, which has put him in a privileged level among the performers of the six strings in our country. Reinaldo Fernández - class pianist - gave us full performances of skill, elegance and good taste, as has been their property. Behind the drums and cymbals, Frank Polo, versatile drummer with extensive training in the field of academic music, provided the rhythms with the strength required in these cases. Finally, Michael Petrucelli did own dark bass notes, providing the weight necessary to complete the map of sound raised for a moment like this. the surprise of the night was delivered by Venezuelan singer Gilberto Ojeda, who did the vocals of Venezuelan issues with a high level of performance that drew respectable applause from the audience who witnessed the concert.
A concert that left us a pleasing flavor and a rich experience sounds raised by a band that, with jazz as a starting point, has reached new heights with its original proposal of careful preparation and high dose of emotion. Baroko Bravo, and keep going in that way raised, where the music will remain a factor to unite minds and talents.
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