“Flamenco and jazz are brothers,” says pianist Daniel García, one of the most exciting voices of the new generation of Spanish jazz. “They have some essential things in common: self-expression, a total engagement at the instant of making music, plus the deep experience of the moment”. That is how he sums up what “Travesuras” is all about: García has delved deeply into the music of his homeland and has combined influences from it with the vocabulary of the modern jazz piano trio. What emerges is music which is expressive, stands on its own terms, and in which rhythmic intensity is allied with melodic richness, harmonic finesse and exceptional virtuosity.
His musical interaction with long-time band-mates bassist Reinier Elizarde “el Negrón” and drummer Michael Olivera takes place at the highest level: “When we play, we try to concentrate on ‘intensive listening’ to the music we are making. We constantly exchange information and react to it. It’s as if we are making a sculpture in real time, a very intense experience, and we think it is possible to let the audience in on that intensity. On two of the tracks, Spanish flautist Jorge Pardo complements the trio. Pardo is a veteran of flamenco jazz who has played with Spanish musical legends such as Paco de Lucía and Camarón de la Isla, as well as Gerardo Núñez and Chano Domínguez.
Daniel García Diego was born in Salamanca in 1983. As a student at Berklee College of Music in Boston he was taught by Grammy-winning Panamanian jazz pianist Danilo Pérez. Pérez became a mentor for García and had a decisive influence on his musical development.”Music is about truthfulness and self-knowledge, says García. “Only then can you penetrate deeper into things and find your own artistic expression, and Danilo showed me the way.” García’s success was not long in coming: in 2011 he received the award for the best jazz performance in Berklee. He subsequently played with renowned musicians such as Arturo Sandoval, Greg Osby and Perico Sambeat.
Western classical music also helped to pave García’s way to becoming an artist: before he went to the USA, he studied classical piano at the Castilla y León Conservatory in his native Salamanca, one of the top institutions for advanced music education in Spain: “While jazz is all about the WHAT, classical music focuses on the HOW,” he says “And good technique gives me the freedom to express exactly what I feel”. It’s fascinating to hear how García’s music sparkles and shimmers with the cadenzas, harmonies and timbres of classical music, but will then unexpectedly take a flamenco turn, dissolve into jazz harmonies or flow into a powerful improvisation. A very direct reminiscence of classical music comes in the four versions of “Dream of Mompou”, based on the Musica Callada by Spanish composer Frederic Mompou.
Flamenco, jazz, classical music… and there is yet more to Garcia’s musical substance. He describes himself as an eclectic who has also ventured into rock, electronica, music of the Middle East, Cubanism, and even medieval music and Gregorian chant. “So much has influenced Spanish culture – and also left its mark on me. Pieces like ‘Vengo de moler’ and ‘Travesuras’ reflect this development.”
“Travesuras” is anything but a musical patchwork. Nothing sounds randomly put together here. García often takes as the starting point for his explorations underlying harmonic-rhythmic structures and melodic phrases which derive from flamenco: there is a soleá in “Dream Of Miles” and a tango in “La Comunidad”. “My goal is to bring original Spanish music into a new context through improvisation and to make all stylistic dividing lines invisible,” he says. And the album’s title is to be understood in that sense. “Travesuras” means pranks, or mischief, and describes the kind of innocent, naïve, unconstrained behaviour that is often observed in children as they discover the world. “It is a lovely metaphor for what I’m trying to do: to look at the music from a naïve angle. Free yourself from expectations, let yourself drift, and just watch out whether or not something new and interesting emerges.”
Artist Profile: Adrien Brandeis
Adrien Brandeis is a french jazz pianist and composer born in Annecy. After studying at the Nice conservatory, he moved to Paris in 2018 to study with Manuel Rocheman and graduated from the CRR conservatory in Paris.
In 2017, he produced and released his first album in quintet Euforia, which had great recognition and international success after performing in Asia (Jazzmandu Festival in Nepal, Kolkata International Jazz Festival in India).
Euforia put Adrien Brandeis, in the spotlight of the Jazz scene, and led him to be awarded the prestigious Letter One Rising Stars Jazz Award 2018. This award, which recognizes the best young European jazz artist of the year, opened the doors for him to share his music on the biggest European stages during the summer of 2019: Nice Jazz Festival (France), Umbria Jazz Festival (Italy), Leopolis Jazz Festival (Ukraine), Love Supreme Jazz Festival (England), Heineken Jazzaldia Festival (Spain), Kongsberg Jazz Festival (Norway), JazzOpen Stuttgart (Germany).
Subsequently, he toured Mexico to present Euforia in trio, at the International Jazz and Blues Festival of Zacatecas 2019 and in several theaters in the center of the country.
On the French scene, he has won numerous awards: first prize at the Jazz à Juan 2017, public prize at the Jazz 2017 in Porquerolles, among others.
In Paris, he has collaborated with numerous musicians such as Orlando Poleo, Inor Sotolongo, Damian Nueva, Arnaud Dolmen, Abraham Mansfaroll, Felipe Cabrera and Philippe Ciminato.
Very attached to Latin music, he went to study in Havana, Cuba, with Ernán López-Nussa to perfect his piano skills, in September 2019.
These trips and experiences enriched his piano playing and allowed him to write his second album Meetings, a quartet album with Damian Nueva, Arnaud Dolmen, Inor Sotolongo and special guest Orlando Poleo.
Meetings, released in October 2020, allows him to move towards a more modern sound while maintaining a certain freshness. It was selected as one of the best jazz albums in France in 2020 by TSF Jazz radio.
In 2021, Meetings is presented more than 30 times; including festivals and clubs in France (Altitude Jazz Festival, Festival Jazz en Sol Mineur, Festival Musique en Cour, Duc des Lombards) as well as in Mexico (Festival Internacional de Polanco, Festival Internacional de Irapuato, Ciclo de Jazz del Forum Cultural Guanajuato, Festival EuroJazz, Festival Cultural de Mayo in Jalisco).
After two tours in Mexico in May and November 2021, where he was very well received by the Mexican public, he created a strong bond with this country and was fascinated by its culture and the places he visited.
It is then, that he decided to record his third album Siempre más allá, a testimony of his experiences and his personal tribute to Mexico.
This album was recorded as a quartet, with the musicians with whom he had shared the stage a few months before: Giliard Lopes (Brazil), José Loria Triay (Mexico) and Roberto Vizcaíno Jr. (Cuba).
He also had the collaboration of two great Cuban musicians of the international jazz scene: Horacio “El Negro” Hernández and Roberto Vizcaíno Guillot.
In the summer of 2022, he had outstanding participations in the A to jazz Festival (Bulgaria), Jazz à Toulon (France) as well as a special invitation to the San Jose Summer Jazz Festival (USA). He even had the opportunity to arrange and present his music in Piano Solo in Portugal and England.
YouTube Video – Adrien Brandeis – Siempre más allá (EPK)
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