Acoplados

SSC1154 2006-10-26

Track List

El Agüita Del Querer - 3:10
Locura De Mi Querer - 4:56
No Me Digas Que No - 2:12
Torre De Arena - 5:25
Te Lo Juro Yo - 3:29
Te Lo Juro Yo - 4:52
Me Embrujaste - 5:39
Compuesta Y Sin Novio - 4:09
La Bien Pagá - 4:36
Compuesta Y Sin Novio - 4:24
Dicen - 4:33
Nana Vidalita De Filigranas - 4:45

Musicians

Chano Domínguez - piano
Guillermo McGill - drums
George Mraz - bass

RTVE Big Band Soloists
Perico Sambeat - tenor sax
Mattew Simon - trumpet
Bob Sands - tenor sax
José Miguel Pérez - alto saxo
Francisco Blanco - barytone sax
Xavi Figuerola - tenor sax
Patxi Urtegui - trumpet
David Pastor - trumpet
Jan Munguía - trumpet
Carlos Martín - first trombone
Juan Scalona - second trombone
Franci isco J. Ruiz - bass trombone
Stephane Loyer - trombone
Marina Albero - cowbell
Ernesto Hernández - maracas

Without forsaking whatsoever its original meaning, the copla, through the voice of Martirio, has acquired a new air, a new form of expression and, most importantly, unquestionable veracity. In addition, the piano and musical creation of Chano Domínguez would appear to have arisen from the very essence of the copla. Today, in this register, the gamble is riskier but the result more rounded. From that experience a trace of an unknown and attractive musical form remained which now sets out and develops a whole range of creative possibilities.
The Jazz language of the trio formed by Chano Domínguez, George Mraz and Guillermo McGill comes from each of the coplas, not in some kind of random manner, but rather intentionally from their respective melodies. As with Flamenco, Jazz music combines easily with everything it comes into contact with, whether this is down to feeling, the ductility of its forms or sensory binding. And this is all done very naturally and elegantly, like recovering the lost echo of something which has always existed but, paradoxically, has remained hidden. However, this is not an easy task.
It is not about parodying or adorning with predetermined rhythmic or harmonic structures the design of the guest melody, but rather exploring its centre and understanding the strength that makes it beat. Maybe this is the only way possible or at least the most honourable, of creating fusion. This is a Jazz which conjures up the south, from the rhythm of Andalusian speech which, despite basically responding to the orthodox standards of the tradition, is also inseparable from the roots of the copla and Flamenco art, both from a point of view of knowledge as well as the natural origin of its main characters.