 |
 |
 |
 |
 |
 |
 |
|
|
SAGUIBA, from the prodigious South of Spain In the South of Spain we embody certain qualities that, at times defy rational description. In order to understand the unique artistic sensibilities that developed in Andalusia through the centuries, some have turned to historical explanations. Others have turned to the realm of mysticism and magic. The magic triangle in the South was home to different cultures, the intersection of which gave birth to one of the most relevant forms of folkloric music: flamenco. In one of the corners of this triangle at the beginning of the 20th century, flourished other musical expressions, such as Manuel de Falla, whose music was directly linked to the creative vanguard of that time. The province of Cadiz, as a maritime city, was the economic center whose wealth offered a huge contrast with the secular poverty of the southern regions. Nevertheless, this poverty was exclusively economic, since the Southern province of Cadiz was open to both the Mediterranean Sea and the Atlantic Ocean sheltering diverse cultures and people whose arrival from land and, more importantly, sea, enriched the region. Although we are now in a new century with its own musical trends, the prodigious creativity of eras gone by still persists. For reasons unknown, during the last quarter of the past century, a brilliant generation focusing its energies on creating a musical expression that transcends traditional forms arose. It is jazz that jumps center-stage imposing an exacting discipline for those musicians who seek to break molds in a continuous search of themselves. After a first phase with mimetic features, the natural creativity based in solid formation starts to fruitfully come into its own with distinctive features that don’t deny its roots, while embracing the music of today. It is in this milieu that we find Saguiba, creating instantly classic and mature music that is still refreshing as the first spring rain. Saguiba takes the harmonic richness, freedom of improvisation and the universality that jazz offers. The folklore of southern Spain, with its rich and varied rhythms and the inspiration arising from other folklores and cultures, comes alive with Saguiba’s composition. Both classical and contemporary music traditions are present, constantly challenging Saguiba to take risks in its search for creating an innovative sound. The bass, the Spanish guitar and the baritone sax, (sometimes alto) become a suggestive and colorful musical form. The raw sounds of the baritone catches up with the airiness of the guitar sounds supported both by the thick and firm pulse of the bass. The three instruments keep up a constant dialogue, sharing in loyalty its intimate musical thoughts with one another under a cameral treatment reminiscent of classical music. The concept introduced by Saguiba is mainly due to the inspiration of two of its three members, guitar Luis Balaguer and sax Carlos Villoslada. Their compositions reflect the open and permeable idiosyncrasies of Andalusia. The echoes of other musical traditions and cultures are revitalized with Saguiba’s own accent and creative stamp characteristic of the South of Spain. Write By FermÃn Lobaton(Critical Music from Spain) The themes 1. Jumping in Trebujena (L. Balaguer). The distinct start from bulerias (with solea beat) from the South introduces the jazz line of the group, always present from the very beginning of the melody up to the completion of the theme. 2. Beatriz (S. Rivers). The bossa nova atmosphere is the ideal vehicle to show the lyricism that Saguiba transmits. The sax is the main voice in a long and vigorous lamento, lightly but beautifully flirted with by the strings of the guitar and the bass. 3. Quel domage (L. Balaguer). In a mezzo-rapido tempo, this theme suggests popular airs (rumba). The guitar becomes flamenco in style and the solos are the personalization of the South. 4. Todo ojos (C. Villoslada). Tango, tango all through this composition by Villoslada. We already mentioned the opening of this land towards the Atlantic, didn't we? The sax announces Argentinean everyday common echoes, which the strings turn into a delicacy. 5. Saguiba (C. Villoslada). The theme after which the group is named has a folkloric inspiration as open as its development and execution. 6. No se (L. Balaguer). A complexity that surprises us in every note with its instrumental delicacy, that doesn’t hide the sentimental expression. It is a long musical journey with enough space for contrastive playing. 7. Irenes (C. Villoslada). The antithesis of the previous sounds and a strong classical presence. Intense precision ensues for the brief period of time that the baroque canon requires. 8. Alnakba (I. Ersahin). Brings Eastern sounds that keep diffusing. Open spaces. Both the sax and the bass draw low sounds that are contrapuntal to the guitar. 9. Close your eyes (B. Peckere). The standard has been recreated with local rhythms. The percussion outlines the bass and guitar musical directions, and those tanguillos expand looking for the Atlantic coast. 10. El Collar (L. Balaguer). The soft tempo introduces a high emotional content that has to be administered slowly in order to be absorbed. No doubt it is the tempo from the depth of the solea, the mother of flamenco emotions. 11. The Jitterbug Waltz (Fats Waller). The musicians go back to the initial tempo. Waltz and bulerias are linked by the same compass (3x4), but in this recreation of the old standard the compass from the South imposes its vivacity and irrepressible happiness. Check out the artist's website: http://bujio.com Track List: 1. Jumping In Trebujena 2. Beatriz 3. Quel Dommage! 4. Todo Ojos 5. Saguiba 6. No SÉ... 7. Irene 8. Alnakba 9. Close Your Eyes 10. El Collar 11. Jitterburg Waltz Suggested CDs:Other Genres:
|