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SAMUEL TORRES, Ensamble De Jazz (Colombia/Estados Unidos)

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SAMUEL TORRES, Ensamble De Jazz (Colombia/Estados Unidos) MÚSICA Y MÚSICOS DE LATINOAMÉRICA Y EL MUNDO SAMUEL TORRES, ensamble de jazz (Colombia/Estados Unidos) Miércoles 6 de mayo de 2015 • 7:00 p.m. Cartagena, Teatro Adolfo Mejía Viernes 8 de mayo de 2015 • 7:00 p.m. Santa Marta, Biblioteca del Banco de la República Sábado 9 de mayo de 2015 • 6:00 p.m. Bogotá, Sala de Conciertos Biblioteca Luis Ángel Arango TOME NOTA • Los conciertos iniciarán exactamente a la hora indicada en los avisos de prensa y en el programa de mano. Llegar con media hora de antelación le permitirá ingresar al concierto con tranquilidad y disfrutarlo en su totalidad. • Si al momento de llegar al concierto éste ya ha iniciado, el personal del auditorio le indicará el momento adecuado para ingresar a la sala de acuerdo con las recomendaciones dadas por los artistas que están en escena. • Agradecemos se abstenga de consumir comidas y bebidas, o fumar durante el concierto, con el fin de garantizar un ambiente adecuado tanto para el público como para los artistas. • Durante el transcurso del concierto por favor mantenga apagados sus equipos electrónicos, incluyendo teléfonos celulares, buscapersonas y alarmas de reloj. Esto ayuda a crear un ambiente propicio para disfrutar la música. • Por respeto a los derechos de autor de los compositores e intérpretes, no está permitido realizar grabaciones de audio o video ni tomar fotografías durante el concierto. TRADICIÓN, INNOVACIÓN Y EVOLUCIÓN La música de nuestro país es el reflejo de su variedad cultural, geográfica y natural, entre muchas otras cosas. Desde su creación en 1997, el Ministerio de Cultura ha desarrollado un trabajo de identificación y catalogación de diferentes aspectos de la cultura del país, entre ellos la música. Esto lo hace con el fin de poder formular políticas y programas de estímulo que tengan fines claros y que estén bien dirigidos hacia las regiones, poblaciones, expresiones y proyectos que los necesitan. Dentro de ese trabajo, el Ministerio ha elaborado un sistema de identificación de ejes regionales de la música tradicional colombiana. Hasta el momento ha identificado once ejes organizados de acuerdo con la confluencia de prácticas y tradiciones, no de acuerdo con divisiones geopolíticas1. Las políticas culturales varían de país a país, pero, para hacer una comparación burda y quizás entender lo complejo que puede ser atender los once ejes que señala el Ministerio de Cultura, basta con ingresar a la página del National Endowment for the Arts (“Fondo Nacional para las Artes”, de Estados Unidos) para ver qué tipo de proyectos musicales apoyó en 20142. Una búsqueda simple arroja una cantidad de proyectos musicales, pero al mirar página tras página es evidente un apoyo a proyectos de música clásica (orquestas sinfónicas, ópera, música de cámara) y jazz. En una menor proporción, hay proyectos dedicados a la música tradicional (folk) y a músicas del mundo, que recibieron apoyo el año pasado. En un país tan grande como Estados Unidos, para asignar recursos públicos a proyectos musicales 1 casi que basta con comparar orquestas con orquestas y presentadores de música de cámara con sus pares. En Colombia, con once ejes y unas quince o veinte expresiones musicales por eje musical, el ejercicio de estimular al sector musical desde el sector público se hace mucho más complejo. El concierto de hoy presenta Forced Displacement (“Desplazamiento forzoso”) del compositor y percusionista Samuel Torres. La obra, inspirada en un viaje de inmersión e intercambio que hiciera Torres al Urabá chocoano,retrata los efectos que el desplazamiento forzoso de personas víctimas de la violencia ha tenido sobre la preservación de saberes y prácticas ancestrales. Estaes una de muchas consecuencias que el conflicto armado ha tenido en nuestro país,onsecuencias c que se suman al evidente daño físico y emocional de poblacionescompletas. La violencia ha destruido procesos y desarrollos culturales y ha mizadoato familias y tradiciones. La tarea de fortalecer al sector musical desde el ámbito público es titánica, no solo por el inmenso tamaño del sector que debe ser atendido, sinor laspo problemáticas de violencia, sociales, culturales y comerciales que lo rodean. Artistas como Samuel Torres nos permiten visibilizar estas problemáticas perotambién celebrar la riqueza y diversidad de nuestro acervo cultural, en un ogodiál transnacional que incorpora a artistas de otras latitudes y experiencias que ayudan a diseminar este mensaje de celebración pero también de auxilio. 1 Cartografía musical, http://www.territoriosonoro.org/CDM/tradicionales/pages/index, consultada el 11 de marzo de 2015. 2 National Endowment for the Arts, https://apps.nea.gov/grantsearch/SearchMain.aspx, consultada el 12 de marzo de 2015. Nacido en Bogotá, Colombia, Samuel obtuvo su grado en composición en la Universidad Javeriana de Bogotá. Comenzó a tocar a la edad de doce años. Recuerda haber iniciado su aprendizaje en las tertulias musicales que se llevaban a cabo en casa de sus abuelos y otros familiares, e inició su carrera de intérprete con diferentes grupos musicales de su ciudad natal. Aunque su entrenamiento formal lo realizó como percusionista clásico, se sintió atraído por los sonidos y ritmos de diferentes estilos, especialmente de la música latinoamericana y el jazz. En 1998 viajó a los Estados Unidos, donde fue contratado por el varias veces nominado y ganador de premios Grammy Arturo Sandoval, con quien se presentó alrededor del mundo por espacio de cinco años. Durante su estadía en los Estados Unidos, Samuel tuvo la oportunidad de compartir el escenario y grabar con reconocidos artistas, como Tito Puente, Richard Bona, Lila Downs, Angelique Kidjo, Shakira, Alejandro Sanz, Chick Corea, Poncho Sánchez, Pete Escovedo, Marc Anthony, Dave Valentín, Michael 2 Brecker, Larry Harlow, Don Byron, Paquito D’Rivera, Claudio Roditi, Mike Stern, Juanes y muchos más. Ha sido artista invitado de la Boston Pops; de la celebración del 4 de julio “Esplanade 2000”; del Festival de Artes 2000 de Singapur; de la Orquesta Sinfónica de Nashville; de la Concha Acústica de Hollywood; del Festival Latino de 2001; de la Filarmónica de Los Ángeles y del Festival de Jazz de Newport, en Madarao (Japón). Como líder se ha presentado en diversos escenarios alrededor del mundo, entre ellos el Festival de Jazz de Tel-Aviv, la Universidad Interamericana de Puerto Rico, la Red de Festivales de Jazz en Colombia, el Blue Note de Nueva York, el Festival de Cultura de Estocolmo, el Festival de Percusión de Montreal, el Festival de Música de Quebec y el Encuentro de Presidentes del Caribe, en Haití. Parte importante de la carrera musical de Samuel ha sido la educación: ha dictado talleres y conferencias en el Instituto de Jazz de Berlín, el Conservatorio de Delaware, el Conservatorio Nacional de Vietnam, la Universidad de la Cultura en Myanmar, el Conservatorio de Beijing, el Conservatorio de Rotterdam, la Lila Akademin de Estocolmo, la Universidad EAFIT, la Convención de Percusión PASIC, el Festival Tamborimba y la Universidad Javeriana, entre otros espacios educativos. Su formidable estilo lo llevó a ocupar el segundo lugar en la Competencia Internacional para Percusión del Instituto Thelonious Monk, en el año 2000. Su interpretación artística/dinámica y aun relajada, que conjuga velocidad y precisión, es descrita por el Boston Globe como «el feroz solo de conga de Samuel Torres, que pareciera humanamente imposible.» A finales de 2002, Samuel se trasladó a Nueva York, ciudad donde ha ganado gran reconocimiento y respeto como percusionista, compositor y líder de su propio ensamble. La reconocida firma Latin Percussion Inc., la más importante fábrica de instrumentos de percusión, le entregó la dirección, producción y composición de Drums Solos Revisited, un DVD dirigido a aquellos interesados en aprender/ mejorar su interpretación en la percusión. En 2006 grabó su primer CD, titulado Skin Tones, que recibió extraordinarios comentarios de la prensa especializada. La presentación de la banda de Samuel en el Festival de Jazz de Barranquilla, en septiembre de 2008, ha sido descrita por el periodista especializado Ned Sublette como «El gran hit del festival en la noche del sábado... el colombiano que se ha tomado la escena de Nueva York... percusionista de gran habilidad y buen compositor, que ha creado algo nuevo… hablando simplemente, es una música excitante». En 2010 salió al mercado su segundo CD, Yaoundé, que lo consolidó como uno de los percusionistas y compositores de jazz más importantes de su generación. 3 Ciudad Oculta, su primer concierto para congas y orquesta sinfónica, fue estrenado con la Orquesta Filarmónica de Bogotá. Su Cíclicaobra , para congas, cajón y orquesta de cuerdas, fue estrenada en noviembre del11 con20 la City of London Sinfonia, en el Mansion House de Londres, mientrasque su más reciente composición para formato de orquesta,Regreso para congas y orquesta, fue estrenada por la Sinfónica de Berlín en el mundialmenteconocido re Berlin Philharmonie. En 2012, Samuel fue galardonado con una beca de creación porhamber la C Music America, para la cual compusoForced Displacement, una suite en diez partes para su ensamble de jazz, dedicado a las víctimas del conflicto armado en Colombia e inspirado en un viaje a San Juan de Urabá y su tradición bullerenguera. Comentarios de la prensa especializada «… Un profundo oído, percusionista de manos ligeras, capaz de dibujar un arco iris de sonidos intrigantes.» The Washington Post. «… No he conocido un arreglista/productor tan talentoso en más de 25 años.» Martin Cohen, fundador de Latin Percussion. «El estilo de Samuel Torres es pletórico de alegría, y de eso precisamente se trata la música.» Richard Bona. Y acerca de Skin Tones: «... un clásico moderno para todos los amantes del jazz.» Jazz Review. «El percusionista Samuel Torres se roba el escenario y trae cons igo la furia de sus cueros, que se pueden escuchar a gran distancia.» All About Jazz Michael Rodríguez, trompeta Michael estudió guitarra y, luego de escuchar a Dizzy Gillespie y a Arturo Sandoval, se inclinó por la trompeta.
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