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Musica Y Musicos De Latinoamerica Y El Mundo

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Musica Y Musicos De Latinoamerica Y El Mundo Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. 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. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. -Cl) ·-.a.. ca C) Por Luis Daniel Vega Hace más de diez años, cuando Fred Hersch visitó Bogotá con motivo de la versión XIV del Festival de Jazz del Teatro Libre, el eminente pianista dijo que sus mejores alumnos habían sido Brad Mehldau y Gabriel Guerrero. Esta anécdota sirve para ilustrar brevemente el notable estatus que hoy ha alcanzado Guerrero en el ámbito del jazz en Nueva York. Su ascenso, huelga decirlo, discreto y pausado, se ha materializado con su trío (que esta noche tendremos la oportunidad de disfrutar), en sus colaboraciones aliado del titán Jerry Bergonzi, de Bruce Gertz y de Danilo Pérez, así como en sus proyectos junto a Matana Roberts y Dan Blake. Nacido en 1977 en Bogotá, Gabriel Guerrero sintió el llamado de la música por cuenta de su padre, un ferviente amante de la ópera y la música colombiana. A los cinco años empezó a estudiar con la maestra Isabel García. Antes de partir definitivamente a Nueva York en 1998, recibió instrucción de parte de Karol Bermúdez y estudió en la Universidad Javeriana, donde formó parte de los primeros ensambles de jazz dirigidos por el saxofonista Antonio Arnedo. En esos años bogotanos alcanzó a figurar en la incipiente escena local con los grupos Les Clochards y Bembe Consort, con los que participó en Jazz al Parque en 1996 y 1998 respectivamente. Pero el tránsito por su ciudad natal fue breve, pues pronto se inscribió en el Hunter College de Nueva York, donde estuvo dos años antes de partir a Boston a estudiar en el prestigioso New England Conservatory, al que llegó luego de ganar una beca. Allí formó el dueto de música experimental Surca Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. (en compañía del saxofonista Dan Blake) y estudió con Danilo Pérez, Steve Lacy, Fred Hersch, Charlie Banacos y Jerry Bergonzi, saxofonista que ha sido fundamental en su carrera. En el año 2004, mientras era alumno de Bergonzi, Guerrero fue invitado a formar parte del cuarteto del saxofonista, donde conoció al contrabajista Bruce Gertz. Con ellos inició una fuerte amistad que se tradujo en los primeros discos en los que Guerrero figuró como acompañante. Nos referimos a lt Wasn 't Me y Reptilian Fantasies, dos registros del quinteto de Gertz editados en 2008 por el sello Open Mind Jazz. Ese mismo año apareció en la grabación Panama Suite (Artistshare, 2008) del pianista Danilo Pérez, quien convocó a músicos provenientes de las dos instituciones musicales más importantes de Boston: Berklee College of Music y New England Conservatory. Un año más tarde participó en So it Goes (Art of Life Records, 2009), debut del contrabajista Daniel Ori, y empezó la creación de Feyas, su esperado estreno como líder, que por fin vio la luz en 2012, luego de un tiempo prudencial en el que Guerrero cinceló cada composición y cada arreglo con mesura y paciencia. El disco, pensado en primera instancia para ser grabado en trío, terminó por convertirse en un amplio crisol de estilos musicales y formatos que dan cuenta de las aventuras sonoras del pianista: desde el bullerengue y el porro, hasta el tango, el chandé, el hard bop, la música de cámara y el avant garde. Formando un trío de lujo junto con el contrabajista peruano Jorge 2 Roeder y el baterista Eric Dobb (además de la presencia de Samuel Torres, Tim Horner, Ken Cervenka, Jerry Bergonzi y Bruce Gertz en algunos pasajes de la grabación) Feyas llamó la atención de la comunidad del jazz llegando incluso a recibir elogios como el que le dedicó el comentarista Bill Milkowski, quien escribió de manera entusiasta en la revista JazzTimes: "Este es uno de los debuts más sorprendentes y gratificantes de un pianista líder desde que Blue Note editó Discovery: Uve at Montreaux, de Gonzalo Rubalcaba". En contraste con su personalidad tranquila y reservada , el estilo de Gabriel Guerrero es enérgico. Esta noche, en compañía de dos músicos excepcionales como el contrabajista Will Slater y el baterista Richie Barshay, lo que presenciaremos será una explosión de telepatía y sutileza. Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. Will Slater, contrabajo Graduado del New England Conservatory, es un bajista activo en las escenas de Boston y Nueva York. Aparte de su labor como docente, está constantemente tocando con grandes artistas como Jerry Bergonzi, George Garzone, Peter Bernstein, Greg Osby, Joe Hunt, Bob Mases, entre otros. Se ha presentado en clubes como Smalls, Cornelia Street Café, Scullers, Regatta Bar, The Beehive, Jordan Hall, el Ryles Jazz Club y Lily Pad . Slater ha grabado con Jerry Bergonzi y el trío de Phil Grenadier. Ha participado en festivales internacionales como Festival de Jazz de Panamá, Festival de Jazz de Aspen y en 2009 fue finalista del Thelonious Monk Competition. Ha realizado giras por Japón y Europa en países como Polonia, República Checa y Hungría. En la actualidad enseña en la Universidad de Massachussets en Boston así como a estudiantes privados en Nueva York. Richie Barshay, batería Este percusionista, conocido por su trabajo con el Cuarteto de Herbie Hancock, se ha consolidado como uno de los músicos más notables de su generación. Sus giras y grabaciones incluyen los grupos de Herbie Hancock, Chick Corea, Esperanza Spalding, The Klezmatics, Fred Hersch, Kenny 3 Werner, Lee Konitz, Natalie Merchant, David Krakauer, Fred Wesley, Claudia Acuña y Bobby McFerrin, entre otros. Desde 2004 ha liderado proyectos de extensión como músico enviado estadounidense con el Departamento de Estado de Estados Unidos, viajando por África, Sur América y Europa. Durante su juventud se interesó por la música afro-caribeña y luego expandió sus estudios a los conceptos rítmicos de India y la tabla, lo cual inspiró su disco debut Homework (Ayva Records, 2007), elogiado por la prensa especializada como "una gran voz rítmica naciendo en el horizonte" (Downbeat Magazine) y "la llegada de un innovador a quien también le gusta divertirse" (The Guardian). Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. PROGRAMA Colombia tierra querida LUCHO BERMÚDEZ Arreglo: Gabriel Guerrero Snake Shot GABRIEL GUERRERO (n . 1977) Charlie lncognito Oxymoron WILL SLATER (n. 1985) 4 Indo porro GABRIEL GUERRERO La piragua JOSÉ BARROS (1915-2007) Arreglo: Gabriel Guerrero Copetón 111 GABRIEL GUERRERO Sedna Tango reflexivo CONCIERTO No. 25 Digitalizado por la Biblioteca Luis Ángel Arango del Banco de la República, Colombia. NOTAS AL PROGRAMA Por Luis Daniel Vega Músicos colombianos en Nueva York Aunque la primera incursión de renombre en Nueva York de un músico colombiano emparentado con el jazz se dio a mediados de la década de los sesenta con el pianista pastuso Edy Martínez, hay que tener en cuenta que sesenta años antes La Lira Colombiana, la agrupación de música andina dirigida por Pedro Morales Pino, ya había pisado territorio norteamericano en 1901 cuando, luego de un aventurado viaje, fueron contratados para tocar en el Templo de la Música bajo el marco de la Exposición de Buffalo. Inspirado por la música y los Encuentro de Músicos Colombianos en Nueva York viajes de Pino , en Medellín Fernando Córdoba se reunió con El Encuentro de Músicos Colombi anos en Nueva algunos artesanos y creó la Lira York tiene su antecedente en 1998 en Colombia, cuando el pianista y director Pablo Mayor dirigía Antioqueña, quizás la primera el programa de jazz en la Universidad Javerí ana agrupación colombiana -junto al de Bogotá. Para este evento, Mayor invi tó a los estudiantes a presentar música que utilizara ritmos legendario dueto Pelón y Marin­ y melodías colombianas. Los resultados fueron tan en llegar a Nueva York, ciudad producti vos y agradables que Mayor lo estableció a la que arribaron en 1910 y en como modelo para organizar el evento en Nueva York en 2003, durante una visita de los Gaiteros de 5 donde llevaron a cabo grabaciones San Jacinto. Con los Gaiteros como acto principal, históricas de música andina para el primer Encuentro también presentó nuevos actos, con artistas como lván Benavides, Lucía Pulido, el sello Columbia y, entre otras Héctor Martignón, Folklore Urbano y La Cumbiamba curiosidades, el primer registro eNeYe . A lo largo de diez años, el encuentro se ha fonográfico del Himno Nacional de presentado en auditorios muy relevantes de Nueva York, como El Museo del Barrio, Highline Ballroom, Colombia. Flusi hing Town Hall , SOBS y Le Poisson Rouge. A estos pioneros, que poco o nada tenían que ver con el jazz, se les sumaron el tiplista Adolfo Mejía en la década de los treinta y, a finales de la década de los años cincuenta, músicos como el violinista Arty Bastidas, el sanandresano René Grand y el pianista Al Escobar, que incursionaron de lleno en los circuitos neoyorquinos de jazz afrocubano, boogaloo y salsa, con históricas grabaciones como Al Escobar's Rhythmagic (Cadence, 1958) y Exciting and Grand (Seeco, 1967).
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