Plaza de la Constitución, Utrera (Sevilla), July 24, 2012
One is not where born but where is becoming. A life that is opened by walking and the terroir little surprised they traveled response when you ask the question of rigor. Nothing new. Back right next to the building where I was born to see a jazz concert. It is not the Trinidad de San Sebastián square, is the place of my people, but almost no one recognizes me.
Meetings and heartbreaks
Leandro Perpiñán is a saxophonist who knows perfectly the mainstream of its instrument, that is to say jazz. He will know, being Valencian and coming from that tradition of good metals then cultivated at Berklee, how it has gone to Sevilla. Listening to accent your partner one comes to understand it. More complicated is to find his quartet and a highlight of hispalense jazz in a town like Utrera, which is not that is far from the capital, of course, it’s just that inevitably results in a listless city (same should say nondescript, but not, I said listless). Although this happens in a unique and unprecedented case, surprisingly affable with jazz, at least during these days of workshops and concerts between genres (classical chamber, baroque, flamenco and jazz) in which the headstrong, necessary and lonely place (thanks to the efforts and restless mind teacher at the Conservatory of Music in Seville and saxophonist Juan Jimenez) Utrera sounds: you know, as most sounds is as vertex of the triangle of the historic Flemish (already disappeared: ie last) to which should the people and their politicians …
Leandro presents each topic combining pedagogy and complicity. Two standards, Isotope (1964) Joe Henderson and Joy Spring (1955) by Clifford Brown, open and close the concert establishing a chronological and aesthetic bridge that runs the inspiration for his compositions. In his introduction, due to the emotional theme which nourishes, summary also the two poles of Lovers Again and Forgetting that mark from beginning to end his recent and recommended album with this line: excel reasons heartbreak and reunion. Timely opening words in a “family” place where there may be only the “public” with jazz opportunity for this year and what it implies in the calendar (decades). Saxophonist relaxing scenic distance with the audience and motivates the respectable to identify with the sounds and musical aspects of styles and eras.
Leandro Perpiñán writing shows clear and seamless exposure. Richer in nuances live than on record as what topics. The speech exhibition theme, solo development and recapitulation is traditional, but the expressive richness of the path taken in between is what drives this music that had the complicity of pristine sound (chapó!), Who stumped more than one in the public (which is to say that is not that people do not understand or do not know, do not give you the opportunity, even his first jazz concert). Everything, absolutely everything, was heard. Smaller and metallic percussion detail, willowy and wise guitar, bass and melodic body of the placid but not complacent sax speech. Draws attention to the sound of Carlos Bermudo on electric guitar, how every day, but he seems to notice, is more like John Abercrombie, serene, close to the world of camera, subtle, concise, set to the melody but the After looking output.
Leandro Perpiñán styles of hard bop, Sonny Rollins, Coltrane expansion, pitch and Dexter Gordon affections … And Joe Henderson recognized. Surprise your live version of I Don`t Know What To Do, unconstrained disk and settled here and effulgent in its mixture of Afro-Latin rhythms in expressive always safe and polyrhythmic Nacho Megina, including cha-cha and blue -bossa. modal structure as we are in that before detailed in Closely Unrelated Modes, Coltrane, Miles Davis, the late 50s with the taste of timbral and melodic thrust chronological refining cycle. Then a ballad, class work brought from Berklee Ellington and Strayhorn, delicate, deep, poetic, slow, difficult and slow times, perception of time and space that some seemed too (it is understood, are not to many cultural romanticisms ). And it comes Forgetting, and Javier Delgado defined in structural difficulty bass prominently in the album here seems lacking freshness issue. It is the most complex harmonically, in its tempo and silences; uses a series of three pieces for orchestra of Alban Berg, dodecafonismo with intermediate (do not put it in Italian) of liberating swing and development in which it seems to us we should continue work towards free forms marked by its intricate beginning. Writing, improvisation, demand that from here perceive as fertile ground.
Much as my memories. He could have been born in a village of Castile ( “old” time) or even in the Valencia Leandro Leandro Perpiñán, if that had been the accepted fate asked my parents, but the end was facing the square where the music today I hear memories of yesterday and found themselves strangely accomplice and haphazardly.