Jesús Hernández Music » OTHER PROJECTS

Amandla

En el sur de Europa hay una tierra de esencia africana. En los fértiles valles de la Alpujarra granadina es donde se reune esta formación con ganas de compartir sus experiencias e inquietudes artísticas.

In the south of Europe there is a land that has an essence of Africa. In the fertile valleys of the Alpujarras and Granada is where this group has been formed with the desire to share their musical and artistic experience.

Play Pause

Stop

«Prev

HIDE PLAYLIST

No Fear

“Estamos ante una música sin miedo,es decir,atrevida,sin complejos ,una música que nos sumerge en una espiral de emociones que, a veces ,logra que traspasemos la frontera del intelecto embarcandonos en la profundidad de los sentidos:En este viaje jazzistico se nos plantea una vuelta hacia los origenes,a los sonidos atávicos residentes en el jazz,los que mantienen viva y en permanente desarrollo esta música. En sus interpretaciones musicales tienen cabida diferentes tendencias y ritmos ,adentrandose en un laberinto armónico de nuevas ideas donde siempre hay un lugar reservado a la espontaneidad.Temas propios de David Defries y Jesús Hernandez se van alternando con composiciones de Michel Legran,Thelonious Monk,ó Hermeto Pascoal.”

* * *

“No Fear Music-Jazz from Spain. Recorded in Granada their CD includes exciting original compositions and unique renditions of famous standards “Laura” and Besame Mucho.”Jesus Henandez-Piano, David Defries-Trumpet and Flugelhorn, Valantin Iturat-Drums, Juan Masana-Bass By the way…Today, the world is saturated with the sounds of mechanically reproduced music. Many musicians, whose only wish is to play live, are obliged to record their offerings before they go out the road, so that they are already known to the public, and can thus guarantee a concert promoter a fair return, their “product”, having had an airing in the media. It was not always so: the pianist, Bill Evans, when asked why he had not recorded for sometime, said he only recorded when he had Something to Say. As with music, so in theatre. The Marx Brothers took their routines round provincial American theatres for several months, elaborating and cutting their scripts according to public reaction, before returning to Hollywood to film the final version. 70 odd years have passed since Bela Bartok delivered a lecture at an American university, anticipating some of the changes in humanity effected by recorded music. NO FEAR MUSIC was born of a collaboration between Jesus Herni¡ndez & David Defries, playing as a duo in schools thought Andalucia. Returning home to Granada, they sought the collaboration of Juan Masana, seeking ways to expand the role of the Bass. Then, as they started to play concerts as a quartet, came Valentin Iturat, who with good taste and varied experience, earthed the disparate rhythmic labyrinths, inherent in the workings of two Geminis. Thus, their music is the fruit of shared experience over time. Not only had they recorded the music live in 2 days, near Granada, Spain, to become known, in order to play live, but also, because they hope to have Something to Say.”

Escucha el disco y comprarlo aquí:

Hafez Modir and Trío Andaluz – Bemsha Alegría

En Andalucía, una serie de melodías en semitonos de ¾ me surgieron totalmente apartadas de su contexto original persa. El lenguaje de saxofón resultante, de naturaleza acultural, no es ni modal ni tonal, ni métrico, sino simplemente una composición continua que en sí misma no tiene nada de aleatoria. Está totalmente desintegrada del temperamento occidental y sin embargo coexiste con esté, expresado aquí en formas armónicas de los estándares del jazz de Monk, coltrane, Gillespie y mingus. De esté forma, insertados en las formas rítmicas del compás flamenco, surgen títulos como “Bemsa alegría” “blue seguirilla”, “bulería tunecina” y “Adiós soleá” (con la melodía tradicional china de “arroyos que fluyen”).

Tras varias semanas de ensayos (seguidas por algunos conciertos) tuvimos ocasión de grabar el material que aquí se escucha junto a Jesus, Pancho y Juan, de una forma improvisada, conversacional.

In Andalucía, the melodies from 3/4 tones were born completely abstracted from their original Persian context. The resultant saxophonic language, of an acultural reference point, is neither tonal, modal , nor metric, but simply an on-going composition en itself far from random. It is thoroughly disintegrated from yet still co-exists with wester temperament, expressed here over the harmonic forms of jazz standards by Monk, Coltrane, Gillespie and Mingus. Hence, fitted into the rhythmic forms of flamenco´s compas, emerge titles like Bemsha Alegria, Blue seguirilla, Tunisia Bulería and Goodbye Solea (with the traditional Chinese melody of “Flowing Streams”

After several weeks of rehearsing (followed by a few concerts) , Pancho, Jesús, Juan and I, record the material in an improvised and conversational manner.