CAMPERO TECHNO MODEL '79
"I was born in 79, I remember Alejo's dad had then, and probably still has the" car of Hitler "in which he would take all of us to school ... Now when I hear Reggaeton I remember Alejo's dad collecting us children from school. The car would be packed with children listening to the music....aaahhhh what memories... sometimes a currulao could evoke the taste of a ripe banana... don't you agree with me Alejo? So this is why, I gave him freedom of improvisation in the first and second part of the recording, all this combined with the influences of rhythm, melody and harmony from Bali and from the Hindu music to create a very peaceful atmosphere. Exactly what Alejo was told by the Japanese audience when He performed it for the first time in Tokyo. "
Composed between January and February 2010 for the percussionist Alejandro Ruiz to be performed by the group EL TOQUE. In short, the piece is built as a palindrome, ie, its shape is an exact mirror from its middle to the end. Its sounds are based on rhythmic structures used in the Dominican merengue and Colombian bambuco using rhythmic development taken from Hindu music. The central section exploits the golden ratio (1,1,2,3,5,8 and 13) and reaches a point of marimba improvisation similar to a “reggaeton” rhythm, from that point until the end it is mirrored like a palindrome.
UNA NUEVA CASA
First of a group of pieces written for the ensemble El toque, directed by Alejandro Ruiz. "A new house/Una nueva casa" has two movements(since 2007 I am writing about pieces in two movements), called I.room and II.roof terrace, written for marimba bass, marimba,vibraphone, and xylophone glockespiel (played for 4 percussionists, electronic media, for which design a version with a tape music and instrument and another version, live electronics and instruments. "Una nueva casa" is a sounds of groups and groups of rhythmic cells which develop through modulations, his inspiration isrooted in my new house in the neighborhood Manila / Medellin, and a book called a new house, which I read from my childhood until now.
This piece was composed in the month of June 2010, commissioned by the percussionist Alejandro Ruiz. The piece was developed from a minor seventh interval, which is given by the marimba and will recur in connecting the different sections of the piece; are also recurrent intervals minor second and tritone, which gives the piece a dramatic and dark color. The marimba and choir are written in a continuing dialogue where it acts both as an instrument marimba soloist and tape accompaniment (optional), the function then modify the timbre of both the choir and the marimba (at certain times ) with the intention of creating a dark and gloomy atmosphere
TRADITIONAL AIRS FROM COLOMBIA
This work is original for percussion ensemble. Crosses several regions of Colombia trying to recreate as closely as possible the folklore music of each one of them. Its main objective is to mix the symphonic percussion with the traditional percussion of each one of the Colombian rhythms (cumbia, porro palitiao, currulao,pasillo, bambuco and pajarillo).
Traditional Bambuco from Antioquia. It consists of three parts and its romantic character demands a moderate speed in its interpretation to give more emphasis to the expression of its melodic line. This version was intended for a marimba soloist. specially composed for Alejandro Ruiz. Maroma, are the initials of Maria Rosa Machado who has been a mainstay in the development of band music in our country. We dedicate this piece of music to her.
Albums By Gustavo Bustamante
TRAVELING BY TRAIN
Jazz in Colombia
TRAVELING BY TRAIN
"We do not determine music.
Music determines us."
Through the continuing task of naming with words musical feelings and sounds, (quixotic endeavor, no doubt), I find myself in the Colombian jazz disturbing path, in this case, traveling by train. Yes. On the album cover of Miguel Rodrick Quintet, a colorful train stems its white smoke on a bright red which gives it a lively presence to the overall image.
A journey that leads to seven stations of sound, each one with its own jazz nuance. But before embarking on this trip, it is good to remember that the national jazz scene is under two clear references: Antonio Arnedo and Puerto Candelaria, (band praised to death by the Bogota´s reviewers). The first one, with a splendid combination of “pasillos”, “bambucos” and “cumbias” with that breaking up tone, libertarian with saxes.
The second one, climate-riding ironic partying traditional rhythms. Bet very valuable and consolidated, by the way, but that steels some independence to new generations, which in turn, build up new and enigmatic paths. This quintet gets away from this last trend, learns from the first one and recreates with wonderful results, except in the initial theme "Porro Modal", with an air of chucu-chuco, more suited to a hangover after flower´s Fair. It is jazz asking for massive applause. Quite the contrary, at 'stations' following, the band offers us its own landscape. with a melodic and harmonically marimba that gives the leads the overall production, plasticity rich in color and texture, same as the metallic vibraphone looseness.
This is the greatest achievement, diamond found during this sound journey. So we appreciate one playful and dynamic jazz ("The Gorobeto"); sensitive ownership in jazz discourse with exquisite exuberantly rhythmic changes ("En la espera"); the clean phrasing on soprano sax, with its figures, although common in the instrument, which do not lose their charm, and creates another facet of composition with the atmosphere provided by the marimba ("Inside Out"). Looking tirelessly for jazz because the intimate ecstasy it brings me. No other genre offers me the way jazz does. And rarely our jazz. But this quintet offers something, say that hides its magic.
As long as I continue listening, Miguel Rodrick and his accomplices on the way, ( Federico Ochoa –soprano-, Alejandro Ruiz –marimba and vibes-, Didier Martínez –drums- and Davis Hernández –electric and double bass- ),parking in other places, no less striking: harmony expands with singing melodies and the guitar, more interested in tone than on technical skills, allows rhythmic opening well supported by the drums ("Mirando atrás"); vigorous ostinatto is accompanied by acute percussion, rhythmically solvent (“Esto no es un pasillo “), and to close the musical journey, a melodic sax filigree, with the subtlety of an exportable jazz from Colombia to the world in “Refections”, shows this quintet deep interested in their own identity, regardless of musical stereotypes present in young performers, marked more by formulas than searches.
And I just find something very significant at the end of the themes: approach to jazz abstraction, that vital chaotic sound that every good musician knows he can not get away from as part of the tradition in this genre. Interestingly I would like to start every tune from the ending, as in a Cortazar´s story. So, to soprano player, even with its surprising moments of vocal instrumentation, I would ask for a more “dirty intonation”, more free. This little format, as quartet or trio worldwide, is full of pachyderm repetitions although with commercial succeed, say little about bacchanalian identity of music.
Independent record companies have more to say in this way, they offer more restlessness, as Hatology does, or well known label ECM. That is why I emphasize, one side, commitment IO's Recording to venture into the recording of the group, and on the other, artist Susana Pineda, with its picturesque train takes us to our innocent childhood games. These are musicians, that well surrounded, are determined to dignify nowadays jazz.
Abril 18 - 2013
ALEJANDRO RUIZ ZULUAGA
This disc contains a collage of marimba solos, marimba with accompaniment, percussion ensemble, and percussion with electronics. This is a nice assortment for one recording; however, the quality of the recording is very undesirable to say the least.
Maroma consists of music by Colom- bian composers exclusively, including two solo marimba works written by the performer. The solo marimba tracks are of a much higher quality than the pieces that were overdubbed; Zuluaga performs beautifully on the solo works, although the sound can come across as quite “punchy.” Because the soloist chose to perform all of the ensemble parts him- self, the balance and cohesiveness are, at times, problematic in these pieces.
This recording hosts a nice “change of scenery” for the marimba enthusiast. The marimba performance is good, however,
there is much room for improvement in regards to recording quality.
—T. Adam Blackstock
HOMAGE TO ASTOR PIAZZOLLA
This CD of “tango music” was recorded by El Frente, a quartet including piano
( Julio Cesar Sierra), violin (Manuel Lopez), bass (Paulo Parra), and vibes (Alejandro Ruiz). The eight tracks pro- vide ample opportunities for each musi- cian to showcase his individual talent. The ensemble virtuosity is also evident throughout the various styles presented on the CD. Most of the music on the CD was written by Astor Piazzolla, tran- scribed by Ruiz, and adapted/arranged by El Frente. Except for “Milonga del Angel,” an introspective vibes solo, the works are ensemble oriented and almost frenetic in nature.
PACHAMAMA / Juan David Osorio
This piece was written beetwen january and february of 2010 and is inspired around the concept of the“Pachamama” (The Mother Earth). This work explores different timbric odds of the instrument inside a free atonality and non functional tonality language.
About the form, Pachamama is divided in three sections, like a ternary form. The first section is energic and veryritmic. There, the sonority blocs and the ritmiccombinations is the most important elements in thissegment. In the second section, the character is more meditative, constructed around large notes sustained by tremolos and were the composer explores some effects over the plates. Finally, the third section is are exposition of the first one, retaking the vigourus nature and ending with an energic and explosive final.
CONCIERTO PARA MARIMBA Y ORQUESTA DE CUERDAS DE MIGUEL RODRICK
This concert was approached thinking of the different colors that modal harmony has to offer, both in contemporary jazz and in minimalist music.
It begins with a rhythmic melody serving as opening for the main melody played by the marimba. This two musical phrases are developed through out the first movement to the arrive at a climax with an alternating 3/8 rythm between the marimba and the strings.
The second movement is written mainly in B Dorian, and uses a suspend sonority over which canonic melodies are overlapped. The sonority shifts it axis every time the bass moves down a step diatonically.
The third movement is written using a motivic melody of an improvised style, this motive is accompanied by a three bar ostinato on the bass. Syncopated rhythms is the element that protrudes in this movement, syconpation that has a strong relationship with the progressive rock from the 80’s.
La Marimba de los Compositores Colombianos Vol.1
Miguel Rodrick Quinteto
PERCUSIVE ARTS SOCIETY MAGAZINE REVIEW
EL FRENTE - Homage To Astor Piazzolla
PERCUSIVE ARTS SOCIETY MAGAZINE REVIEW
La marimba de los compositores colombianos y América latina Vol.2 Khan
La marimba de los compositores colombianos y de América latina vol.2
Percussive notes Review