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Product Details

Label / Release Date: Sunny Side Records (2008/06/10)
Average Customer Review: Rating
Rating Refreshing approach
Rating A (Patho)logical progression
Rating Fresh and Exciting!

Editorial Review

This CD is, in my opinion, the best group effort ever achieved by Guachos.

That quote by the incredibly talented, Argentina-born, Barcelona-based pianist/composer/bandleader Guillermo Klein about his new Sunnyside release, Filtros, featuring his long-standing large ensemble Los Guachos, is quite a statement, considering their previous groundbreaking releases. Indeed, since their emergence on the New York scene in the mid-nineties, Klein and company have redefined and expanded the harmonic, stylistic, and compositional possibilities of big band jazz.

Filtros finds Klein at the helm of a smaller version of Los Guachos that includes alto saxophonist/flutist Miguel Zenon, soprano/tenor/baritone saxophonist Chris Cheek, trumpeter Taylor Haskins, trombonist Sandro Tomasi, percussionist Richard Nant, drummer Jeff Ballard, and Sunnyside labelmates tenor/soprano saxophonist Bill McHenry, trumpeter/valve trombonist Diego Urcola, bassist Fernando Huergo, and guitarist Ben Monder.

The CD s ten tracks all penned by Klein with the exception of Vaca, Haskins s Memes, and Olivier Messiaen s, Louange a la L Eternite de Jesus showcases Klein s spare piano and affecting vocals. A powerhouse of unlimited musicianship, Klein and his crew fine-tuned most of the material on this CD during an electrifying engagement at the Village Vanguard. The two weeks run at the Vanguard was a great thing to have the music very well digested, Klein says. The sound and mix is awesome, the art is great and the solos are very inspired. Knowing that I had to play for two weeks in a row I wanted to provide songs that were good vehicles for soloing. For example, Va Roman or Miula, the songs [are very simple] but the content is very strong. The only song we didn't perform live is Vaca, which is a mix of a traditional Argentine song, and a piece called Hungarian Rock, written by Ligeti. Songs like Yeso or Louange a l' Eternite de Jesus are a great way for the group itself to gel and bond.

Klein and Los Guachos have blended and bonded, producing a seamless marriage of North American jazz, European contrapuntal structures, and Argentine milonga, zamba and chacarera folk rhythms. On Luz de Liz (Filtros) and Miula we use this device called filtros: it gives the sensation of going slower and faster, but the beat stays the same, says Klein. It is achieved through metric equivalences, and the challenge for me was to keep the beat the same so it doesn't lose any dancing quality becoming bi- dimensional. On Amor Profundo (with guest vocalist Carmen Canela) and Yeso, I use this clave I came up with on Fugue X, (from Los Guachos III), which is not a Cuban one, it is a 7-7-7-3 inside two bars of three quarters time, and the form of those pieces are roughly based on Bach's Fugue X of The Well Tempered Clavier; a piece I studied extensively. All these devices I use are ultimately at the service of beauty.

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