… about an artist who never defines himself by what he is at any given time but always by what is beyond the horizon he is aiming for. Let’s try again.
Nils Petter Molvaer is provocative.
Nils Petter Molvaer is unpredictable.
Nils Petter Molvaer is always a world ahead of himself and the rest of humanity. He stretches himself out at will in time and space, subjecting himself to the new technology of the moment in order to give ever new expression to his timelessly unbridled romanticism. His music is full of radical tenderness, compact vulnerability and robust fragility. Nils Petter Molvaer is a living contradiction, and that is what makes him so human as an artist. Buoyancy follows on from his last album Switch. With a quartet in which he himself plays trumpet, electronics and effects, Geir Sundstöl contributes a storehouse of exotic guitars and banjos, Jo Berger Myhre works out on bass, keyboards and more guitars and the former Madrugada drummer Erland Dahlen is responsible as one of Europe’s most versatile sound-painters for drums, percussion, xylophone, piano and any kind of everyday object you can imagine, Molvaer sallies forth on a journey through the horizontal, vertical and temporal. All four musicians back up their formidable arsenal of sound-generators with their personal integrity and with an incredible wealth of experience that each has collected independently of the others. Buoyancy is a band album. More than ever, Molvaer has involved his fellow-music-makers in the concept. Switch brought him closer to Sundstöl and Dahlen, while new boy Jo Berger Myhre had considerable influence on the form the album would take, not least as Molvaer’s co-producer. The fact that it is a band venture doesn’t mean that Molvaer could deny himself a few highly poetic solo passages along the way. But in a wonderful way he succeeds in folding the whole band sound into his trumpet, so even the solo passages come across as collective achievements. Molvaer’s topography of sounds reaches unforeseen dimensions on Buoyancy. Impressions when diving form the conceptual starting-point of the album as a whole and of each track. Molvaer and his merry men are simultaneously everywhere and nowhere. Each song offers the Norseman new deals between various composites of tradition and avant-garde. More than ever, his sounds are grouped around imagined spaces whose contrary parameters can be best described in terms of silence and chaos. Each piece describes a new primal impulse in the sense of a genuine process of creation. Molvaer gives the listener insight into the perpetual cycle of coming-to-be and passing-away. The music is beautiful and yet full of contradictions. It follows a logic that has far more to do with life than with artistic concepts. Regardless what direction we approach the music on Buoyancy from, its hypnotic power and intoxicating magic is hard to resist. Seldom if ever has the effect of Molvaer’s music been so psychedelic. Some of the songs come across like swoops past imaginary underwater landscapes, others seem like camera journeys through nocturnal cities. Stoic serenity alternates with a driving pulse. Indonesian tropics evaporate into cyberspace. The music is full of contrasts, both in microcosmos and in macrocosmos. Buoyancy is a persistent search for the roots of the future in the present – or in the just-now, or the just-after-that. After the release on September 2nd, 2016 the album positioned on place #9 in the French Jazz Charts.
Como todo músico, Mauro Senise às vezes se isola na sua nuvem de som. Mas sempre sabe o momento certo de voltar à realidade – e é extremamente articulado ao traduzir sua arte em palavras. Um dos conceitos que mais cultua é o de “botar a música debaixo dos dedos” – coisa que só se alcança à custa de muito trabalho e disciplina. Assim tem sido ao longo de seus 34 anos de carreira fonográfica e, mais intensamente, nos tempos recentes. Não por acaso, seus companheiros de gravação também aderem à idéia da música debaixo dos dedos, o que explica a presteza com que os trabalhos transcorrem no estúdio.
Em 2016, aos 66 anos, Senise ignorou a crise: serão três álbuns neste ano, verdadeira façanha para um instrumentista brasileiro. A presença do violonista Romero Lubambo em Amor até o fim: Mauro Senise toca Gilberto Gil levou a um novo CD, Todo sentimento: Mauro Senise e Romero Lubambo, que será lançado em outubro. E a participação de Edu Lobo nesse disco levou a um terceiro álbum, que será gravado em outubro: Edu Lado B, com temas menos conhecidos do mestre.
Romero Lubambo, carioca, 61 anos, começou a aprender violão sozinho, ainda adolescente. Aos dezessete anos foi aprofundar seus conhecimentos na Escola de Música Villa-Lobos. Seu talento inquieto o levou à música improvisada e aos Estados Unidos, onde mora desde 1985. Lá tocou, entre outros, com o flautista Herbie Mann, os saxofonistas Michael Brecker, e Paquito de Rivera e os cantores Al Jarreau, Harry Belafonte, Astrud Gilberto e Dianne Reeves, de quem se tornou também arranjador.
Mauro e Romero começaram a tocar juntos no início dos 1980, nas jam sessions do Viro da Ipiranga, no Baixo Laranjeiras. Foi lá que surgiu a primeira versão, o embrião do lendário grupo Cama de Gato, com Mauro, Romero, Pascoal Meireles e Nilson Matta, que ensaiavam na casa do Pascoal. Foi Nilson quem deu o nome ao grupo. Depois Romero e Nilson foram morar nos EUA (onde formam o Trio da Paz, com o baterista Duduka da Fonseca), mas Mauro e Romero, apesar da distância geográfica, continuam inseparáveis e sempre em contato com o trabalho do outro. (Romero a Mauro: “Eu posso estar na Lua, você em Marte, mas a gente sempre está junto.”)
O álbum anterior da parceria Mauro-Romero (Paraty,1997) é uma viagem descontraída a clássicos da bossa nova (Inútil Paisagem, Fotografia, Influência do jazz, O barquinho) – e a temas como O ovo do Hermeto; Beatriz, de Edu Lobo e Chico Buarque; dois originais de Romero e a faixa-título, do baixista Nilson Matta, que tem participação especial no disco. Em Paraty, Mauro e Romero são tão bons como sempre foram, mas, de lá para o novo disco, quase vinte anos depois, há um salto marcante – de amadurecimento e concisão.
A escolha do repertório fluiu naturalmente, com preferências de um e de outro. Romero contribuiu com três composições originais: Lukinha, para a filha Luísa; Pro Raphael (Rabello, o gênio trágico que saiu mais cedo, em 1995, aos 32 anos); e Itacuruçá, “onde tínhamos uma casa na prainha, linda.” Mauro resgatou duas pérolas da Era do Rádio: Linda Flor (Ai, Ioiô) e Da Cor do Pecado, de Alberto de Castro Simões da Silva, o Bororó. Linda Flor, considerada o primeiro samba-canção de sucesso, foi composta pelo maestro Henrique Gypson Vogeler, diretor artístico da gravadora Brunswick, com a letra definitiva dos “revistógrafos” Luís Peixoto e Marques Porto para a gravação de Araci Côrtes (em1929), diferente das letras gravadas por Vicente Celestino e Francisco Alves, pouco antes no mesmo ano.
Em Da cor do pecado (lançada em 1939 por Sílvio Caldas) tocam apenas Romero e Mauro, que dá seguimento a suas investigações sonoras soprando a flauta em sol sobre as cordas de um piano com o pedal direito acionado. Senise vem se tornando cada vez mais exímio nas distorções de timbre, uma característica forte nos seus saxofones e flautas. Outras quatro faixas do total de treze são apenas com o duo: violão e sax soprano em Always and Forever (tema pouco conhecido de Pat Metheny) e Todo o sentimento (do pianista Cristóvão Bastos com letra de Chico Buarque); violão e sax alto em Saudade do Rio (de Nelson Faria) e violão e flauta em O Império contra-ataca (de Gilson Peranzzetta).
A formação do grupo foi radicalmente enxugada para este álbum, sem bateria nem piano. Além de Mauro e Romero, o quarteto – com a adição de Bruno Aguilar, um contrabaixista pulsante e melódico; e Mingo Araújo, o mago da percussão – toca em Lukinha, Chora, baião (de Antônio Adolfo) e Itacuruça. A percussão sai e o baixo fica nas duas faixas com Edu Lobo: Candeias (escolha de Romero) e Só me fez bem (uma favorita de Mauro) – a voz bonita de Edu valorizando as letras, a sua e a de Vinicius. Em Pro Raphael, sai o baixo e fica a percussão.
Músicos convidados: em Linda Flor, na segunda parte, surge, como uma lírica surpresa, o acordeão de Kiko Horta. Em Dona Teca ganhou asas – dedicada à mãe de Mingo – entra o compositor do tema, Jota Moraes, tocando vibrafone na companhia de Romero, Mauro e Mingo.
Romero é um violonista virtuoso, um perfeccionista que nunca deixa a técnica se sobrepor à emoção. Na sua escrita sutil as notas fluem, cristalinas e belas; pensamos às vezes mais além, nos dedilhados de Paco de Lucia ou de Andrés Segovia.
Existe um cânone no instrumental brasileiro? Antônio Adolfo, nas notas de capa do CD Chora Baião, diz que a síntese de samba, choro e baião “ocorreu apesar do fato de que, melódica e harmonicamente, cada um destes estilos foi submetido a influências muito diferentes: cantos africanos (samba), danças europeias e música clássica (choro) e a atmosfera musical mourisca da Península Ibérica (baião). Essa maravilhosa mistura – mais um gosto de jazz (daí a bossa) e blues – resultou numa combinação muito especial que se tornou e persiste muito popular entre os músicos brasileiros.” É esse o território – sempre cambiante e sujeito a novos acréscimos – explorado por instrumentistas como Mauro e Romero.
No DVD de Amor até o fim, em conversa com Mauro, Romero resume todo o sentimento que une a grande família instrumental: “O que a gente toca é, na verdade, o espelho dessa amizade, dessa influência. Não é uma questão de duas ou três horas de estúdio, é uma questão de cinqüenta anos: cada nota que eu dou, que você dá, tem cinqüenta anos atrás, tem toda a história de uma vida. E é assim que você aprende, ouvindo e abrindo o coração para essa energia toda.”
1 LUKINHA 5:18
Romero Lubambo
Romero Lubambo violão
Mauro Senise flauta
Bruno Aguilar contrabaixo
Mingo Araújo percussão
2 CHORA, BAIÃO 5:32
Antonio Adolfo
Romero Lubambo violão
Mauro Senise sax alto
Bruno Aguilar contrabaixo
Mingo Araújo percussão
3 DA COR DO PECADO 5:54
Bororó
dedicada à D. Nirinha Lubambo, mãe do Romero
Romero Lubambo violão
Mauro Senise flauta em sol
4 CANDEIAS 5:19
Edu Lobo
Edu Lobo voz
Romero Lubambo violão
Mauro Senise flauta
Bruno Aguilar contrabaixo
5 SAUDADE DO RIO 4:50
Nelson Faria
Romero Lubambo violão
Mauro Senise sax alto
6 LINDA FLOR 7:10
Henrique Vogeler | Luiz Peixoto
Cândido Costa | Marquês Porto
Romero Lubambo violão
Mauro Senise sax alto
Kiko Horta acordeom
7 PRO RAPHAEL 3:39
Romero Lubambo
Romero Lubambo violão
Mauro Senise flauta | piccolo
Mingo Araújo percussão
8 ALWAYS AND FOREVER 6:23
Pat Metheny
Romero Lubambo violão
Mauro Senise sax soprano
9 ITACURUÇÁ 6:06
Romero Lubambo | Pamela Driggs
Romero Lubambo violão | tamborim
Mauro Senise flauta
Bruno Aguilar contrabaixo
Mingo Araújo percussão
10 SÓ ME FEZ BEM 3:39
Edu Lobo | Vinicius de Moraes
Edu Lobo voz
Romero Lubambo violão
Mauro Senise sax alto
Bruno Aguilar contrabaixo
11 DONA TECA GANHOU ASAS 6:31
Jota Moraes
Dedicada à mãe do Mingo
Jota Moraes vibrafone | palmas | mãos esfregando
Romero Lubambo violão
Mauro Senise sax soprano
Mingo Araújo percussão | mãos esfregando
12 O IMPÉRIO CONTRA ATACA 3:25
Gilson Peranzzetta
Romero Lubambo violão
Mauro Senise flauta
13 TODO O SENTIMENTO 6:12
Cristovão Bastos | Chico Buarque
arranjo para violão inspirado na idéia
original de Cristovão Bastos
Romero Lubambo violão
Mauro Senise sax soprano
produzido por Ana Luisa Marinho
concepção do projeto Mauro Senise | Romero Lubambo | Ana Luisa Marinho
After relocating to Brooklyn in 2008 Ingrid Laubrock soon became a creative epicentre in the New York jazz scene, and is now one of the most significant voices in contemporary jazz. The new album 'Serpentines' fits in Laubrock’s musical cosmos, in which improvisational furore and compositional rigour, calculation and freedom, are intermingled. Laubrock grounded this formation with the unusual line-up having been given a carte blanche for the 2015 Vision Festival.
Florian Keller writes in the liner notes: "If we take the title’s suggestion and use snake paths as graphs for the movement of this music, various distinctive characteristics can be determined. Via the crafty compositional and improvisational about-turns, the music spirals upwards, peaking in airy flights. Changes of direction, and rhythmic, melodic turning points drive the music on, and release dramatic potential."
Chico Matada is a Mozambican born drummer, composer and recording artist currently based in Denmark. His music is drawn from a mix of influences ranging from traditional and contemporary African rhythms, to Nordic sounds and Jazz related music. In 2015, as a retrospect of his life experiences, Chico Matada decided to go to the studio to record his debut album called Reflections.The album has a contribution of musicians from Mozambique, Ghana, Afghanistan, Denmark, Sweden and Estonia resulting in a true composite of cultures, which is reflected in his music. All the songs are composed and arranged by him and his approach to communicating sentiment in composition is like a litany to the Divine. Since 2010, Chico has performed and recorded with artists such as Chris Minh Doky, Andrew D angelo, Deodato Siquir, Gimo Mendes, among other notable talents. A graduate in jazz studies from the Royal Academy of Music Aarhus, Chico Matada is currently based in Copenhagen, where he is working extensively with his own project ”The Chico Matada Group.” Alongside to performing Matada is a music educator and have taught at Rudolf Steiner School, World Music Center, Den Kreative Skole, and at Rudehøj Efterskole. But at the present time, he is devoting himself to his own music with the goal to mature the Group’s sound.
It's almost Christmas and that is why we have made a special Christmas selection of three albums for you.
All three albums with great discount!
We hope you will enjoy our discount prices!
1. J.S. Bach - Christmas Oratorio - Combattimento Consort conducted by Jan Willem de Vriend Normal price € 34,95Now € 19,95 SACD Book English version SACD Book Dutch version This book on Bach’s Christmas Oratorio lends credence to Jan Willem de Vriend’s musical interpretation of the work. It comprises an interview with De Vriend himself, carried out by the musicologist Frits de Haen, a short history of how the work came into being and an article on the liturgical significance of the six cantatas by the internationally renowned musicologist Robin A. Leaver. 2. J.S. Bach - Christmas Cantatas - Amsterdam Baroque Orchestra & Choir conducted by Ton Koopman Normal price € 29,95 Now € 17,95 3-CD BOX This CD box comprises the essential repertoire of the cantatas Bach composed for the Christmas season (BWV 63, 40, 64, 190 and 65).The musical programme was not restricted to cantatas: Latin liturgical works were also included. With the newly designed artwork, this box is the best Christmas gift we could offer. Let’s say: BWV 191! 3. Miranda van Kralingen en Matangi Quartet - Merry Christmas! Normal price € 19,95 Now € 9,95 The repertoire of this very divers Christmas album reaches from the famous Irvin Berlin's "white Christmas" to Praetorius' classic "Es ist ein Ros".
We wish you all a Merry Christmas and a musical year 2017!
Internationally renowned jazz pianist/composer Fred Hersch
In Facebook Live Concert + Q & A with acclaimed journalist Larry Blumenfeld
Tuesday, December 20 at 11 a.m.
Hersch nominated for two 2017 Grammy Awards for Palmetto CD Sunday Night at the Vanguard
Internationally acclaimed jazz pianist and composer Fred Hersch will perform solo for a Facebook Live Concert on Tuesday, December 20 at 11 a.m. The event, which will include questions from renowned music journalist Larry Blumenfeld, will last approximately 30 minutes and will take place in Hersch’s NYC apartment.
Hersch, who will just have returned from a 10-date European tour, has received two 2017 Grammy nominations for the Fred Hersch Trio’s recent Palmetto Records CD Sunday Night at the Vanguard. Hersch has been nominated in the categories of Best Jazz Instrumental Album and Best Improvised Jazz Solo (Monk’s “We See”, Fred Hersch, soloist). The Grammy Awards ceremony will take place in Los Angeles on Sunday, February 12, 2017.
Hersch has now earned a total of ten Grammy nominations since 1993 in the categories of Best Jazz Instrumental Performance, Best Instrumental Composition and Best Improvised Jazz Solo.
A select member of jazz’s piano pantheon, Fred Hersch is a pervasively influential creative force who has shaped the music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. A ten-time Grammy Award nominee, he continues to earn jazz’s most prestigious awards, including recent distinctions as a 2016 Doris Duke Artist and 2016 Jazz Pianist of the Year from the Jazz Journalists Association.
Hersch has long defined jazz’s creative edge in a wide variety of settings, from his breathtaking solo recitals and exploratory duos to his extraordinary trios and innovative chamber settings. With some three dozen albums to his credit as a leader or co-leader, he consistently wins an international array of awards and lavish critical praise for his albums. The 2015 Palmetto album Fred Hersch SOLO won a Coup de Coeur from L’Academie Charles Cros – his third such award – as well as the French Grand Prix de L’Académie de Jazz.
The feature documentary The Ballad of Fred Hersch premiered at the prestigious Full Frame Film Festival in March 2016 to a sold-out house and rave reviews. His memoir, Good Things Happen Slowly, will be published in 2017 by Crown Books/Random House.
Sunday Night at the Vanguard featuring Hersch with his trio of bassist John Hébert and drummer Eric McPherson, has earned wide critical acclaim.
“The resulting album…confirms that he’s still one of the most insightfully lyrical searchers in his field. It also underscores how his bond with the bassist John Hebert and the drummer Eric McPherson, while never less than strong, reaches a rarefied plane in this particular room.”– Nate Chinen, New York Times
“His sparkling tone, harmonic inventiveness, dynamic control, and mastery of rubato are striking from the opening seconds of the first track.”– Fred Kaplan, Stereophile
“It is, perhaps, his trio work that will be his legacy to the jazz pantheon. He is Hersch. A combination of fearless determination and sensitive interpretation. *****”– Mark Corroto, All About Jazz
“…’Sunday Night At The Vanguard’ takes the trio’s propensity for dramatic lyricism, harmonic exploration and rhythmic experimentation to new levels of poise and audacity.”– Ed Enright, DownBeat Magazine (Editor’s Pick)
“Like the Modern Jazz Quartet, the Fred Hersch Trio is an entity where the indiidual parts coalesce into a greater whole. Sunday Night at the Vanguard is an instant classic, and the best piano trio album I have heard in years.”– Thomas Cunniffe, Jazz History Online
“This is as good as it gets.” *****– Cormac Larkin, The Irish Times
“You’ll hear a Monk tune that sounds nothing like Monk, and you’ll hear originals that sound like standards and standards that sound like originals.”– Rick Anderson, CD Hotlist (Rick’s Pick)
“Fred Hersch chose to give listeners what he thought was the ‘lightning in a bottle’ of a night when the band was ‘in the zone’ - this glorious album should make you want to see the band live. And, do go see and hear them, as the Fred Hersch Trio is among the best ensembles of any size playing in this day and age.”– Richard Kamins, Step Tempest
“Hersch is one of the major living jazz pianists but he has never quite become a star. Perhaps because he is so technically refined, so comprehensive in his coverage of the maistream piano universe, he evades categorization. In a perfect world where you were king, you would sit Fred Hersch down and make him play every song you ever loved.”– Thomas Conrad, New York City Jazz Record
“.... their empathetic interplay makes them the natural heirs to the Evans/LaFaro/Motian unit the revoloutionized the jazz-piano trio on the Village Vanguard stage.”– Matt R Lohr, Jazz Times
“A pianist of uncommen senitivity combined with sn infinite capacity to swing, Hersch benfits greatly from a remkable intective, elastic rhythm section in bassist John Hébert and drummer Eric McPherson.”– Bill Milkowski, Absolulte Sound
“Pianist Fred Hersch is a painter of musical portraits that are infused with tonal color and harmonic depth, all presented within a frame of originality, sophistication, and virtuosity. His latest trio recording, Sunday Night At The Vanguard continues to demonstrate his commitment to these traits.”– Pierre Giroux, Audiophile Audition
“Few pianists have possessed a more comprehensive, magisterial technique or musical integrity.... Fred Hersch is both the grandest and most lyric of virtuosos.”– Raul Da Gama, Jazz DaGama
“It’s a good thing then that Hersch’s disc is filled with so much lyricism, creative sparkle and personality. We’ll leave it to a later date to figure out where Sunday Night at the Vanguard fits in the jazz pantheon, but for now, let’s call it a richly satisfying listen that represents this latest edition of Hersch’s trio, which has already recorded once at the Vanguard, in full bloom, striving and succeeding in many musical directions.”– Peter Hum, The Ottawa Citizen
“After all their years together, take it for granted that pianist Hersch, bassist John Hébert and drummer Eric McPherson listen intently to one another and mesh with elegance on every level. However, taking for granted anything about the Hersch trio can only open you up to surprises. Close listening to this album brings great rewards.”– Doug Ramsey, Rifftides
Hersch has earned similar distinction with his writing, garnering a 2003 Guggenheim Fellowship in Composition. He’s collaborated with an astonishing range of artists throughout the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell); classical (Renée Fleming, Dawn Upshaw, Christopher O'Riley); and Broadway (Audra McDonald). Long admired for his sympathetic work with singers, Hersch has joined with such notable jazz vocalists as Nancy King, Janis Siegel, Cecile McLorin Salvant, Norma Winstone and Kurt Elling.
“The Nada" surge com o intuito de constituir uma plataforma para o experimentalismo sonoro, para a improvisação livre, para a exploração de formas e estéticas menos convencionais.
O quarteto será, assim, o propulsor do que se espera uma experiência singular."
Este projecto tem a sua génese na assunção de claras empatias musicais entre os seus membros, tendo sido a vinda de Simon Jermyn a Portugal um factor decisivo para a sua consolidação. A procura de novas formas de expressão subsidiárias do jazz, de novos cenários de onde a improvisação também pudesse emanar, levaram a que estes quatro músicos se congregassem no ímpeto de partilhar essas experiências.
O Natal... À Porta! é uma iniciativa conjunta da Porta-Jazz e da Porto Lazer. Nos primeiros três sábados de dezembro levaremos concertos de música original até à porta de edifícios emblemáticos da cidade.
Se estiverem pela Baixa do Porto a passear, ou a antecipar as compras na azáfama natalícia, venham ter connosco!
El trío del guitarrista Nicolás Vera, el bajista Pablo Menares y el baterista Félix Lecaros han estado tocando juntos en varias formaciones por más de 15 años, comenzando cuando eran adolescentes y llegaban a las jam sessions en el Club de Jazz de Santiago. Desde entonces, han completado la sección rítmica en innumerables proyectos, tanto en Santiago como en el extranjero, incluso después de que Menares y Lecaros se trasladaran a la ciudad de Nueva York en 2009 y 2012. La rueda del tiempo, sin embargo, es su primer álbum como un trío. Durante años tuvieron la intención de grabar juntos, y cuando Vera visitó Nueva York en mayo de 2016, aprovecharon la oportunidad para grabar en Acoustic Recording en Brooklyn. El resultado es una mezcla de standards de jazz que han estado tocando juntos durante años, escritos por los grandes del jazz como Thelonious Monk y J.J. Johnson, así como piezas originales de Vera. Este registro es un inusual documento de fraternidad transcontinental, tres compatriotas de jazz que han crecido escuchando, tocando y estudiando juntos en sus diferentes viajes a través del continente americano. (Alex W. Rodriguez)
El disco
Grabado el 4 de mayo de 2016 por Michael Brorby en Acoustic Recording, Brooklyn, New York
Mezclado y masterizado por Katsuhiko Naito en Avatar Studios, New York City
Fotografía exterior: Gonzalo Cisterna Sandoval
Diseño: Cristián González S.
Video y fotografía estudio: Pablo Valle
La rueda del tiempo
DPCD43
2016 Discos Pendiente
Nicolás Vera, guitarra
Pablo Menares, contrabajo
Félix Lecaros, batería
Producido por Nicolás Vera, Pablo Menares y Félix Lecaros
Producción Ejecutiva: Pablo Menares, Nicolás Vera y Roberto Barahona
Con el apoyo de Red Educacional Camilo Henríquez
1. La rueda del tiempo (Nicolás Vera)
2. Eronel (Thelonious Monk)
3. Lament (J.J. Johnson)
4. Pasajero (Nicolás Vera)
5. Ugly beauty (Thelonious Monk)
6. El maravilloso mundo del silencio (Nicolás Vera
7. You've changed (Bill Carey / Carl Fischer)
8. Nobody else but me (Jerome Kern)
9. El silencio (Nicolás Vera / Pablo Menares / Félix Lecaros)
Presentación del disco:
9, 10 de enero 2017 @Thelonious - 9pm
12 de enero 2017 @Foro UDEC - Escuela de verano - 9.30pm
