Jazz and fostering interaction with other musical styles

Our roots are anchored in the memory of who we once were, entangled with the dreams we once had. They carry the scent of home and childhood. The first song, the games, and the flavors that never change. These are the invisible threads that weave the fabric of who we are.

Aritza Castro studied classical percussion under masters such as Peer Wiborys, Borja Barrueta, and Carlos Carli. He earned a degree in jazz from Musikene and the Conservatory of Music of Navarra. This solid foundation shaped the versatile and eclectic style of the Barakaldo native. He combines classical music with other genres, performing as a percussionist with the Barakaldo Municipal Band, as well as with projects such as BAO, Bilbao Sinfonietta, Silboberri, and Bertxistu. He maintains a relentless schedule, performing as a session musician and collaborating regularly with projects such as the Ibai Garcia Blues Project, Gonzalo Portugal, Edgar Blues Trio, and Goizargi Gospel Choir. As a co-founder of the Haceria Jazz Club project in Bilbao, Castro’s name is associated with jazz artists such as Albert Vila, Moisés P. Sánchez, and Andrzej Olejniczak. Following the 2017 release of his critically acclaimed debut album Familia –under his solo project, Familia. Arizta Castro Project —the Basque percussionist Aritz Castro has further solidified his exceptional career with the release of Barakaldolgy. The album features collaborations with three renowned musicians: Cuban pianist Marcos Salcines (La Mala Rodríguez, Andrzej Olejniczak, Joaquín Chacón, Dani Pérez, Joe Smith, Victor de Diego, Bob Sands, and Antonio Lizana); Saxophonist Alberto Arteta (Move, Anaut, Jorge Garrido, Marcelo Scrichi Trio, Broken Brothers Brass Band, and Kike Arza), and double bassist Eric Surmenian (Toots Thielemans, Tom Rainey, Olivier Ker Ourio, Guillaume de Chassy, Louis Winsberg, Michel Perez, and Jesse van Ruller).

Composed entirely by Aritza Castro, Barakaldolgy is an album that pays tribute to and draws inspiration from his hometown. It is an immensely expressive, colorful, and open record, crafted with the intention of transcending the boundaries of jazz and fostering interaction with other musical styles. Castro not only demonstrates extraordinary compositional ability but also strives to make this album accessible while maintaining the seriousness demanded by the genre. It remains enjoyable for the layperson and tremendously revealing for the most discerning expert. Barakaldolgy revolves around contemporary jazz, developing beautiful opening melodies that build to the harmonic complexity of bebop or hard bop, as heard in compositions such as Camino de Bermeo and the energetic Arteagabeitia. Memories, places, and landscapes flow gently over a more laid-back groove in songs like Parque Rojo or Conservatorio, while Hijos de Almarchar showcases their more eclectic and emotional side. Barakaldolgy explores and moves the listener with its virtuosity, skill, and range of resources, both within classical territory—in songs like the title track Barakaldolgy—and in less angular, more emotive atmospheres in compositions like Nafarroa No. 14, bringing this second record by the artist from Barakaldo to a close with the undeniable rhythmic feel of Zuazo O’Groove.

Nothing would be the same without the roots that sustain us. Barakaldolgy pays tribute and expresses gratitude, drawing inspiration from cherished memories and the familiar, everyday landscape. A debut song with the flavor of adolescence—or a dream that finally came true—those invisible threads that have woven together the talent and personality of an artist like Aritza Castro.

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