Whoever wants to listen, just listen

July 28, 2020


There are Jazz artists whose creativity is devoted to the permanent search
for themselves. An inner journey that must imply a high dose of risk,
deconstruct to build and give life to what it was not before. The sublime does
not necessarily have to be liked by the general public or perhaps it does,
maybe it only responds to the designs of an unfathomable mind that creates its
own language that vibrates for anyone who approaches with courage, devoid of
prejudices,  no incorrect notes or
unnecessary tensions, whoever wants to listen,  just listen.


For the guitarist and composer Chema Saiz the journey began at an early
age, training in classical music and Spanish popular music, entering his
teenage years in Jazz by Sean Levitt, John Abercrombie, Jerry Bergonzy or Dave
Liebman among others. Higher degree in classical guitar, he has combined his
pedagogical activity over the years in Jazz schools as well as teaching
numerous seminars and master classes throughout the world. With a more than
prolific career as a composer, he has six albums published under his authorship
in addition of being co-author of the work “Agua con gusto” with
Uruguayan writer and musician Leo Maslíah. Restless guitarist and in constant
search, he has collaborated with countless artists and projects throughout the
years touring the main Jazz and guitar festivals in numerous countries.


Recorded halfway between Camaleon Music Studios in Madrid by Omar
Carrascosa and Santa Rosa Surround Studios in Alcalá de Henares by Santi
Fernández who mixed and mastered it. We would have to go back to 1999 with his “Solo
Album” release to find a precedent to this “Solo album volume 2”
and rediscover the restless and eclectic artist, hard to classify, even
uncomfortable for orthodoxy. A creator who does not adhere to any
conventionalism, who does not deny his influences from the beginning, with    the great Thelonious Monk´s “Trinkle
Tinkle” recreation, inventing colors and musical geometries meant to be
discovered by the listener “Not so Long ”and“ Marketin ”both signed by Saiz just
to redo the risky exercise of recreating Monk´s “ Crepuscule With Nellie ”.
Chema Saiz writes in dissonances “Waltz in Dm”, proposes new background and
forms to the traditional song “Estaba la
pastora” giving the standard “I’m Confessin ‘That I Love You” a new content even
being one of his most Orthodox interpretations. “Introspection” relives
Monk´s great spirit due to Saiz’s non-transferable invoice, while Ellington’s “The
Mooche” along with “Stardust” take us back to the most primitive
Jazz. Eclecticism becomes evident on “Chotis nº 6” with Saiz´s signature
and “Pictures at an Exhibition” from the great Russian composer
Modest Mussorgsky to end up with “Lament” from American trombonist J.J.

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