por Jorge Pardo:
Historias de Radha y Krishna. 2014. Fol.
Historias de Radha y Krishna son historias de ciudad, de encuentros y desencuentros y su sonido es quizá la mezcla de mi fantasía y mi percepción de sus sonidos… en tiempo real, no ayer, no hace veinte años…ahora ! Son historias en las que habla el corazón, tanto del que bombea sangre como del que emite luz. La sensualidad y la espiritualidad de los amores de Radha y Krishna y mi apasionante encuentro con los escritos de Chandiasa en Granada, un viaje a la India sin retorno y el encuentro con El niño las pinturas en el Realejo y su arte urbano callejero empezó a crear un sonido dentro de mi, el eco de este tramo en el tiempo y su resonancia atemporal es “Historias de Radha y Krishna”.
No busquéis resonancias de música Hindú, aunque las haya… se pueden buscar decenas de referencias musicales en “Radha y Krishna” que te pueden llevar de un punto del mapa a otro, de una emoción a otra, de una tradición ancestral hasta la mas ancestral de las tradiciones que es la libertad. De nuevo un montón de colaboradores, todos buenos colegas, han llevado esta música mucho mas allá de mi imaginación y reconvertirla de nuevo en un sueño, que es de donde salió…
Huellas. 2012. (Cabra Road)
I meet with a bunch of new songs in my hand and think in a new (for me) instrumentation, adding items to go over a year and I hear a new sound in my … that is encourage me and more issues come to mind to complete this vision, I get a slight fever with all this as I am with 18 songs to record!! from there comes 120 minutes of music and 2 CDs, which now seems a waste in this austerity times … I had thought to get a good band together and get into the study, the lack of budget makes this idea fails, but I am decided to do as … because I have good friends to begin to move forward with the help of Angel L. Vincent in the production and of course all the involved artists in «Huellas». Something over a year and dozens of locations and studios, it’s hard to finish this project. Never really ends at all … is more, now that I give it to the public I feel that I lose it, but simultaneously it is moment they are born new ideas to continue to enjoy inside of me.
Vientos flamencos 2. 2009 (FWM)
A new edition of «Vientos Flamencos» which over time served me to name a show that I have carried on tour among other corners of the planet to Kathmandu! yes, yes, Nepal took us in, we went until there Juan Diego, «The Spark» and I at the hands of Eduardo Lechuga, incredible place where we could share brilliant moments with nepalese musicians … It’s funny when one thinks of a music, runs and records it, can not imagine until where that action can take it, as in other terms of life, our actions, however contralateral, like it or not, or may seem to us having them, they can lead to unimaginated thoughts, feelings and places. Still, these compilations of «Vientos Flamencos» are chaotics in their birth and it seems that, on the other side obey an order … but it wasn’t me! … There will be more … 3, 4 …
Vientos flamencos. 2005. (Manantial)
The «Vientos Flamencos» collection is an idea that comes from the possibility offered by the Internet platform giving new formats to the recording support added to the appearance in the market for new technology that allows you to record professional quality and affordable in almost anywhere, shape loose to post topics that do not have to be grouped into one large project, if not the result of short and/or sporadic musical meetings with different colleagues and also be able to publish them in near real time, in principle this was the collection idea. Later in a conversation with Daniel Munoz www.flamenco-world.com website director, offered to me technological support, so they build my own website www.jorgepardo.com, I started to talk with various colleagues and .. recording! ! and I did not stopped since then … collaborate with a lot of musicians give dozens of different topics draft. Angel L. Vicente from Manantial de musicas propose me besides publishing virtually put the issues in a CD, makes the design, in fact, he gives name to the invention
Desvaríos. 2007. (Rtve/Karonte)
My work with Agustin Carbonell «El Bola» comes way back when he
helps me to give shape my «cigarras», the «veloz» and «2332» and when he returns of one of his world travels for several years and with his new Sevillan band and Fernando Rosado from Karonte , they propose me a recording for RTVE music’s label … so, the question musically born in Seville, the Alameda of Hercules with its monument «La Niña de los Peines «and its early spring are witnesses to this.
Sin precedentes. 2008. (Nuevos Medios)
«Sin precedentes” seems to be a little bit pretentious title … but in fact comes from a joke we used to do in the study, this title must to be said in a loud voice and brasileiro accent, also accompanying «o mais grande do world!» so much going on to the fountain jug that we all voted as the title of our first studio recording and that is why the title made sense … Mario Pacheco, who died recently, he took us into his NM home once again and in spite of everything.
Sobre la marcha. 2012. (Quadrant Records)
I love this picture of my brother Jesus, althought here we do not see him in all its glory, it is also a constant in my life, in the life of D3 and certainly in the lives of many musicians and other people also and other people also have to scroll to do their activity …the road! Besides as a symbol … you can travel in airplane or ship or…but you always come across with a road. I have done them a lot of times driving alone, sometimes you put music, others a good game it is catching you and at least with the excitement of hearing it, you participate and it seems that also takes you back to times when the image does not travel in waves, but most of the silence has helped me to shape a lot of issues, own ones or from others, it seems that the inside gathering and concentration which is giving you the track it is helping in this process, but althought a shared path gives you another sense, in this case D3 is a good source of conversations, reflections and discussions, always constructive … we are still «Sobre la marcha» (on the Road).
3dd3. 2006. (Quadrant Records)
The beautiful Malaga it is the aroma of this record … led us to many corners of the planet, yes, yes, this directory we have played in all continents … well all except Antarctica. The compositions of Francis will always move something inside, simple and difficult for their synthesis, timeless and despite of its timeless flamenco and Andalusian accent, interplanetary. All these airports, all those people visited, all the different aromas and flavors … and always at home, a phenomenon that neither Roper, iron and timekeeper of the tangible neither I, that I live in the cloud, we can explain. Neither we can explain how passing time and it is ours 3rd from D3, all one capicúa.
Quid pro Quo. 2003. (Satchmo Records)
With the mini band D3 we catch the pleasure to the four wheels and to the road … in our particular journey, we discover the beautiful studio from Punta Paloma (Cadiz) a paradise looking at the face of Tangier city. The local residents were our beloved «guinea pigs» during several nights as we experienced the new issues in their habitats … after some time of playing different repertoires our compositions will inevitably making their way, the group earns character even if there is someone who don’t like this …
Directo. 2001. (Satchmo Records)
Who knows me knows that I love playing in gambling houses, is perhaps the taste for a reflection of my learning, it maybe seeing the face of the audience or indeed informal or family environment which occurs or be playing instead of staying home and doing nothing , I don’t know … the case is that D3 born from this need also from my colleagues of this mini band Roper and Francis. Long time ago I was also thinking of playing music of some not usual authors form mi like Nino Rota or Vangelis or Satchmo or Francis Pose. Angel Millan owner of Chuby in Jaen besides host gave us this birth to the digital groove
Mira. 2001. (Nuevos Medios)
¡Mira!: this one is too new so I don’t have any perspective on it yet, and so can’t say anything about it. It has been a complex recording and not free from a few problems–changes in studio, in systems, in supports, engineers, timetables…etc. But it also features a bunch of incredible artists doing their thing. It is thanks to luck, and Musiquita, that this musical Tower of Babel can be appreciated. Enjoy!
2332. 1997. (Nuevos Medios)
With the passage of time a return to a more intimate way of working was logical and in this way «2332» was created. I recorded hours of improvisation over samples in a serious record produced by my brother Jesús and my colleague Fernando Bravo. Without a doubt, the best part of it was the setting, a beautiful house on the coast of Mojácar. The hard work came later, when I picked out the phrases that interested me, gave them the form of compositions and redid the harmonies, orchestrating and sequencing them. I moved things around so much, from one place to another, that I finally decided to suggest that the listener use the random play mode of the CD player with the intention of returning the phrases to their original place. In the meantime, I saw that all of the rhythms that I was working with, wherever they were coming from, had 2-3 or 3-2 as cycles of accents: whether they were binaries or ternaries, like the bulería, Cuban clave, many African rhythm cycles, Cajun music, and including the bossa nova, and certainly many more that I’m unaware of. How strange, so distant yet so familiar! (When I looked at the palms of my own hands, I saw that each one has five finger, which were symmetrical and which can be divided by their function into 2-3 3-2… and so many polyrhythms that arise from 2 and 3.
De dos en dos. 1995. (Nuevos Medios)
In our search for sites and settings to create our music, we stumbled across Casa Piña. A South African architect in his passage through Mojacar had left behind this marvel. Little by little and «De dos en dos» (Two by two) we cooked up this project. The best thing probably was the time we spent on the porch listening to music and looking at the moon reflected on the sea during those already mild February nights. What music would sound bad in a setting like that? It was the last record that La Barbería did for Nuevos Medios. I had just recorded «10 de Paco» with Chano, and Carles’ hand had recovered from the accident a year before. Negri and el Paquete pitched the project to us and, setting to work, something was created, just like that.
Diez de Paco. 1995. (Nuevos Medios)
Recording with Chano Domínguez on his first album, I took up again an idea that had been bouncing around in my head for some year: to play the music of Paco de Lucía without guitar and with musicians who understood it, playing it in a different way. I proposed the idea to him and we began working on «10 de Paco» I went down to Puerto de Sta. María where Chano lives and, already in rehearsals, the music began to give off a special aroma (of shrimp from the bay, in particular). In the studio with Tino di Geraldo and Javier Colina, it was a genuine surprise to hear how it sounded… new, unclassifiable, yet familiar. Chonchi Heredia was simply brilliant. You could say that I’ve known Tomás since be began playing, I’ve always considered him a great artist and he has always been a source of inspiration.
El Concierto de Sevilla. 1999. (Nuevos Medios)
I then spent more than a year on tour with Tino and Carles before we finally decided to record «El concierto de Sevilla» (The Seville Concert) What a delight to be able to play with such people without struggles or other craziness: music plain and simple, with no esthetic compromises. Tremendously flamenco music, for whoever wished to experience it, spontaneous and vehement. It would have been safer…
Vida en Catedrales. 1993. (Nuevos Medios)
When Tomás San Miguel returned from San Francisco, he came with a big binder full of songs under his arm and I practically had to fight him to get him to open it. Well, he opened it up and what came out of it was … «Vida en catedrales» Across Spain there are many historic sites, some in ruins and others beautifully restored, where playing without any sort of amplification is an experience that grabs you. It was how we gave life to those places, and life was what they gave back
Veloz hacia su sino. 1993. (Nuevos Medios)
Not even the relationship that existed between us all could have predicted the course of «Veloz hacia su sino» a ship that seemed to know its destiny independent of its occupants. The recording was difficult to direct -hundreds of different ideas perhaps for many other records- but the tape was complete and time was up. Sometimes losing your mind is the way to see and hear things more clearly. It makes the complex simple!
Las cigarras son quizás sordas. 1991. (Nuevos Medios)
It was the first thing I did for Nuevos Medios, and Mario put me up when my future was uncertain, as uncertain as the title of my next work… «Las cigarras son quizá sordas» (Perhaps cicadas are deaf). What a mysterious poem! All of the wisdom of the desert transformed into art. It was my brother Jesús who showed me those poems. In the process of creation or gestation of a project, at random times there intervene different little processes that determine the character of the work. I am delighted that it happens this way and perhaps this is why I stumbled upon the poem at just the right time, when the music was already finished. When two or more artists get together it generates a magic that is difficult to define or cause, neither character nor age nor origin seems to be sufficient arguments to see the face of the child.
A mi aire. 1987. (Nuevos Medios)
Camarón, Enrique Morente and other flamenco artists -in particular Paco de Lucía- became regulars and, perhaps without them realizing it, teachers… All of them certainly taught me how to go «A mi aire» (in my own style)… a style that involved them all and on which they all left their mark. In the year I recorded this album, I had some Sinclair computers and, with a bit of patience, I succeeded in programming my first sequence for «two spaced out dudes and a flamenco on the loose»…
El canto de los Guerreros. 1984. (Linterna)
Returning to Madrid, Silvia Lobosevic -who had booked some concerts for me- put me in the studio again. With the help of my brother, Jesús, and the rest of the band -Carlos Carli, Rubem Dantas, Tarik, Manuel Toro and Carles Benavent -we recorded an album and called it «El canto de los guerreros»… Really, we were prepared for what happened.
Jorge Pardo. 1982. (Blau)
It was through Joan Bibiloni that I got acquainted with the scene on the island of Mallorca at the end of the 70s, especially on the Deiá and Llucalcari coasts. One fine day Joan proposed that we go to the studio and record an LP. Over a few days I set to work gathering together material and a good part of the musicians I have worked with ever since. What a great scene that was!…
With some friends;
Chick Corea. 2006.
Camarón. 1979.
Jazzpaña. 1992. (ACT)
With WDR Big Band conducted by Vince Mendoza, and the appearances of:
Michael Brecker (tenor Sax), Al Di Meola (electric guitar), Peter Erskine (drums), Dieter Ilg (bass), Steve Khan (electric guitar), Freddie Santiago (percussion), Ramón «El Portugués» (vocal/cantaor), Juan Manuel Cañizares (flamenco Guitar), Carles Benavent (bass and mandoline), Rubem Dantas (Claps, cajón y jar), Joselín Vargas (Claps y cajón), Paco «El Americano» (claps).
«Ur» Michel Bismut. 1996.(Alonsii)
Along Iranian percussionist Keyvan Chermirani and Nabil Khalidi the Oud.
Gil Goldstein. 1992. (Blue Note)
La Barbería 1996. (Nuevos Medios)
It is the latest album of «La Barbería». A series that they does for Nuevos Medios.I had just recorded «10 de Paco» with Chano and Carles had recovered his hand after the accident that took a year in workshops. El Negri and el Paquete propose the proyect and to work results something for us no more.
Sextet. 1984. (Phillips)
Dolores. 1977. (Polydor)