DZazter Trio, The Art Of Disaster – Tech Viral Tips

In the early 20th century, Austrian composer and composer Arnold Schoenberg, together with several composers such as Stravinsky, formed a group of composers who, in contrast to centuries of tonal music, discovered new sounds and developed atonal compositions. The musical sequence that he described at the time as radical, or as French composer and professor Norbert Dufourc wrote, “violent, primitive, chaotic music”.

The same thing happened in jazz. After half a century of development and movement, in the late 1950s and early 1960s, Ornette Coleman, Cecil Taylor, John Coltrane, among others, went against the melodic and rhythmic structures preserved by jazz – even that be bop To make way for Parker and Gillespie free jazz, Where pieces are composed of free improvisation and complete freedom of musical language. This music, which is always pushing boundaries, is what music critic Alex Ross of The New Yorker calls it as The New Yorker. noise art,

is in noise art In which Mexican guitarist Juan Castaón discovers the best way to communicate and develop his musical project. Trained in classical music, his approach to jazz began in his native Monterey among festivals and a few private teachers. After an exploratory visit to New York, on the recommendation of an Italian composer, he ended up studying at the University of Rome. There he became aware of the scene and musicians, but it was not until he attended a concert by a French free jazz musician, tubist Michel Godard, that he focused on this current and language of jazz. decided to do.

In Italy, Juan Castanón was closely associated with clarinetist Marco Colonna and saxophonist Bruno Angeloni, who had the ImproMachine Collective, which Juan replicated with the Impromusic Collective in Monterrey and founded the improvisational workshop. Sonora Estancias Encounter, to which he invited musicians such as German Bringus.

Since returning to Mexico, Juan has recorded several albums with different projects and lineups. In 2009, with Bruno Angeloni, they toured Our Country which expanded to Italy and, upon their return, they played in Jazzorca, Mexico City, with Itzam Cano (double bass) and Gabriel Lober (drums), two important Free jazz musician and improvisation of our country. This is how the D/Zazter Trio Quartet began.

The trio stayed with Bruno’s departure, but not before recording a session with Luis Ortega on electric double bass in 2012. The album by D/Zazter Ensamble (quintet) was released under the name final destination journey, That same year, already in all three formats, Juan, Itzam and Gabriel left a recording that was kept until the previous year. While it is true that the pandemic brought a forced paralysis among musicians, many of them took the opportunity to resume projects saved in drawers or postponed for various reasons. This was the case.

The D/Zazter Trio, named after Bruno Angeloni’s recurring phrase: “We live in a disaster”, features a 55-minute session divided into 6 tracks. talk in c, initiates dialogue between guitar, double bass and drums, a dialogue that evokes a dialogue, sometimes in intense, quiet moments, with breathlessness and always emotional. “It takes energy and strength to play it,” says Juan Castanán.

Distributed by Dimensional Recordings, Gabriel Lorber’s label specializing in free jazz, the D/Zazter Trio recording, almost 10 years away, hasn’t lost its essence, “It’s a Fresh Recording” in which the trio shows themselves as it is, like It seems obvious. Testament to this is a session they recorded for singer Sara Valenzuela’s solo jazz radio program, after not seeing each other or playing together for a while.

Poet Amiri Baraka used to say of free jazz: “It creates new forms, new models of expression and more accurately reflects the contemporary experience”. Experience the art of noise, which demands from the listener an open mind and ears not too condescending to sounds.