Claudio Rubio: "Música para ascensores"
Claudio Rubio, Chilean saxophonist, composer, arranger and educator, receives his training in the USA, winning “Alumni”, “Di Gangi” and “Gary Hutton” scholarships simultaneously, to attend the jazz program of William Paterson University (New Jersey). During his training, he had the opportunity to share and learn from jazz figures such as Rich Perry, Sal Mosca, Dave Liebman, Clark Terry, Jim McNeely, Rich De Rosa, Mulgrew Miller, Kevin Mahogany, Wynton Marsalis and Kenny Garrett, among others.
Once he graduated, he returned to Chile to continue a career that today positions him as a leading voice on the local jazz scene.
Her works includes “Tristano” (2011), “Hijo” (2017) and “Música para ascensores” (2019, Vertigo music label).
In this album reviews, WSA wants to talk about her last work with the exceptional group of musicians Rodrigo Espinoza (bass), Nicolás Vera (guitarra), Oscar Pizarro (piano) and Carlos Cortés (drums).
Starting with the title of the album "Música para ascensores" (music for elevators) ironically refers to jazz as functional music for elevators, but in this case, it presented as a fine work of elevation and a deep musical journey. With seven compositions by Claudio Rubio, this album is a quintet refined work, with high quality ensemble, precision of arrangements, sophisticated improvisations and good musical taste, making the audience enjoy from the beginning to the end. The work it could represent a parallel between each melody and the elevator route, representing each song a different floor and situation.
From its first song, "Música para ascensores" the journy begins through different melodies, forms, and times, which little by little will transmit different emotions. In this first composition, it can be find the beginning of the elevator journey, ascending with great intensity and impulse. While the drums rhythm mark different floors, it invites new passengers to board with the consistency of a piano ostinato. When Claudio Rubio starts improvise, sounds a true story with blues influences, perhaps recounting what happened on that journey, marking the end with a sharp note sustained over time.
Continuing with "Leo duerme", his second composition, atmosphere changes. In this case, is a sweet ballad dedicated to Leo, his son, were Claudio transmits lots of tenderness in his interpretation. The double bass softly accompanies the cadence of the drums and Claudio plays a solo charged of many feelings, stories, advices, love, and a lot of passion, making Leo sleep calmly and comfortable.
The next song, is a tribute to Thelonious Monk, interpreting an essence very similar to the original. “Boo Boo´s Birthday” transmits a very energetic and happy melody and Claudio Rubio quintet version shows great rhythmic and melodic solidity, together with great interaction and very organic communication. In addition, it can be heard the influence of jazz fusion from the hand of Wayne Shorter, a great influence on the essence of Rubio.
Now that the trip was on its axis, descend again with "Violeta quema el sol", another beautiful ballad, which incorporates modern sounds and climates, representing new landscapes, and another kind of elevator trip. With an air of Brian Blade and The Fellowships style, this composition is an invitation to reflection and contemplation, maybe of the constant journey, the upward and downward movement, or tension and calm found in all situations in life.
To continue with the ride, it can be heard “Lo que queda”, a composition with feelings of hope and an energetic drum solo. A very emotional song, which marks a key point in the whole album. With the melody in unison between the sax and the guitar, the piano progressions reminds sounds from Radiohead, Brad Mehldau and Pat Metheny.
Ending this long and rich musical journey, it sounds “Primer piso”, a blues with a traditional esthetic and lots of swing, and the last composition, “Three and one” can be interpreted as the elevator is shared with lots of people and feels uncomfortable, but finally liberated, when the solo sax begins. Finally, the drums rhythm marks people going down from the elevator and a better atmosphere is breath, leading to the closing of this emotional trip of “Música para ascensores”.
Claudio Rubio, Chilean saxophonist, composer, arranger and educator, receives his training in the USA, winning “Alumni”, “Di Gangi” and “Gary Hutton” scholarships simultaneously, to attend the jazz program of William Paterson University (New Jersey). During his training, he had the opportunity to share and learn from jazz figures such as Rich Perry, Sal Mosca, Dave Liebman, Clark Terry, Jim McNeely, Rich De Rosa, Mulgrew Miller, Kevin Mahogany, Wynton Marsalis and Kenny Garrett, among others.
Once he graduated, he returned to Chile to continue a career that today positions him as a leading voice on the local jazz scene.
Her works includes “Tristano” (2011), “Hijo” (2017) and “Música para ascensores” (2019, Vertigo music label).
In this album reviews, WSA wants to talk about her last work with the exceptional group of musicians Rodrigo Espinoza (bass), Nicolás Vera (guitarra), Oscar Pizarro (piano) and Carlos Cortés (drums).
Starting with the title of the album "Música para ascensores" (music for elevators) ironically refers to jazz as functional music for elevators, but in this case, it presented as a fine work of elevation and a deep musical journey. With seven compositions by Claudio Rubio, this album is a quintet refined work, with high quality ensemble, precision of arrangements, sophisticated improvisations and good musical taste, making the audience enjoy from the beginning to the end. The work it could represent a parallel between each melody and the elevator route, representing each song a different floor and situation.
From its first song, "Música para ascensores" the journy begins through different melodies, forms, and times, which little by little will transmit different emotions. In this first composition, it can be find the beginning of the elevator journey, ascending with great intensity and impulse. While the drums rhythm mark different floors, it invites new passengers to board with the consistency of a piano ostinato. When Claudio Rubio starts improvise, sounds a true story with blues influences, perhaps recounting what happened on that journey, marking the end with a sharp note sustained over time.
Continuing with "Leo duerme", his second composition, atmosphere changes. In this case, is a sweet ballad dedicated to Leo, his son, were Claudio transmits lots of tenderness in his interpretation. The double bass softly accompanies the cadence of the drums and Claudio plays a solo charged of many feelings, stories, advices, love, and a lot of passion, making Leo sleep calmly and comfortable.
The next song, is a tribute to Thelonious Monk, interpreting an essence very similar to the original. “Boo Boo´s Birthday” transmits a very energetic and happy melody and Claudio Rubio quintet version shows great rhythmic and melodic solidity, together with great interaction and very organic communication. In addition, it can be heard the influence of jazz fusion from the hand of Wayne Shorter, a great influence on the essence of Rubio.
Now that the trip was on its axis, descend again with "Violeta quema el sol", another beautiful ballad, which incorporates modern sounds and climates, representing new landscapes, and another kind of elevator trip. With an air of Brian Blade and The Fellowships style, this composition is an invitation to reflection and contemplation, maybe of the constant journey, the upward and downward movement, or tension and calm found in all situations in life.
To continue with the ride, it can be heard “Lo que queda”, a composition with feelings of hope and an energetic drum solo. A very emotional song, which marks a key point in the whole album. With the melody in unison between the sax and the guitar, the piano progressions reminds sounds from Radiohead, Brad Mehldau and Pat Metheny.
Ending this long and rich musical journey, it sounds “Primer piso”, a blues with a traditional esthetic and lots of swing, and the last composition, “Three and one” can be interpreted as the elevator is shared with lots of people and feels uncomfortable, but finally liberated, when the solo sax begins. Finally, the drums rhythm marks people going down from the elevator and a better atmosphere is breath, leading to the closing of this emotional trip of “Música para ascensores”.
Claudio Rubio: "Música para ascensores"
Claudio Rubio, saxofonista, compositor, arreglista y educador chileno, recibe su formación en Estados Unidos, ganando las becas “Alumni”, “Di Gangi” y “Gary Hutton” simultáneamente, para asistir al programa de jazz de la Universidad William Paterson (Nueva Jersey).
Durante su formación, tuvo la oportunidad de compartir y aprender de figuras del jazz como Rich Perry, Sal Mosca, Dave Liebman, Clark Terry, Jim McNeely, Rich De Rosa, Mulgrew Miller, Kevin Mahogany, Wynton Marsalis y Kenny Garrett, entre otros.
Una vez egresado, regresó a Chile para continuar una carrera que hoy lo posiciona como una voz líder en la escena del jazz local. Entre sus obras se destacan “Tristano” (2011), “Hijo” (2017) y “Música para ascensores” (2019, Vértigo).
En esta reseña de discos, WSA quiere hablar de su último trabajo con el excepcional grupo de músicos: Rodrigo Espinoza (bajo), Nicolás Vera (guitarra), Oscar Pizarro (piano) y Carlos Cortés (batería).
Empezando por el título del disco "Música para ascensores" se refiere irónicamente al jazz como música funcional para ascensores, pero en este caso, se presenta como una fina obra de elevación y un profundo recorrido musical. Con siete composiciones de Claudio Rubio, este disco es un quinteto refinado, de una alta calidad de ensamble, precisión en los arreglos, sofisticadas improvisaciones y buen gusto musical, haciendo disfrutar al público de principio a fin. La obra podría representar un paralelo entre cada melodía y la ruta del ascensor, representando cada canción un piso y situación diferente.
Desde su primer tema, "Música para ascensores", comienza un recorrido por diferentes melodías, formas y tiempos, que poco a poco irán transmitiendo distintas emociones. En esta primera composición se puede encontrar el inicio del viaje en ascensor, ascendiendo con gran intensidad e impulso. Mientras la batería marca con su ritmo los diferentes pisos de este recorrido, invita a abordar a nuevos pasajeros con la consistencia de un ostinato de piano.
Cuando comienza la improvisación de Claudio Rubio, se puede escuchar una historia real, con influencias de blues, quizás contando lo sucedido en ese viaje, marcando el final con una nota aguda sostenida en el tiempo.
Continuando con "Leo duerme", su segunda composición, la atmósfera cambia. En este caso, es una dulce balada dedicada a Leo, su hijo, donde Claudio transmite mucha ternura en su interpretación. El contrabajo acompaña suavemente la cadencia de la batería y Claudio toca un solo cargado de muchos sentimientos, historias, consejos, amor y mucha pasión, haciendo que Leo duerma cómodo y tranquilo.
El siguiente tema, es un homenaje a Thelonious Monk, interpretando una esencia muy similar a la original. “Boo Boo´s Birthday” transmite una melodía muy enérgica y alegre y la versión del quinteto de Claudio Rubio muestra gran solidez rítmica y melódica, junto a una gran interacción y una comunicación muy orgánica. Además, se puede escuchar la influencia del jazz fusión de la mano de Wayne Shorter, gran influencia en la esencia de Rubio.
Ahora que el viaje estaba en su eje, vuelve a descender con "Violeta quema el sol", otra hermosa balada, incorporando sonidos y climas modernos, representando nuevos paisajes, y otro tipo de viaje en ascensor. Con un aire de Brian Blade and The Fellowships, esta composición es una invitación a la reflexión y la contemplación, quizás del viaje constante, del movimiento ascendente y descendente, o de la tensión y el reposo que se encuentran en todas las situaciones de la vida.
Para continuar con el viaje, se puede escuchar “Lo que queda”, una composición con sentimientos de esperanza y un enérgico solo de batería. Una canción muy emotiva que marca un punto clave en todo el disco. Con la melodía al unísono entre el saxo y la guitarra, las progresiones del piano recuerdan sonidos de Radiohead, Brad Mehldau y Pat Metheny.
Terminando este largo y rico viaje musical, suena “Primer piso”, un blues de estética tradicional y mucho swing, y la última composición, “Three and one”, se puede interpretar como el ascensor cuando es compartido con mucha gente, y es incómodo, pero finalmente es liberado cuando comienza el solo del saxo. Por último, el ritmo de la batería representa a las personas que bajan del ascensor y se respira un mejor ambiente, dando lugar al cierre de este viaje emocional de “Música para ascensores”.