Domador De Huellas (Sunnyside Records)
Guillermo Klein
Released August 10, 2010
Top 10 NPR Jazz Critics Poll Albums 2010
YouTube:
https://music.youtube.com/playlist?list=OLAK5uy_l_lz3LpFatP5II3Eo1YqBF-52Dthc5eN8
Spotify:
https://open.spotify.com/intl-pt/album/1XttCCQHJvth2y9k5SIypa?si=mDd54fndSf6BwMfRDU9sqA
About:
“Domador de huellas = Tamer of footprints
The tamer with his know-how turns the wild animal docile, however the reference
that touches the name of this work is not the animal but its footprint. A
footprint is the remaining mark. It’s a memory that is saved and coded. It’s
necessary to touch it, get with it, work it, so it can throw us just a little
of its truth. Klein has touched Cuchi’s footprint, he’s interpreted it; he has
decoded it to re-codify it under it under the rhythms of his pen, finding the
intimate code that he gives us here. Cuchi was a tender footprint tamer, I
imagine him happy, he would know how to listen to what is cooking here.”
Track Listing:
1. Domador de Huellas (Guillermo Klein) 03:05
2. Zamba para la Viuda (Gustavo “Cuchi” Leguizamón / Miguel Angel Perez) 06:08
3. Chacarera del Zorro (Gustavo “Cuchi” Leguizamón) 03:24
4. Coplas del Regreso (Luis Franco / Gustavo “Cuchi” Leguizamón) 08:01
5. La Pomeña (Manuel Castilla / Gustavo “Cuchi” Leguizamón) 04:15
6. Zamba de Lozano (Manuel Castilla / Gustavo “Cuchi” Leguizamón) 04:24
7. De Solo Estar (Gustavo “Cuchi” Leguizamón) 03:16
8. Me Voy Quedando (Gustavo “Cuchi” Leguizamón) 03:28
9. Cartas de Amor Que Se Queman (Manuel Castilla / Gustavo “Cuchi” Leguizamón) 06:02
10. Maturana (Manuel Castilla / Gustavo “Cuchi” Leguizamón) 04:09
11. Sereneta del 900 (Gustavo “Cuchi” Leguizamón) 09:04
12. Carnavalito del Duende (Manuel Castilla / Gustavo “Cuchi” Leguizamón) 05:53
13. Zamba del Carnaval (Gustavo “Cuchi” Leguizamón) 05:40
14. La Mulánima (Hugo Alarcon / Gustavo “Cuchi” Leguizamón) 04:52
Personnel:
Richard Nant: trumpet and percussion
Juan Cruz de Urquiza: trumpet
Gustavo Musso: tenor saxophone
Martín Pantyrer: clarinet and bass clarinet
Esteban Sehinkman: Rhodes
Matías Mèndez: electric bass
Daniel “Pipi” Piazzolla: drums
Guillermo Klein: vocals and piano
Guests:
Liliana Herraro: vocals (5, 11)
Carme Canela: vocals (9)
Ben Monder: guitar (9)
Román Giudice: vocals and percussion (14)
Review:
Intimidation and curiosity: These are the twin spirits that rise when an artist pays tribute to another artist whose name is little known and whose oeuvre not much better understood. But as an Argentine as well as a performer whose aesthetic embraces strong jazz fundamentals, writing chops and a love for the music of his people, Guillermo Klein succeeds at dispelling the former and satisfying the latter in Domador De Huellas, his obeisance to the late Gustavo “Cuchi” Leguizamón. Like his countryman Astor Piazzolla, Leguizamón was an imposing and multifaceted figure: an attorney, poet and academic as well as a composer and instrumentalist whose passions ran from the indigenous forms of music to concert repertory from Bach to 20th-century innovators—anticipating, then, Klein’s eclecticism. Though less widely known than the celebrated bandoneón virtuoso and tango master, Leguizamón left a legacy of work that was familiar to Argentines. Klein began to put its pieces together when commissioned to present a concert of his music for the 2008 Buenos Aires Jazz Festival, the results of which are captured here. It may be intimidating to approach music based on unfamiliar folk and dance forms but in the same sense that Klein illuminated Argentine listeners by clarifying Leguizamón’s authorship of music they had already come to know, his mission here is to let the music speak on its own. His strategy was to focus not on original arrangements but rather on letting the essence of each composition guide him toward his own insights and ideas. The zambas, for example, aren’t tethered inflexibly to the waltz-time dance that defines that form. Instead, “Zamba De Lozano” expands freely over the meter, with an expressive horn chart delineating the rise and fall of the dynamic leading to Klein’s vocal and smoothing over the stops and starts written into the rhythm. There’s much more, from the fascinating inand-out phasing and pattern displacements of piano and high-register bass guitar on “Coplas Del Regreso” to the hushed solo piano introduction followed by a sensitive integration of bass clarinet into whole-tone and clustered horns in “De Solo Estar.”
Robert L. Doerschuk (DownBeat)
