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Noe Secula - Introducing Noe Secula (2023)




Исполнитель: Noé Sécula
Название альбома: Introducing Noé Sécula
Год выпуска: 2024
Формат файлов: FLAC [Hi-Res 24Bit]/MP3@320K/s
Размер архива: 1,2 GB/146,8 MB
Скачать с: turbobit/gigapeta/katfile/rapidgator

01. A Dream of Nubia (Noé Sécula) 9:12
02. Just Waiting (Melba Liston) 5:14
03. Purple (Noé Sécula) 3:31
04. The Little Things (There Is Nothing Bigger Isn’t it?) (Noé Sécula) 4:45
05. Talks I (Noé Sécula) 3:51
06. Blues Legacy (Milt Jackson) 6:06
07. When I Fall in Love (Victor Young) 7:11
08. Angola (Wayne Shorter) 8:38
09. Hawk (Noé Sécula) 4:12
10. I Got It Bad (and That Ain’t Good) (Duke Ellington) 8:34

I am thrilled to present here my debut album. It is a true honor to be releasing it on Fresh Sound New Talent. As much as I am proud to be surrounded by the amazing musicians youwill hear on that recording. First and foremost, let me introduce them to you in regard of how they are a tremendous source of inspiration:

Eliott Knuets is a 19 years old guitar player who needs no introduction in his birth country, Belgium. Indeed, his name is already widespread in this flat region of Europe. Far from being usurpated, his reputation is grounded in the undeniable truth of his talent. I Heard Eliott for the first time on the bandstand. With his guitar, climbed up on the stage and suggested to play Kenny Dorham’s “short story”. As the tune started, one could already be aware of his clear identity. As tream of notes captivating you aswell as times to rest and taste his beautiful, raw, heavily-vibratoed, blues rooted sound.

Band wise, our sounds already melted together well, and the piano-guitar connection was easy. It created something new and truly inspiring on every level. I wanted that spirit on the recording because that night I could already hear it. He has, at such a young age, an impeccable originality. A sound that can already be recognized.

I met Genius in the beginning of my first year as a master student. Before even meeting him, I had heard about the man through eulogies concerning the way he played the drums. The minute we exchanged our very first notes, I could verify these rumors. Those looked particularly pale in comparison to reality. A specific conversation took place a year after wemet. we already knew each other and had shared the stage many times by then. A jam session at the campus was happening and as I was leaving school my eyes caught sight of him near the fireplace in the yard. Choosing Genius for this project was not a hard decision since Eliott and I wanted him specifically for his playing but also since a peculiar phenomenon occurs any time one has a chance to play with him: one learns from him; one makes progress and is propelled in an authentic sound of jazz. I also knew from recent words craving for original music, for an original band playing something new to change the standard routine and efficiently do something fresh. This being the whole point of this recording I gladly offered himto join the band. Which he accepted.

Drums, piano and guitar were, at this stage, occupied positions but aswell as a chair needs four legs to achieve balance, this embryo of a band required a fourth party to be delivered. A crucial post was vacant, and our bass player was missing. I had encountered at the start of the academic year 2022-2023 a double bass player from Valencia; Joan Codina. As I was looking for a worthy bass player who could be fully involved in such a promising adventure, Joan appeared on point in my life. Playing with him made me quickly seize the fact that hewas the perfect match. Out of the bass players of my generation he isthe pure, mere, and complete incarnation of the profession. He can swing, play in tune, make himself heard through a clear tone and take efficient decisions on the bandstand.

One track of the album features Gerard Chumilla on tenor. I invited him on a tune from the late Wayne Shorter entitled “Angola”. This wonderful short form was recorded and released for the first time in 1979. It is featured on a Blue Note album: “The Soothsayer”. After the passing of global jazzmaster Wayne Shorter, I decided that my debut album would feature a song of his; Angola being the one in question, I arranged it for quintet. The presence of a tenor saxophone was of utter importance so that the tribute could be complete. Wayne’s most well-known weapon. To fulfil such a requirement, I thought of none other than my Friend Gerard. Not only his technical abilities on the saxophone are on point, but his efficacy for listening and reacting during live music always struck me. The greats have, according tomy experience, this ability to sum up who they are in one solo, whether it is 12, 16 or 32 bars. They only need one chorus. A Miles or a Trane can be recognized on the spot, not only recognize most complete sense, though with always an element of surprise. Gerard is on his way to achieve such greatness since during those last three years I have grown accustomed to his sound, his phrasing, his typical phrases etc… now I could distinguish him among many. As a young musician he displays a very consistent playing style, with already an inclination towards these surprise moments that can take many shapes. Yet one common aspect of those surprises is that they, almost systematically, add a feeling of glory not to him but to the music itself.

This experience surely can be considered a catharsis.The music held in the dearest part of me has been carved out. Music that got left there by my mentors, those I look up too. I am now empty and ready to receive more. After all the waters of my humble musical expression having been spilled, I findmyself in a period of inspirational drought that paradoxically feels like a reward. As one of my mentors Aaron parks once said tome: “Music is NOT life; rather a part of it.” As obvious as it might sound, Life matters utterly more to music than the contrary. Music finds its essential ground in life, from A to Z. For the musician it is the same, his music cannot flow from music itself, even if one is used to get his/her gold from someone else’s work it might sometimes come as not sufficient. A drought is the opportunity for a re-shape as it is a moment for originality to arise. This album is a first statement, one that will never be stated again. I rejoice of this project’s high quality asmuch as I accept its flaws, those are evenmore important. Used with thoughtfulness, they become a path to greatness. Embraced with humility they turn into salvation. In Music as In Life.

—Noé Sécula

Noé Sécula (piano),
Eliott Knuets (guitar),
Joan Codina (bass),
Genius Lee Wesley (drums).

Guest: Gerard Chumilla (tenor sax on #8)

Fresh Sound New Talent FSNT-663

Recorded at JazzCampus Studio, Basel, Switzerland, May 13 & 14, 2023

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Alexej-66
Профиль
(24.01.24 - 08:39) - Alexej-66:

Спасибо!

 
 
007
Профиль
(20.05.24 - 05:39) - 007:

Alexej-66, пожалуйста!

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(14.06.2024)
Alexej-66: Спасибо!

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007: Alexej-66, пожалуйста!

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