GUILLERMO MCGILL

GUILLERMO MCGILL

Guillermo MGill - Drums and percussion
Perico Sambeat / Dave Liebman - Saxos
Marco Mezquida - Piano
Pablo Martín Caminero - Double bass
Juan Diego Mateos - Guitar
Inma la Carbonera - Cante
Dani Navarro - Dance

Jazz, poetry, singing and flamenco dance come together to pay tribute to John Coltrane, one of the most complete, profound and generous human beings who have passed through this world. His partner Elvin Jones once said that during the years he shared with him he was convinced to be part of something beyond life, to have spent eight years of his life next to an angel.
The work we present is a story of a life that is a spiritual, artistic and emotional path that we could not do only from music, although with the care of introducing elements that somehow and at some time are part of his work. Poetry appears in his great work “A Love Supreme”, flamenco in “Ole”, singing in the spiritual songs of his childhood, as well as humility, respect, curiosity for any artistic expression that helps him in his ” mission”.

The work represents the last 12 years of his life, his musical and spiritual evolution, the different stages of his life: his first successes, his disappointment and fall, his struggle to trace life, his dealings with the universe to continue living, the commitment to return this favor, transformation, resolution and beautiful death in the form of love.

 

GUILLERMO McGill (Drums and percussions)
Drummer, percussionist, teacher, composer and producer, has played with the most important jazz and flamenco musicians: Enrique Morente, Dave Liebman, Tete Montoliu, John Abercrombie, Wynton Marsalis, Marc Johnson, George Mraz, Wallace Roney, Niño Josele, Eliane Elias, Perico Sambeat, Esperanza Fernández, Mayte Martín or Arcángel, among others. Founding member of the Chano Domínguez trio with Javier Colina, with whom he participated in the movie ‘54th Street’, directed by Fernando Trueba, and in the subsequent tour. In 2010 he recorded his fifth CD with Dave Liebman, John Abercrombie and George Mraz. In 2011 he directed the ‘Tribute to Ramón Montoya and Fernando Vilches’, with Dave Liebman and Dani de Morón. In 2014 he directed the show ‘Flamenco meets Jazz’, along with Aaron Diehl and Dani de Morón. He also collaborated with Joan Manuel Serrat for three years, with Ana Belén in his ‘Lorquiana’, with Martirio and with Javier Ruibal. He has published six CD’s as a leader and has more than 70 recordings as a sideman. He has played in some of the most important theaters in the world: Carnegie Hall, Marinsky Theater, Queen Elisabeth Hall, Royal Theater, National Auditorium, Lincoln Center, Kennedy Center. And he has performed at the most prestigious jazz and flamenco festivals internationally. He has worked as a teacher in the most important schools of the Spanish State since 1984: Taller de Musics of Barcelona, ​​Taller de músicos of Madrid, Escuela de Música Creativa, and since 2005 in Musikene, the Higher Conservatory of Music of the Basque Country. As a producer, the works ‘Sing to Edith Piaff’ and ‘Claros del alma’, by Ana Salazar, and ‘Jurepén’, by Juan Cortés stand out.

     

“Genialidad sin paliativos”
“Estamos ante un ejemplo de compenetración sublime entre artistas y afición.”
“En esta aventura, Guillermo McGill ha convocado a varios intérpretes que penetran sin dificultades en un espacio único y cautivador, repleto de sutilezas rítmicas y ajeno a los aderezos banales tan frecuentados en nuestro tiempo.”
“Todo fue genuino en el repertorio (…) La atractiva amalgama resultante viajó por repertorios como «Wise one»,
«Resolution» o «Vigil», y la reunión de instrumentos logró unos resultados coloridos y cargados de matices que dieron mucho brillo, incluso, a las piezas de aliento menor.”
“Y había una voz invitada que añadía envergadura al festejo sonero. Hablamos de la garganta oportuna, inteligente, de Inma La Carbonera, que regaló emociones inéditas en «Olé» y llenó de ingeniosas improvisaciones sus turnos, mostrando un talento natural para cantar con convicción a las cosas sencillas de la vida en «After the rain» también. Y Juan Diego Mateos colocó su guitarra, con soltura y acierto, en «Soul eyes» y «My one and only love», suscribiendo uno de los mejores momentos de la noche.”
“Un proyecto con futuro”
“«Flamenco Trane» debería convertirse en referencia en el jazz continental, refutando la hegemonía, por ejemplo, de la escena creativa escandinava.”
“Con esta gente queda más claro que nunca aquel famoso díctum de Mario Benedetti, «El sur también existe». Y con un privilegio añadido: es música de hoy que suena a mañana.”

LUIS MARTÍN – Programador y crítico de jazz – Blog Jazz Madrid 19 8

 

“Guillermo es uno de los pilares rítmicos de ese sentimiento musical tan híbrido y cercano como es el jazz- flamenco, o flamenco-jazz” PABLO SANZ – SCHERZO

“Lo que hace McGill es tratar de aproximarse a tan inaprensible estado (del ser) conjugando, con el legado musical de Trane personificado en el maestro saxofonista David Liebman, personalidades y expresiones artísticas afines. El jazz, el flamenco, la poesía (de Jon Andión), el cante (con letras de Luz Valenciano), la voz, la danza,… se unen en un todo escénico-musical para, como escribe el propio McGill en su lúcida sinopsis, “rendir homenaje a uno de los seres humanos más completos, profundos y generosos que han pasado por este mundo”.
“Pero el más definitivo de esos pasajes más-allá no fue ni música, ni danza, ni poema. Fue sentir la escucha que de sus compañeros hacía el maestro Liebman, recostado en su asiento, con los ojos cerrados, dibujando lo inaudible con la mano en el aire. Un amor supremo.” SILVIA CALADO – GLOBALFLAMENCO.COM

 

 


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