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Pete Robbins Transatlantic Trio (Live in Madrid)
Bogey jazz myth takes hold after reopening and expanding the confines of their programming proposals which generally could only enjoy in-hopefully-temporarily silenced Music and Jazz Club San Juan Evangelista. The heads of the evening, three bearded Brooklyn resident jazz players in concept, attitude and experimental rockers in principle. Pete Robbins The Transatlantic Trio (Quartet version of the Transatlantic with newly recorded Live In Basel) took the stage to show us how Bogey spend today in New York.

The trio boarded a repertoire mostly original-with an outstanding version of “Sweet Child O’Mine” by Guns N ‘Roses, in which each subject had an extensive formal development transitions well drawn between different mood changes (of free and relaxed melodic and frantic, environmental exploration improvisation over a groove). Sensitive passages to naive at times, gave way to vigorous fragments of thunderous volume, building musical situations laboriously and without abusing the contrasts. I risky training (no piano or guitar to provide a harmonic context) was diluted immediately in the prejudices of the listener, as more than a trio of saxophone, bass and drums, the Transatlantic Trio are three musicians who exchange roles, interact and transmitted.

Pete Robbins improvises with determination and courage. It has many melodic ideas and comprehensive control over the material. Their sound is very round, sometimes almost syrupy and other very bright, but never to scream (à la Miguel Zenon). Simon Jermyn goes far beyond what is expected in a bass player, and yet no one monopolizes hyperreacts or excessive prominence. Using a pick and three pedals a bell brought him aggressive. Very imaginative parts that lay leader (do not know whether to call them “alone” since the idea was very, very organic), his was much of the credit rhythm of the band, backed in many cases the overlap of different metrics. He used all the tessitura of the instrument (even exceeded, playing on the socket itself) and came to strike the strings with artifacts. The drummer Tommy Crane, meanwhile, flowed freely contrapuntally dialogue with peers. The success of the proposal lies in the ability of Jermyn and Crane played with different dynamics starting from a level of intensity so high that limit at the outset, the scope of other rhythm sections.

It was exciting to see a project as risky not only filled Bogey Jazz, but appealed to an international audience and varied. Amid such a good atmosphere, and just before boarding the encore, Robbins said goodbye not without some sadness, “This will be the last issue of the tour. We are sad to go home. ”