Alexia Alvarez B.
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Madrid vibrates to the rhythm of ‘modern jazz’ from the hand of Transatlantic Trio
In the shadow of a allegoric image of ‘Trane’ (John Coltrane), encountered the melodies of two ‘jazz’ very different, separated by decades of musical evolution and mixing machines, but have managed to keep together the capacity of trance is only hallmark.
On Friday April 13 in the Jazz room Bogey Madrid Chueca district held its last live the ‘Transatlantic Trio’ of Pete Robbins, one of the hottest names in the New York vanguard. His latest album, ‘Transatlantic Pete Robbins Quartet Live in Basel’, has four instruments led by Robbins saxophone, a guitar that was missing in his presentation in Madrid, and the drums and bass, which this time was expended by the Tommy Crane Canadian Simon Jermyn and Dublin respectively.
Personally I’ve always been a fan of classic jazz, where some wandering melodies reign but in which the role of improvisation remains in a more superficial, leaving little room for the phrase ‘personal’ musicians. However, the duel between the drums and bass of ‘Transatlantic Trio’ broadcast such force that it was impossible not to get involved in the concert.
One of the songs they played, with the title ‘Intravenous’, served almost as a warning the public that what they were about to hear them calaría to the veins. The drum solos by Simon (not just this one but all they played their own pieces) managed to excite an audience of about 50 people, both sitting and standing, unconsciously moving the head to the beat of drums. Robbins, in front of the stage playing the ‘sax’ with all her sex, and never better artist because he was seen dancing with his instrument as if it were the most fragile lady.
So I take the liberty of quoting a reporter from the New York Times back in 1924 described the jazz in a simple phrase for the rhythms of Pete Robbins and his ‘transatlantic’ us back to “the music of the wild” for save us from a world of music as ‘boringly’ ordered.