Carmelo Bustos cumple 90

En el jazz chileno predominan dos instrumentos. Uno, como cabe esperar, es la guitarra, no sólo por su dominio en la música rock del siglo pasado, sino por su papel central en la música tradicional y de protesta del país (piénsese en Violeta Parra y Víctor Jara).

El otro es el saxo. De acuerdo que eso es típico del jazz, pero en Chile va más allá de la norma. Aparte de estrellas fugaces como el trágico Alfredo Espinoza (Valparaíso, 1942), las nuevas generaciones agotan los superlativos. Melissa Aldana ha acaparado titulares en los últimos tiempos, totalmente merecidos —y no sólo por ganar competiciones en EE UU—, pero el saxo chileno da para mucho más. Una de mis primeras impresiones del país fue ver y escuchar a Franz Mesko (Santiago, 1989), con apenas veinte años, tocar el tenor en una jam en el viejo Club de Jazz de Santiago. Aparte, o más bien antes, que la pura técnica, una característica destacada de estos músicos es su atención al lenguaje. Un caso extremo es este vídeo reciente de Agustín Moya (Santiago, 1981).

A mí no tienen por qué hacerme caso, pero nada menos que Loren Schoenberg, saxofonista y hiperexperto en Lester Young ha dado su plácet —le ha hecho la ola, vamos— a la interpretación de Moya, porque la clava. Y no se equivoquen, el respeto al lenguaje no quita para que Moya tenga tres discos a su nombre cargaditos de música original.

Más nombres a tener en cuenta con el invento de Adolphe Sax: Claudio Rubio (Santiago, 1976) seguidor consecuente de la escuela tristaniana, como demuestra aquí (y, además, un cómico brillante). Y, por abreviar, Andrés Pérez y Cristian Gallardo (ambos de Santiago, 1983), bien juntos como los vientos de Contracuarteto, o en sus proyectos por separado, de los cuales el que suscribe tiene debilidad por el primero, Sin Permiso.

Sirva esta larguísima introducción como redoble de presentación y aplauso a un hombre sin el cual no se explica esta riquísima tradición del saxo en Chile: Carmelo Bustos, que hoy cumple 90.

Carmelo Bustos (izquierda) y Marcos Aldana

Jazz in Chile, today: Contracuarteto

More from Tempo:

Contracuarteto:

Cristián Gallardo: flute,
Andrés Pérez: tenor sax,
Roberto C. Lecaros: bass, and
Félix Lecaros: drums,

play "Ocasión" (Gallardo, 2006) in June 2008 at the Musicámara hall in Universidad de Valparaíso.

Jazz in Chile, today: Los Ogros del Swing

Back in March I linked some videos as a taster of the history of jazz in Chile. The same producers of that series, dereojo, are about to release (first in Chile's Canal 13, then on DVD) Tempo a new series entirely devoted to the current scene, comprising eleven episodes devoted to eleven bands plus four guest soloists.

In the coming days I'll be posting some of those videos, which are quite a showcase for these bands.

Jazz in Chile: Contracuarteto

From our Northern-hemisphere point of view, the sheer existence of a Chilean jazz scene can be quite a surprise. If you come a little bit closer, the standard of playing of their latest generation of jazzmen, the so called "Generación '00", musicians born in or around 1980, is simply astonishing. These days, extraordinary technique is almost taken for granted. What is really surprising in Chile is the passion and devotion to the music displayed by these youngsters.

Contracuarteto is probably the clearest evidence of this. A pianoless, two-sax quartet conceived and organized by the eldest member, bass player Roberto Carlos Lecaros (b. 1978), they play with such proficiency and conviction that it's hard to believe they're 1) from Chile, 2) so young.

In the video above, taped on January 17-18, 2007 for the jazz_cl series, drummer Félix Lecaros (b. 1980) explains how they already had all the music ready before they recorded their first album, and how they decided to record it live (except two tracks) which makes it even more impressive.

The frontline looks like a reunion of complementary opposites: while altoist (and flutist) Cristián Gallardo (b. 1983) appears to be rather subdued, expansive tenor sax Andrés Pérez (b. 1983) does most of the talk. He explains how their first CD (recorded in late 2006, a second is about to be recorded as I write this) has served the purpose of preserving a sound, a concept, and idea. He also goes on about the almost ESP communication among the members of the band, whose musicianship describes, in a comment betraying his age, as up to a "Power Ranger" standard. Pérez points out the challenges of a pianoless band, how harmonies are implied by the saxes and especially the bass, and how, at least in Chile, their line-up is quite unique.

As for the music, from 3:50 onwards they play "Bipolaridad" and, from 6:21 "Chasqui" (both can be listened to in their entirety at their MySpace page). The latter, a charming West-Coast-ish tune, was composed by Roberto, the bass player, who explains how he and his brother are expected to excel because of their surname. Then he tells how their father, Maestro Lecaros, who already ran his school of music, offered them to play an instrument, and how his brother Félix snatched the drums from under his nose. He adds that it was probably for the best, given his sibling's mastery as a drummer.

Whoever said jazz is dead... Maybe, like Stuart Nicholson proposed, it's only moved to a different address.

After the earthquake

"La Vela", by Contracuarteto + Roberto Lecaros on piano.

Contracuarteto are Andrés Pérez on tenor sax, Cristián Gallardo (alto sax, not present), Roberto Carlos Lecaros on bass and Félix Lecaros on drums. The guest pianist is Roberto Lecaros, making the rhythm section here a father-and-sons affair.

The jazz scene in Chile is unexpectedly lively. Let's hope the earthquake doesn't affect it.

(Video from jazz_cl, a 4-DVD series devoted to the history of jazz in Chile.)

More on Chilean jazz soon...