The Jazz Zine Interview with Pablo Ablanedo

1 - The Jazz Zine:

Speaking for myself, my acquaintance with music from Argentina and its close relations with jazz came from attending a concert at the Montreal Jazz Festival some years back. Featured with Gary Burton was bandoneon, composer great Astor Piazzolla. The chemistry between the two artists were unique and opened up new expressions both for the jazz world and the music of Argentina. Later, I discovered a video featuring Charlie Mariano and Dino Saluzzi, which further added to this mix of cultures and music.

Pablo, what were your main influences that brought you to jazz? Further, in what direction would you like to see the two cultures of music go?

My first passion with jazz comes with the discovery of the music of Bill Evans. Later on, Miles had a big impact too especially with Kind of Blue that I listened to over and over through the night until morning the day that I encountered it. Little by little came Gil Evans, Duke and many others. At the same time also Egberto Gismonti and Astor Piazzolla were storming my brain too.

Regarding the second part of the question, I think the confluent of both cultures is going in a good and positive place. This in part because the open spirit of jazz, essential for any living form of art, and the maturity of the Argentinean culture today.

2 - The Jazz Zine:

I find the differences between the musical blending of Latin and jazz to be divided into two categories: 1) The general music from the Afro Cuban culture which might include, Puerto Rico, Santa Domingo and, of course, Cuba to be the extroverted way of expression. 2) On the other hand, the musical culture coming from Argentina has an introverted, almost brooding and darkness to it. What are you feelings on this?

I think your are right, there is a difference at least on the surface. But they have many roots in common too. Also, crossing your concepts you can see an extroverted expression in the tango dance and singing, or the fire of the chacarera, as well as there are much ritualistic afro-Cuban music that have a dark mood too.

Also, I don’t think that the Argentine music is totally introverted, it can be very metaphysical and nostalgic but can be very extroverted in the expression of it dramas and it sadness.

3.- The Jazz Zine:

Listening to your music I hear various influences in your writing and compositions from other jazz great. When I listen to your music I can hear patches from Gil Evans to George Russell coming out in your style. Where do the sources of your influences come from? How much of it is from Argentina and how much from American jazz masters?

I don’t know how much but they are present all the time. There is also the influence of classical music as well as other sources like filmmakers and other artists. Maybe these answer the question a little: Dreaming is dedicated to Milan Kundera, “Alegría” to Igor Stravinsky, and “La Procesión” to Akira Kurosawa.

4.- The Jazz Zine:

Before hearing your music I was deeply moved by a colleague of yours whose CD we reviewed prior to yours. Her name is Katy Viqueira. Although she does appear briefly on one track of “From Down There.” I wondered if you have done much work with her in the past? We feel that she has a remarkable voice with a

deep sense of passion, sensitivity and originality. Is she going into her own direction or will there be some collaboration between your band and her in the future?

Katie has her own group where also Fernando Huergo (Bass Player) plays, and currently is involved in a few very interesting projects. Sometimes, we do play together in Boston and we will do it every opportunity we have. Also, she frequently listens to my new ideas about pieces, many times by phone she give me her feedback. Also, we are very good friends.

5. -The Jazz Zine

Through the years our planet has been getting smaller with regard to the overlapping of musical cultures. We, at The Jazz Zine have felt this to be a great thing, both culturally and musically. We have seen the fusion of music from all around the world coming together. For the most part, the settling point

has been to jazz. Speak to us about your feelings and what you may like to do in furthering this trend in music.

One great thing about jazz is that it’s so inclusive and/or flexible. Personally, I think that this is the best example of its vitality. It’s alive and moving, expanding, taking new forms, it is flowing. I always try to remember a quote of Duke Ellington that talks about this before anyone noticed the move.

All this new orgy of sound will create new styles. But I also believe that this should be done democratically. I mean we need to be careful of not losing the original seeds of music, the particular traditions of the different parts of the world. They are like the pulsing points of all this beautiful web of communication; they tie the web and sustain it. If not soon will be not point of reference, not return and confusion. There are many roots that are bringing to the main stage we the mediums of other sources, alien to it origins and this can be tricky if not dangerous.

6. The Jazz Zine:

In, “From Down There,” there is a lesser focus on individual solo improvisation. For the most part your music has more of an ensemble feeling. Will this be the direction you will follow on forthcoming works? Or, will there be more room for solo work by members of the group and yourself as well?

This is a very interesting question and goes to the heart of what we’re doing. Maybe there is lesser solo time but a searching for recompose over and over the sense of this section. In some ways the line is short but the shape of it more wide or varied. Rarely, I just open a section for solo in the standard or usual way; this is just one manner of including a solo section. Many times the solo part has its own structure and/or changes, sometimes should be very tied to the melody sometimes its a cadenza with more or less freedom sometimes there is no solo. In my new CD “Alegría” I continue to explore the same ideas about solo. A good example can be the piece “Alegría” where the collective solo is my intention to portrait a party of people in the streets, very wild noise joyful.

Check out Pablo Ablanedo’s Latest CD Alegria For more information go to: www.pabloablanedo.com or email at: pabloctet@yahoo.com

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