{"id":5318,"date":"2020-03-27T00:00:34","date_gmt":"2020-03-27T04:00:34","guid":{"rendered":"https:\/\/magazineampm.com\/?p=5318"},"modified":"2022-05-04T16:29:36","modified_gmt":"2022-05-04T20:29:36","slug":"llegando-a-capitalia","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/llegando-a-capitalia\/","title":{"rendered":"Capitalia \/ William Roblejo's Trio"},"content":{"rendered":"

Friends ... (good) friends always surprise you with music to vibrate. Because it's about that, about sharing what you made yours, and knowing that people close to you can enjoy it as well. When Lorena WeTransferred the album by William Roblejo's Tr\u00edo to me, I sensed that I was going to thank her. I must confess that between listening to the recording and savoring Cuban contemporary music live, I prefer the latter, because live I move, I go into the melodic stream, that accomplice \u201cbeing there\u201d that gives sharing the same space (air \/ waves sound), and energy, of course. Unique feeling like few others.<\/p>\n

However, Capitalia <\/i> (Egrem, 2019) came to me in parts, I would almost say, intermittently flowing, and so I enjoyed it. First, and a few days apart, I discovered it by the person who designed his image, Edel Rodr\u00edguez Mola<\/i>. The cover and interiors structured with the skill and grace that knowing how to communicate attract, not only by recognizing Havana and its architecture, but by approaching these three enlightened ones (William Roblejo, Roberto Luis G\u00f3mez and Julio C\u00e9sar Gonz\u00e1lez) who, alone or together, they indulge in music, a territory always to be explored.<\/p>\n

For anyone who hears this phonogram traveling on foot, by bike or driving through the streets of this Havana (almost like that of any bustling city), Capitalia<\/i> is a gift. Soundtrack that feels like an open conversation of instruments and performers, genres, styles and traditions. A sound geography with echoes ranging from the Irish timbral flying to North America to air with the Afro(descendant) syncope , from there continue to a Rio de Janeiro neighborhood, to finally arrive at a safe harbor, on the island of music, to Cuba.<\/p>\n

Track to track, follow the clues...<\/b><\/p>\n

I first heard Roblejo live a long time ago, at a jazz festival in 2011 or 2012, and then in many collaborations with projects and various musical genres. I was surprised by the ability, like other talented Cuban (classical) musicians, to move from the cult to the popular (to say an unjustifiable binarism in these times), from music focused on the score to improvisation more (or less) spontaneous. Because if its origins are undoubtedly in the Cuban classical violin school, over time and exposed to infinite influences, opting for jazz-fusion would say that it was natural. Roblejo \u2015who has said that he is \u201ca violinist who makes compositions\u201d\u2015 went from a first volume (Dreaming<\/i>, 2012) in which the author's weight was quite choral, to Capitalia<\/i> where eight of the nine songs included bear his signature, sharing the arrangements with Roberto Luis G\u00f3mez (Recuerdos<\/i>, Cuando ya no est\u00e9s<\/i> and Capitalia<\/i>) and with Julio C\u00e9sar Gonz\u00e1lez (Amor de loca joven<\/i> and Bossanera<\/i>).<\/p>\n

I could never hear Dreaming <\/i> as it is said, formally - although I should have enjoyed it perhaps in some of the concerts that the trio has presented over the years; but many agreed that that initial volume \u2014long nominated for Cubadisco\u2014 mixed with freshness and cast themes from established and new composers like himself, now they will appreciate the maturity that Capitalia <\/i> exhibits, seven years later. Because this is, without a doubt, a polished record.<\/p>\n

\"Dise\u00f1o<\/a>

Design and illustrations: Edel Rodr\u00edguez (Mola)<\/p><\/div>\n

With an Ireland for three <\/i>, whose vibrant violin solo delights nearly two minutes, Roblejo pays tribute to one of the most identifiable and internationally recognized violin schools. From the first chords the mastery of the classical violin settles in our ears to, moments later, unfold with the color and fast rhythm of the traditional Irish fidget that, more expressive with its impressive highs, unfolds the infinite possibilities that this instrument can embrace. Ireland, which here transpires to sea and cliffs, comes to us in a synesthetic sound, that which radiates from the dynamic violin, rises or gloats in the notes, the scales... to widen soon after and let the guitar strumming, plucking the bass, coloring the unmistakable timbre, curled... Ireland that is heard like an uphill wind, and it seems that the violinist is not one but two, wondering and answering at the same time.<\/p>\n

And in that free flow, with harmony as a guide, it is understood that the theme Amor de loca joven<\/i>, composed and arranged by Rafael Ortiz and included in Dreaming<\/i> and now also in Capitalia<\/i>, twin both productions, and be the second to listen. This track, like the next one, Ida y Vuelta<\/i>, keep the tone of fun and excitement in such exact doses that frankly catch. Ida y vuelta<\/i>, like a good bluegrass, it sounds like a western and, banjo through, it takes us to the cradle of American jazz, lightly, leafing note by note that protagonist violin so dear to old time and blues, which sums up (so well) the uncertain go-and-come of the contemporary nomad.<\/p>\n

The album has in its favor a balance that goes from intense passages to more relaxed ones, with absolute ease. Without effort we go from euphoria to Recuerdos<\/i> (Memories<\/i>, in Spanish), where the tempo slows down, becomes thin, and the bass becomes an emotional-reflective counterpart, a violin mirror or vice versa. Almost the same thing that causes going back, to the foundations of Cuban music, to re-live listening to a Danz\u00f3n en Tunisia<\/i> that makes us move to the beat almost without noticing it. I do not know if Roblejo \"stayed\" A Night in Tunisia<\/i> but I want to read a tribute where perhaps there is only allusion, a wink, especially when the danz\u00f3n is a genre not as vehement as that jazz standard of Gillespie.<\/p>\n