 |
  |
 |
|
 |
EL PAIS / TENTACIONES Flamenco– Friday, May 28 of 2004
Pedro Ojesto Trío/Quiero (8)
The Madrilène Pedro Ojesto has made of the piano an instrument
of extensive flamenco resonance, without disdaining other genders frequented
by him, like jazz. Flamenco is imposed in styles as for instance siguirillas,
bulerias, solea or rodeña, with cantes of cantaores as Ramon
el Portugues and Ana Salazar. Ojesto describes this music as a “classical
synthesis of my mature musical concept until today”
Á. Álvarez Caballero
ALMA 100 / April-May 2004
Pedro Ojesto Trío “Quiero”
One of the most noticeable flamenco-jazz pianists, Pedro Ojesto, presents
a new record as a trio, with Jose Miguel Garzon (bass) and Fernando
Favier (drums and percussion). In general, it’s a well-done record,
with a professional and artistic quality.
Keiko
ABC / Guía de MADRID – Friday, 7 may of 2004
Flamenco. Pedro Ojesto Trío “Quiero”
Karonte ***
Produced by Manuel de Maria, the pianist Pedro Ojesto with his band
members, Jose Miguel Garzon and Fernando Favier, and other artists cooperation,
offer a new series of flamenco themes, one of them is not exempt of
fusions with turns of jazz. Finally, a new evolutional product of the
gender, created with excellent artistic entity.
M. Ríos Ruiz.
EL OLIVO / May 2004
Pedro Ojesto Trío “Quiero”
Karonte 2004
Three decades of music practicing and learning in the encounter of the classical music, the Spanish classic, the jazz, the flamenco have given as a result “Quiero”, a record full of mature creativity and a commendable and declared purpose that is not another that of fusing serene and very seriously jazz with flamenco, without imitating anything and anybody that doesn’t respond in any way to trends.
LA GACETA DE LOS NEGOCIOS / EL DISCO DE LA SEMANA - MAY 15 and 16,2004
A natural fusion
The pianist Pedro Ojesto starts off of the encounter unforced of jazz
and flamenco, an eclectic record that opens new ways. The second work
of the Madrid pianist, after his initial “Lo mejor que tengo”
(1998), is in essence a mature effort. Flamenco and jazz-fusion - often
an imposture in these times- sprouts naturally in Ojesto. Far from falling
in the stereotype, he manages to transcend it, thanks to an always-classical
focus, to sign a work united, guided with mastery and in which even
he allows to seek new tones.
WORLD MUSIC / APRIL-MAY 2004
Pedro Ojesto presents “Quiero”
In the solea supreme luck Sabicas’ “Bronce Gitano”,
that Ojesto has transcribed and in which he starts unpublished tones
for piano...............
PAGINA ABIERTA / MAY 2004
“Quiero” (Karonte) is the new and great record of the pianist
Pedro Ojesto
DOCE NOTAS / June-September 2004
Flamencology
Decades ago, Pedro Ojesto has worked in fusion of jazz and flamenco; he does it with a finest and highest style that normally should have produced a reputation that the media only reserve to “cigalas” and another crustaceous when its about fusion…
TODAS LAS NOVEDADES – June 2004-07-26
Pedro Ojesto Trio
Gipsy Piano. - Pedro Ojesto is a reference unexcused between the jazz- flamenco or flamenco-jazz fans, a musical modality that some people consider a gender in itself. Kike Babas
DIARIO DE SEVILLA- CULTURA- Monday, April 19, 2004
Flamenco lyric inside the piano
Transcending in the conjunction every day more relevant of the piano
inside the flamenco registers that dialog with jazz, Pedro Ojesto gives
another step without falling into stereotypes. The rhythm, tempos, ad
compasses are there but expanded. The instrumental absence of the guitar
where the piano occupies that space that expands the dimension and the
concept of trio with other voices, (Jorge Pardo, Ramon el Portugues,
violin, tinaja...) It’s not Monk that interchange linguistic models,
not even the rhythm research as an axis; it is closer to classic melody
and Bill Evans between palos flamencos, this expands a focus that seem
to reach universality: the difficult connection between the academic,
improvisation and the popular
·