An exquisite sobriety

Presentation of the trompetista Diego Urcola with the trio of the pianista Guillermo Romero , with Hernán Mer it in contrabass player and Oscar Giunta in action. In The Revolt.
Our opinion: excellent

A concert where the trompetista Diego Urcola had a shining performance. Their style, maturity and a language of amplest vocabulary, that knows of the balance between the melódico element and the rythmical one, left impressed the audience of the Revolt the night of Wednesday.

Unpleasant night that it invites to take refuge in music. Next to Urcola, the trio of the pianista Guillermo Romero, with Hernán Mer it in contrabass player and Oscar Giunta in action, shaped a delicious support that was motivante for the solista that, been in New York, comprises of the quinteto of the saxofonista Paquito D´Rivera. Urcola proposed a repertoire based on own subjects (those that finish recording in Buenos Aires with Argentine musicians), some classic popular like "Alfonsina and sea", "Naranjo in flower" and "Maria City", and a standard one, "Body and Soul". In each one of the pieces the trompetista had things to say that they sounded, although within the tradition hard bop, with a modern and audacious message.

This musician lead the show with an exquisite sobriety that allowed to connect with the music of immediate way. The specialized commentaries of at the table insisted on their interpretation and sound.

Urcola has strong influences of Freddie Hubbard. Its sound is of noble metal; something round and that tends to the gilded one. It has a showy speed which never it abuses, but that uses it, generally, like shade in the nucleus of the single one, that is to say, as it forms expressive and without spirit to make an impression to the tribune.

They begin with a subject to half time with a phrase almost arquetípica of hard bop, but embellished by sound of the musician. Its single one has a showy maturity by its resolution and a luck of relaxing to approach those that allow him to find the best ways. After chorus of Urcola, it follows the single one of Romero, who develops a blues air more, as if the trio kneaded music. The piano advances slowly towards the zenith of the tension arc; the enclosure is warmed up and the closing that makes Urcola generates the first "brave ones at night".

Soon they will take "Alfonsina and the sea", a subject touched until the fatigue that did not discourage to the trompetista to give its own reading him. Uptempo is touched and has a guessed right rythmical adjustment in the bridge that crosses of 6x8 of zamba to 2x4 of the blues-swing. The trio of Romero sounds elegant. Fit, the stand for casks has the prestancia that requires the proposal. Giunta sounds something contained, for good of the proposal, with interesting contributions in breaks. The rate with its almost straight left cleaning rod surrounds on the patch, like stabbing it, to the best style Art Blakey. Mer it he was solidísimo in the rate with I touch of a refrescante lyricism in his single ones.

"For Lorena" it has a Latin, remote air of stereotypes. Urcola left in evidence that knows that form stylistic and gave to a class on developments of phrase and closings. The group sounds with an exquisite integration.

Romero made a inapreciable contribution, as much by his style that she conjugated of impeccable way like by his interpretativa quality. By the way, the club tells on an acoustic piano that it allows the musicians to express itself more accurately, as soon as emocionalidad and force.

"Body and Soul", unique standard at night, had an introduction of trompeta in which it translates that feeling of emotional totality (body and soul) in a calm one watched that has like cautivante element the balance of the solista.

It would be the night or perhaps the place, the certain thing is that duende of the inspiration participated in this encounter of talented artists and the public left been thankful. The night followed unpleasant.