Homepage (warner 1998)
29 de diciembre de 2012 § Deja un comentario
XIMO TEBAR… toca la guitarra, compone y produce discos de jazz. Me he servido de uno de sus videos para felicitar la Navidad 2012 (post anterior) y este es el motivo de que se cuele en el recorrido alfabético por mi colección. Es mi amigo y no voy a decir nada bueno de él… q lo digan los demás. Destacaré dos temas “altea” y “have yourself a little merry christmas“. LISTEN!
all about jazz
Ximo Tebar is the spanish musician who has won the most awards in the last years, “BEST NATIONAL JAZZ SOLOIST” two years running 1989, 1990 (Spanish Culture Ministery), “THE DEXTER GORDON 1991” Award, given by Spanish Television Chanel 1, music prize in the “BIENNIAL YOUNG CREATORS OF MEDITERRANEAN EUROPE” 1992, etc.
June 1989 he travelled to Italy to represent Spain by forming part of the “Big Band Jazz Europa” (made up of twenty two musicians, one from each country).
March 1991 (following the success of his first tour of the ex-U.S.S.R.) he returned to the Soviet Union to do an extensive tour of the most important cities, (Moscow, Leningrad, Kiev, Gorky, etc.) during which he recorded his third album, entitted “Ximo Tebar Jazz Group Live in Russia”. In April of the same year he made a solo tour of Germany, giving concerts of “Solo Guitarra”, and in May he accompanied the great drum maestro Louie Bellson on his only ever Spanish tour.
In October 1992 the Maestro Lou Bennett presented Ximo Tebar as a new guitar talent in the prestigious International Guitar Festival “GUITAR MASTER” of Pau (France), the newspaper “Le Republique” wrote: “Ximo Tebar: a first class guitar”. Also in 1992, he did a live record with Lou Bennett (organ) and Idris Muhammad (drums), that was his fifth record as leader, titled “Hello Mr. Bennett”, inaugurating a collection of records in trio (guitar, organ and drums) under the title “The Jazz Guitar Trio”
In 1995 he got a record deal with Warner Bross (wea), and their sixth titled Cd publishes is “Son Mediterraneo”. The European press highlighted the disk like one of the best of the year and the magazine it highlights him like one of the best disks in jazz of the decade. In January of 1997 he play a concert in the MIDEM of Cannes (France). The international critic highlighted its participation like a new revelation of the guitar unanimously “Ximo Tebar, une revelation” and “Guitar hero, Ximo Tebar”. Also in 1997 he toured with Lou Donaldson, Dr. Lonnie Smith, Idris Muhammad and Billy Brooks recording a new Cd entitled “So What” (The Jazz Guitar Trio Vol. 2).
In June of 1998, Warner throws its tenth titled disk “Homepage” in which artists collaborate like: Carles Benavent, Joey DeFrancesco, Idris Muhammad, Dr. Lonnie Smith, Sole Gimenez, Jorge Pardo, etc., “Once again of their innovative and creative spirit, Tebar presents in Homepage a new musical address of jazz coalition, pop and funky, seasoned with its matter style of mediterranean air that some critics have baptized as they Son Mediterraneo”. Homepage has been Nominated for PREMIOS DE LA MUSICA 1999 (wich is like Spanish Grammy Awards), it has been chosen by the magazine Todas las Novedades BETTER DISK OF THE YEAR 1.998 and it has become the first disk of Spanish jazz that he has benn in to the lists of successes.
In the year 2000 he opens the music school Aula de Musica Alameda and goes on a long tour through a number of countries, playing at important festivals such as Guitar Master de Pau (France), North Sea Jazz Festival, Festival de Jazz de Madrid, La Plata Jazz Festival (Argentina) and Jazz Plaza de La Habana (Cuba), where he was a big success. Chucho Valdes invited Ximo Tebar to sit in the closing show of the Havana Festival as part of an All Stars ensemble featuring Danilo Perez, Giovanni Hidalgo, Tata Guines, Ronnie Cuber, Dave Valentin, and Nicholas Payton.
In 2001 he founds his own record company called Omix Records and releases his ninth recording titled “Goes Blue” (The Jazz Guitar Trio, Vol. 3), featuring Dr. Lonnie Smith, Idris Muhammad and Lou Donaldson. The critics unanimously acclaim it as an outstanding work. During 2002 he works on consolidating his record company (Omix) producing and releasing various works of young talents of Spanish Jazz. All releases have been praised by the specialized media and nominated among the best of 2002. Same year in December Ximo appears at the BIRDLAND, New York City, presenting his new project “Embrujado” (Bewitched). He also is invited to play and teach master-classes at Queens College, New York.
In March 2003 he releases his tenth recording EMBRUJADO (BEWITCHED) and once again the critics praise him describing his work as “Complete and thorough. Creative jazz with brilliant features” World Music Magazine.
In December 2003 he moved to New York beginning his introduction in Manhattan jazz scene playing with Michael P. Mossman, Dave Schnitter and Arturo O’Farril in jazz clubs like; Birland, Smoke, Fat Cat, Up & Over, etc. In February 2004 he signed a contract with Sunnyside Records. In April 2003 he started working by the hand of Arturo O’Farril with the Chico O’Farril Afro Cuban Jazz Orchestra playing every Sunday at Birland Jazz Club. He also worked producing recordings with Dave Schnitter (Sketch) or Ester Andujar (Celebrating Cole Porter).
In March 2004 he releases his eleveth recording THE CHAMPS (The Jazz Guitar Trio, Vol. 4), featuring Joey DeFrancesco and Idris Muhammad. The critics unanimously acclaim it as an outstanding work describing his work as “A masterful interpretation” Aeropuerto Jazz Magazine, “A unique scheme” World Music Magazine. In July 2004 he touring playing at important festivals such as San Sebastian Jazzaldia, Pori Jazz, Galapajazz, etc.
Ximo Tebar is in New York the President of Promusics – The Valencian Association of Jazz Musicians. He spends his time touring, recording, producing, teaching master-classes, running his record company (Omix Records) and his music school (Aula de Musica Alameda) where he teaches guitar and coordinates the Department of Modern Music.
Ximo Tebar’s guitar style is not typical in the contemporary electric jazz tradition of John McLaughlin,Pat Metheny, or John Scofield in that it displays little distinction in and of its own voicings. What Tebar does own is a sense of teamwork and a greater theory of the melodic whole with his fellow band members. Steps, his seventh album, is a very appropriate title for this recording in three discernible ways. There’s a progression of size in these combos, from quartet, quintet, sextet, septet, and octet. Compositions from post-bop and the jazz fusion era are used, as well as modern contemporary originals.
Ximo has a deep knowledge of the jazz tradition and his guitar style has been publicly praised by such masters as Benny Golson or George Benson. His international presence has him taking up residence in New York, where he has performed in major venues such as the Apollo Theater, Jazz At Lincoln Center, Birdland Jazz Club. He has recorded/performed live with top musicians such as Benny Golson, Lou Donaldson, Joe Lovano, Joey DeFrancesco, Dr. Lonnie Smith, Anthony Jackson, Tom Harrell, Idris Muhammad, Arturo O. Farrill, etc.
His extensive discography, the numerous awards won, the worldwide press reviews and the eclecticism and modernity of his music have taken him to a promient place in the current jazz world.
“If at this point you have not yet heard Ximo Tebar give release to his amazing guitar artistry from the vortex of his expansive, creative imagination into the medium of the air, it would be as self deprivation of the highest degree. Listen to him! He’s astounding.” Benny Golson / Composer / Saxophonist / New York City, May 13, 2004
” Ximo is a new trailblazer for jazz guitar and a major new voice for the classic organ trio. He has a fresh approach to single-lines. His ideas are never boring and his powerhouse technique is inspiring. His destiny is apparent from the moment you here him play. The amazing thing is that Ximo was born and raised in Spain, which makes him a phenomenon.” George Benson , January 2005 (Liner-Notes CD Goes Blue)
Ximo Tebar’s guitar style is not typical in the contemporary electric jazz tradition of John McLaughlin, Pat Metheny, or John Scofield in that it displays little distinction in and of its own voicings. What Tebar does own is a sense of teamwork and a greater theory of the melodic whole with his fellow bandmembers. Steps, his seventh album, is a very appropriate title for this recording in three discernible ways. There’s a progression of size in these combos, from quartet, quintet, sextet, septet, and octet. Compositions from post-bop and the jazz fusion era are used, as well as modern contemporary originals. Though somewhat based in acoustic music, the electric Fender Rhodes piano played by Orrin Evans is very present throughout, while add-ons include a horn section, vocals, and a cello. Though Tebar’s guitar is at the focal point, he is not the main voice, but instead represents a straight shooting laser beam of conceptual originality that precludes personal individuality. What is unique is the clever way he interprets any given composition. Alex Blake (longstanding member of Randy Weston’s bands) and Boris Koslov (the Mingus Big Band stalwart) switch their regular roles, with Blake on acoustic upright and Koslov on the electric bass guitar, while rock-solid drummer Donald Edwards plays his ever consistent role as a rhythmic taskmaster. Tebar “covers” five standards, all of them quite differently, with new ideas surrounding the original themes. The theme from “Pink Panther” for instance incorporates a neat and clean modern approach merged with heavy contemporary funk without dismissing the slinky mood of the song. Wayne Shorter’s “Nefertiti” is adapted into a light, breezy samba, Herbie Hancock’s fusion classic “Actual Proof” is done very faithfully to the original in short form, and John Coltrane’s “26-2” is deviated beyond initial recognition, with Blake’s bass, Stefan Braun’s cello, wordless vocals from Ester Andujar, a funky tick-tock beat, and Tebar’s sneaky quick guitar lines. “Steps” is a supercharged extrapolation of Coltrane’s “Giant Steps” with harmonies from “Milestones” also tossed in, tricky and synapse fast. Clearly a tribute to Wes Montgomery, “Four on Six for Wes” has the guitarist exploiting seamless rhythm changes via tiny notes and hip, literate chords borrowed from the master with scatting included, while the Edwards penned “Essential Passion” is very much like “Actual Proof” in design, but more lithe, animated, and not over the top heavy. This is a quite credible effort for Tebar and his groups, not as uneven as the lineups might suggest, sporting the diversity of a restless mind that refuses to stew in only one jazz genre, and does not take his own presence in a group setting so deadly serious.