GRProject | Sculptures In Time

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bill Frisell mark knopfler (Dire Straits) miles Davis

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Jazz: Jazz Fusion Easy Listening: Mood Music Moods: Type: Instrumental
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Sculptures In Time

by GRProject

Melodic, groovy and relaxing jazz music. It´s like Mark Knopfler (Dire Straits) playing guitar with a groovin´ and moody jazz quintet.
Genre: Jazz: Jazz Fusion
Release Date: 

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  Song Share Time Download
clip
1. Seul B
6:10 $0.99
clip
2. Chillida
8:51 $0.99
clip
3. Ging Gong
5:50 $0.99
clip
4. Ol For
10:29 $0.99
clip
5. Ainara
3:15 $0.99
clip
6. Simba´s Samba
6:37 $0.99
clip
7. Africa
7:08 $0.99
clip
8. Todo Claro
4:32 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
This album is a Tribute to famous sculpturer Eduardo Chillida.
It was recorded in one day (8 hours) with very little rehearsing to capture the moment and fresh ideas of the musicians, although as a composer and as a producer it took me one year to prepare the right moment with the right people. A lot of trust, acceptance of imperfection and open minds and hearts was necessary within the band musicians to communicate and perform all these compositions in a smooth but at the same time deep and intense performance. It also took me two and half hours the day before the recording to cook a spanish tortilla full of good energy to feed the musicians during the session. They loved it !!

Chillida´s peculiar way of seeing time and space captured in his artworks inspired me to create this musical project and concept:

Music for me is a sculpture in time, and time becomes space limited by form. I see Chillida´s art work and aesthetics like vehicles to get into the universal concepts of (vacuum / fullness) and (space / matter). Contrast is what makes Chillida´s art work simple, beautiful and very powerfull, fulfilling at the same time opposites concepts such as tension-release, limited-unlimited, inside-outside, everything-nothing, time-space, sound-silence …

My music compositions are frames in time and vehicles to interconect all the above mentioned elements (tension-relese, everything-nothing, time-space, sound-silence etc ). I use silence (space, slow melodies, sparce beats and modal or slow chord changes) as vacuum versus grooves, (fast melodies, busy rhythms, fast chord changes) as matter to create contrast. I see my songs as creations of limits and frames where the musicians and listeners are invited to create an unlimited space of interconectivity in which past, present and future melts into sound.


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