Victor Prieto | Persistencia

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Jazz: World Fusion Jazz: Latin Jazz Moods: Type: Acoustic
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Persistencia

by Victor Prieto

Persistencia, Jazz, world music, accordion. The key features of Prieto's music are lyricism and drama. He writes fine, memorable melodies, then works with the band to create tracks with a very clear dramatic arch, sometimes more than one.
Genre: Jazz: World Fusion
Release Date: 

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  Song Share Time Download
clip
1. Frevo
4:45 album only
clip
2. Muiñeira da Carmen
9:43 album only
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3. Contrasts in NY
3:25 album only
clip
4. Libertango
10:12 album only
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5. Perisitencia
6:57 album only
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6. Mundos Celtas
8:08 album only
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7. 26-2
5:15 album only
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8. Only for You
8:01 album only
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9. Mugares
5:27 album only
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Victor Prieto Trio.

Victor Prieto (accordion), Carlo De Rosa (bass) and Allison Miller (drums)
All selections by Victor Prieto except 1,4,& 7.
Recorded on June 9, 2005.

Produced by Victor Prieto and Foxhaven Records. Recorded by Jon Miller at Foxhaven Studios, Sandy Spring, MD. Mixed by George Petit at Manhattan Center Studios, NY. Mastered by Emily Lazar at The Loge, NY. Photography: Jon Miller. Package Design: Jon Miller. Executive producer: Carlo De Rosa.

Since moving to New York City in the Fall of 2002 I have had the opportunity to develop my own ideas and learn from other musicians on a daily basis. I met Carlo De Rosa two years ago at a gig he was playing in Williamsburg (Brooklyn). I was very impressed by his playing and asked him to be a part of the trio I was forming. Carlo introduced me to many great musicians including Allison Miller. We played a gig at a small French bistro in Manhattan and the musical connection between us was immediately apparent. This is the result of that connection. On this recording I show many musical aspects of the accordion that have not been heard before. I use the accordion more like a piano while comping and like a saxophone when playing a solo. Harmonically I have developed a new technique to accompany on the accordion, getting colors and textures that I once thought were impossible. I enjoy lyricism and melody, however, I like to incorporate more contemporary phrasing and sounds into both my improvisation and compositions. It adds a new dimension to the accordion that has not yet been explored. I hope you enjoy the trio and our music.

"Prieto plays accordion the way Toots Thielmans plays harmonica or Dino Saluzzi plays bandoneon—he transcends the instrument and just plays music"...
By Budd Kopma, All About Jazz.

Accordionist and composer, Victor Prieto is revolutionizing the way that the accordion is played by creating new sounds and techniques for this instrument. His music embraces different tendencies that come from jazz, Tango, Classical and Celtic roots enriched with new rhythms and colors. He is the creator of a new technique for the accordion called “chord approach on both hands,” which creates rich and elaborate harmonies.
Victor Prieto was born in Orense (Spain) in 1975. At the age of nine influenced by his mother Victor begun to play the accordion. He pursued his studies in Classical accordion at the Orense Conservatory (Spain), while taking harmony, arranging and improvisation classes at Estudio Escola de Musica (Santiago de Compostela, Spain). After receiving the opportunity and award by the highly respected Jazz school- Berklee College of Music- Victor decided to pursue the performance major in Accordion under the direction of Joanne Brackeen. Victor is the first and only of his kind, to specialize and apply studies in Accordion at Berklee College of Music. During his stay at Berklee Victor becomes friends with one of his mentors, Oscar Stagnaro who introduces him to some of the people he will be playing with, Paquito D’Rivera, Diego Urcola, Carlo DeRosa, Mark Walker, David Sammuels, Allison Miller, Lionel Louke. Victor graduates from Berklee and moves to New York City where he becomes the Jazz Accordion Professor at the Brooklyn Conservatory.
He teaches Master Classes in Spain, Italy, Portugal, and USA. He is a recipient of more than twenty coveted awards such as the first prize at the Citta De Catelfidardo Jazz Competition (Italy), the Creative Performer award from the Spanish Association of Artists and Performers, and the first prize at CMZK’s Concourse of Composition (Argentina).
He has performed at many prestigious venues and events such as Berklee Performance Center, Lincoln Center, Dizzy’s Coca-Cola Club, Jazz at Lincoln Center, New Jersey Performance Art Center, Three Rivers Musical Festival, Williamsburg Jazz Festival, Mary D’Angelo Performing Arts Center.
Victor now lives and performs in New York City and he has recently introduced his first CD, "Persistencia," which was produced by Foxhaven jazz records.

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Reviews


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Thomas H. Greenland. All About Jazz

Prieto’s playing is stellar: virtuosic without seeming to be in a hurry.
Persistencia features six original tunes by Prieto, along with covers of Brazilian composer Egberto Gismonti’s “Frevo,” Argentinian tango-maestro Astor Piazzolla’s “Libertango,” and John Coltrane’s “26-2,” the latter a three-in-one key workout from the Giant Steps album. Prieto’s own compositions range from lyrical to neo-boppish to progressive. “Muiñeira da Carmen,” “Persistencia,” and “Only for You” are wistful and romantic; “Freva,” “Contrasts in NY,” and “Mugares” have angular lines and unusual harmonies; while “Mundos Celtas” sounds like an Irish reel or jig, interspersed with sections of drawn-out, atmospheric chords...
Prieto’s playing is stellar: virtuosic without seeming to be in a hurry, his melodic phrases materialize nonchalantly, commanding but never imposing, gaining momentum and urgency when inspiration strikes. The accordionist’s linear vocabulary is unusual, at times hard-bopping, yet never quite resolving as “expected.” His tone displays a horn-like quality—”breathing,” swelling, and fading with the motion of the bellows—while his accompaniment - "Prieto's creation, chrord approach on both hands" - often detours adventurously in parallel and symmetric motions that flirt with quasi-tonality...resulting a harmonic textures unprecedented on this ax.
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Thomas H. Greenland. All About Jazz

Prieto’s playing is stellar: virtuosic without seeming to be in a hurry.
Persistencia features six original tunes by Prieto, along with covers of Brazilian composer Egberto Gismonti’s “Frevo,” Argentinian tango-maestro Astor Piazzolla’s “Libertango,” and John Coltrane’s “26-2,” the latter a three-in-one key workout from the Giant Steps album. Prieto’s own compositions range from lyrical to neo-boppish to progressive. “Muiñeira da Carmen,” “Persistencia,” and “Only for You” are wistful and romantic; “Freva,” “Contrasts in NY,” and “Mugares” have angular lines and unusual harmonies; while “Mundos Celtas” sounds like an Irish reel or jig, interspersed with sections of drawn-out, atmospheric chords...
Prieto’s playing is stellar: virtuosic without seeming to be in a hurry, his melodic phrases materialize nonchalantly, commanding but never imposing, gaining momentum and urgency when inspiration strikes. The accordionist’s linear vocabulary is unusual, at times hard-bopping, yet never quite resolving as “expected.” His tone displays a horn-like quality—”breathing,” swelling, and fading with the motion of the bellows—while his accompaniment - "Prieto's creation, chrord approach on both hands" - often detours adventurously in parallel and symmetric motions that flirt with quasi-tonality...resulting a harmonic textures unprecedented on this ax.
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Marcia Hillman

The set's - and CD's - highlight (All About Jazz New York)
In a recent performance at Dizzy's Club, Prieto performed eight of the songs of this CD. The trio was set up on stage with the member facing each other as three sides of a square, the forth side allowing the audience to enter into their musical conversation. Jumping from uptempo "Frevo" to the wisfull ballad "Muiñeira da Carmen" (where Cherico delivered an exquisite brushwork), the trio entertained a responsive audience, particularly during "Libertango", the set's - and CD's - highlight...All About Jazz New York
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William Grim

Persistencia is that rare recording with no weak cuts
I was most impressed, however, by Prieto's original tunes, which account for six of the nine cuts on the album. In particular, “Mundos Celtas” displays much of the rhythmic ingenuity of Hermeto Pascoal (himself no mean accordionist). And one would be hard pressed to find a lovelier and more haunting melody than the one on “Only For You,” a tune that is just crying out for a vocal treatment.
Equally impressive is the interplay among the three performers, who sound as though they have been performing together for decades. Although Prieto is the dominant soloist on this album, his colleagues get a number of opportunities to display their immense talents, most notably DeRosa on “26-2” and Miller on the hard-driving “Mugares,” the Prieto original which concludes the album.
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Budd Kopman

Victor transcends the instrument and just plays music
Of the nine tracks, six are by Prieto, along with Egberto Gismonti's “Frevo,” Argentinean tango composer/bandoneon player Astor Piazzolla's “Libertango,” and a surprising “26-2” by John Coltrane. The core of the album is comprised of tracks four through six, which form the dramatic arch that is replicated within each tune.

”Libertango,” the longest track at ten minutes, provides DeRosa a chance to show off his impeccable arco intonation. Prieto answers using varying phrase lengths of unpredictable form, building to a driving section that gets denser, supported by Miller's extroverted drumming. “Persistencia,” the title tune, gradually develops from a solo bass intro into to a very pretty, achingly haunting melody by Prieto that has echoes of the wonderful Italian movie Il Postino. Completing the triptych is the light and quick “Mundos Celtas,” with sections of tension and release where DeRosa and Miller follow Prieto's every twist and turn.

Put Persistencia on and turn the volume to club level. This music is meant to be enjoyed on many levels, but the musicianship is what makes it work—both individual and group playing is full of detail, sensitivity and finesse. Recommended.
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Mark F. Turner

Victor Prieto now makes a most compelling case for the accordion as a primary ja
Yet this is not just a showcase of just Prieto’s brilliance, but also a view of an extremely taut trio with two other fine musicians—bassist Carlo DeRosa and drummer Allison Miller. Every composition reveals the trio’s detailed articulation, covering modes of jazz, classiscal, tango, Brazilian and Celtic music. This assortment of influences contains a consistent theme of contemporary thinking and energy, as on the baroque “Mundos Celtas,” where the trio riches a feverish climax. Check out Prieto’s infectious comping as DeRosa delivers a wonderful solo.
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Vincenzo Roggero, Jazz in Italy.

Proprio l'interpretazione di quest'ultimo brano ci sembra la prova più convincen
In Persistencia, suo album d'esordio, Prieto privilegia composizioni originali, che fanno compagnia a classici come “26-2” di John Coltrane, “Frevo” di Egberto Gismonti e il celeberrimo “Libertango” di Astor Piazzolla.

Proprio l'interpretazione di quest'ultimo brano ci sembra la prova più convincente dell'intero disco perché esalta l'ottimo interplay tra i musicisti, con una rilettura tutt'altro che convenzionale e sezioni di grande respiro. Prieto sfrutta le trame armoniche del brano per costruire delle piccole storie nella storia, raggiungendo un risultato complessivo affascinante.
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