GUILLERMO KLEIN | BIOGRAPHY
Compositor, arranjador, pianista e cantor ocasional
A composição faz parte da vida de Guillermo Klein desde a sua infância na Argentina. O pai de Klein presenteou-o com um piano quando ele completou 11 anos de idade e, inspirado pelo lendário compositor argentino Astor Piazzolla, logo iniciou as suas experiências em composição com a escrita de canções.
Klein deixou a Argentina para frequentar a Berklee College of Music depois de ouvir uma palestra comovente do ex-reitor Gary Burton sobre a sua relação de trabalho com Piazzolla. O seu objectivo era estudar música clássica, mas acabou rodeado de colegas que estavam apaixonados pelo jazz. A música de Wayne Shorter fazia a ponte entre o clássico e os estudos de jazz. Sendo um fã da expressão harmónica única, Klein foi facilmente atraído para o trabalho deste mestre compositor, que é considerado um dos mais intrigantes arquitectos harmónicos do jazz. Klein também desenvolveu uma rede de talentosos amigos musicais, muitos dos quais vieram para a Berklee da América do Sul. Esse grupo de colegas forneceu a estrutura para o que viria a ser a principal voz musical de Klein, o grande ensemble Big Van, que se tornaria mais tarde no Los Guachos. Depois de se formar na Berklee, Klein mudou-se para Nova Iorque, assim como muitos de seus colegas. Estabeleceu-se em Greenwich Village e rapidamente se associou a um clube de jazz chamado Smalls, onde estabeleceu um compromisso semanal com a sua banda de 17 elementos Big Van, composta por músicos sediados em Nova York e outros de Boston. Smalls foi fundamental na promoção de uma comunidade de jovens artistas que acabariam por ser algumas das vozes mais influentes do jazz moderno.
Klein simplificou depois a sua banda e reduziu-a a 11 elementos, começando a ser conhecida como Los Guachos. A banda continuou a evoluir com a ajuda de residências no Smalls e, mais tarde, no Jazz Standard. Depois de gravar um álbum que acabou por ser arquivado, Klein encontrou casa para o seu trabalho na editora Sunnyside Records, onde se mantém até hoje. A editora lançou logo dois CDs de Los Guachos: Los Guachos II (1999) e Los Guachos III (2002). Klein voltou para a Argentina no início do outono de 2000, com a sua esposa. Durante a sua estadia na Argentina, Klein fez uma gravação ao lado de músicos locais, Una Nave (Sunnyside, 2005). Desde então, lançou uma série de CDs aclamados com Los Guachos, incluindo: Live in Barcelona (Sunnyside, 2005), Filtros (Sunnyside, 2008), e o seu mais recente Carrera (Sunnyside, 2012). Outras gravações importantes incluem o seu trabalho como compositor e/ou arranjador em Solar Return Suite (com o MIT Wind Ensemble), Domador de Huellas (Sunnyside, 2010), Bienestan (Sunnyside 2011) com Aaron Goldberg e Miguel Zenon, este último nomeado para os Grammys com o seu trabalho Alma Adentro.
Guillermo Klein toca regularmente com alguns dos músicos mais destacados da comunidade do jazz, como Chris Cheek, Miguel Zenón, Bill McHenry, Jeff Ballard, Ben Monder, Aaron Goldberg, Carmen Canela ou Jorge Rossy.
Para além de ensinar composição em Buenos Aires, Klein orienta masterclasses e seminários por toda a Europa, incluindo no Jazz Institut Berlin, Academia Sibelius em Helsínquia, Jazz Schule Basel, e Le Mirail, em Toulouse.
[A link to Guillermo Klein's full biography is available at the bottom of this page]
A composição faz parte da vida de Guillermo Klein desde a sua infância na Argentina. O pai de Klein presenteou-o com um piano quando ele completou 11 anos de idade e, inspirado pelo lendário compositor argentino Astor Piazzolla, logo iniciou as suas experiências em composição com a escrita de canções.
Klein deixou a Argentina para frequentar a Berklee College of Music depois de ouvir uma palestra comovente do ex-reitor Gary Burton sobre a sua relação de trabalho com Piazzolla. O seu objectivo era estudar música clássica, mas acabou rodeado de colegas que estavam apaixonados pelo jazz. A música de Wayne Shorter fazia a ponte entre o clássico e os estudos de jazz. Sendo um fã da expressão harmónica única, Klein foi facilmente atraído para o trabalho deste mestre compositor, que é considerado um dos mais intrigantes arquitectos harmónicos do jazz. Klein também desenvolveu uma rede de talentosos amigos musicais, muitos dos quais vieram para a Berklee da América do Sul. Esse grupo de colegas forneceu a estrutura para o que viria a ser a principal voz musical de Klein, o grande ensemble Big Van, que se tornaria mais tarde no Los Guachos. Depois de se formar na Berklee, Klein mudou-se para Nova Iorque, assim como muitos de seus colegas. Estabeleceu-se em Greenwich Village e rapidamente se associou a um clube de jazz chamado Smalls, onde estabeleceu um compromisso semanal com a sua banda de 17 elementos Big Van, composta por músicos sediados em Nova York e outros de Boston. Smalls foi fundamental na promoção de uma comunidade de jovens artistas que acabariam por ser algumas das vozes mais influentes do jazz moderno.
Klein simplificou depois a sua banda e reduziu-a a 11 elementos, começando a ser conhecida como Los Guachos. A banda continuou a evoluir com a ajuda de residências no Smalls e, mais tarde, no Jazz Standard. Depois de gravar um álbum que acabou por ser arquivado, Klein encontrou casa para o seu trabalho na editora Sunnyside Records, onde se mantém até hoje. A editora lançou logo dois CDs de Los Guachos: Los Guachos II (1999) e Los Guachos III (2002). Klein voltou para a Argentina no início do outono de 2000, com a sua esposa. Durante a sua estadia na Argentina, Klein fez uma gravação ao lado de músicos locais, Una Nave (Sunnyside, 2005). Desde então, lançou uma série de CDs aclamados com Los Guachos, incluindo: Live in Barcelona (Sunnyside, 2005), Filtros (Sunnyside, 2008), e o seu mais recente Carrera (Sunnyside, 2012). Outras gravações importantes incluem o seu trabalho como compositor e/ou arranjador em Solar Return Suite (com o MIT Wind Ensemble), Domador de Huellas (Sunnyside, 2010), Bienestan (Sunnyside 2011) com Aaron Goldberg e Miguel Zenon, este último nomeado para os Grammys com o seu trabalho Alma Adentro.
Guillermo Klein toca regularmente com alguns dos músicos mais destacados da comunidade do jazz, como Chris Cheek, Miguel Zenón, Bill McHenry, Jeff Ballard, Ben Monder, Aaron Goldberg, Carmen Canela ou Jorge Rossy.
Para além de ensinar composição em Buenos Aires, Klein orienta masterclasses e seminários por toda a Europa, incluindo no Jazz Institut Berlin, Academia Sibelius em Helsínquia, Jazz Schule Basel, e Le Mirail, em Toulouse.
[A link to Guillermo Klein's full biography is available at the bottom of this page]
GUILLERMO KLEIN | SELECTED DISCOGRAPHY
[Click on the pictures to read details about each record]
GUILLERMO KLEIN | MUSIC
- Guillermo Klein @ Grooveshark | more than 100 tracks of Guillermo's music are available on Grooveshark
- Guillermo Klein | Live at the Village Vanguard | click to listen to the full concert | June 8th, 2008
- Guillermo Klein | Burrito | performed by Aaron Goldberg & Guillermo Klein
- Guillermo Klein | Burrito Hill | performed by Guillermo Klein y Los Guachos
- Guillermo Klein | Moreira | performed by Guillermo Klein y Los Guachos
- Guillermo Klein | Va Roman | performed by Guillermo Klein y Los Guachos
- Guillermo Klein | Snake | performed by Guillermo Klein y Los Guachos
- Guillermo Klein | El Diário de Alina Reyes | performed by Mika Pohjola in "Great Songs from My Friends"
- Guillermo Klein | De Sabados a Dominguinhos e Curandero | from Los Guachos II
- Guillermo Klein | Luminarias e Tango | from Una Nave
- Guillermo Klein & Los Guachos | El Espejo | Recorded at The Jazz Standard in New York on February 28, 2000.
GUILLERMO KLEIN | AUDIO INTERVIEWS AND BROADCASTS
- [ Excellent interview!] Extensive Interview and Report on Guillermo Klein | NPR Radio | June 28th, 2008
- Guillermo Klein and Aaron Goldberg talk about their record Bienestan | June 14th, 2011
- Guillermo Klein and the new argentine jazz | Sounds of Upheaval | August 17th, 2010
- Guillermo Klein interviewed at the Library of Congress | February 29th, 2008
GUILLERMO KLEIN | QUOTES
- I'm a band guy. I like to feel like everybody is going to the same place and I can forget about everything and just focus on the music. [...] I like something that has a life, a gestation. And to get people to work on that gestation, that's the point.
- "I think that what has an impact is what you hear as a teenager; because it is the first time that you have the power of abstraction."
- "You have to be honest. What you do has to be a picture of your experience because, if not, you don’t have a base."
- "I don’t think there is any mystery of why I am kind of underground. Because I’m free and I don’t care."
GUILLERMO KLEIN | PRESS REVIEWS, ARTICLES AND INTERVIEWS
From his unique use of claves to his dexterous harmonies, Klein's music is a conversation between the remarkable curiosity that has propelled him throughout his continuing odyssey and the deep roots that have kept him dreaming of home.
[ Excellent interview! ] Click to read the full interview and report on Guillermo Klein @ All About Jazz.com
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[...] I started giving the score to the musicians so they know what everybody is playing, so you have the sense that you are the arranger, too, or the composer. There is no hidden surprise – if you want to know what’s going on you check it out at home. [...]
It’s what I do. I’m a composer; I write music and I want to listen to it. I have this image: instead of orchestras that play once a year, I prefer orchestras that play often. I like to play. It’s part of my life. [...]
I’m a band guy. I like to feel like everybody is going to the same place and I can forget about everything and just focus on the music. I don’t like that All-Star sort of reunion with one rehearsal. I like something that has a life, a gestation. And to get people to work on that gestation, that’s the point. [...]
[ Excellent interview! ] Click to read the full interview by Reid Anderson (published on Downbeat in 2006 and on his own blog in July 2010)
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With it's off-centered rhythms and dark hued, Gil Evan-ish harmonies, the music has a lived-in feeling that draws you in deeper with each listen. [...]
Click to read the full review of "Carrera" in Jazz Times (July/August 2012)
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"There is little in jazz that sounds like this group."
Click to read the full review of "Carrera" in Downbeat (August 2012)
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"The composer, pianist and bandleader Guillermo Klein lived in New York from 1993 to 2000 before moving to Argentina, where he's from, and Barcelona, where he currently lives. But he was a source of inspiration, and he is still talked about. His jazz, if you want to call it that, is built from the ground up, starting with ideas about instrumentation, then rhythm, then harmony, then gesture. In one of his large ensemble sets, there could be brass choirs, Cuban rhythm, fugue-like passages, talking, whistling, mechanical repetitions over a groove, and bits of aerated rock.
Many of the better young jazz improvisers in New York gravitated toward him [...]
[...] Perhaps because he undercuts his own keyboard playing, often restricting himself to chorded vamps, Mr. Klein functions as a true composer, rather than a stirrer of the pot within certain fixed jazz idioms. (Sometimes he can remind you of Hermeto Pascoal and Milton Nascimento, other examples of uncontainable thinkers.) [...]"
Click to read the full article by Ben Ratliff in The New York Times (May 9th 2005)
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7. GUILLERMO KLEIN: "UNA NAVE" (SUNNYSIDE) An Argentine now living in Barcelona, Mr. Klein is a large-ensemble jazz composer with strong, highly appealing notions about rhythm and instrumentation, none easily come by. Whether he appears to be drawing from boleros, baroque music, ragas or Wayne Shorter, he's risking a bit, and going after the transcendental moment.
Click to read the full article by Ben Ratliff on the 2005 New York Times "Ten Best Albums", (December 25th 2005)
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Guillermo Klein's Los Guachos, 11 musicians, are making unnameable music at the Village Vanguard this week, rich and sticky in rhythm and harmony. It doesn't have much to do with current trends in the rest of jazz, but only jazz musicians could be making it. It is not the only way or the true way; it is just one excellent, original way. Or maybe it is 11 ways: what makes the music more special is Mr. Klein's attention to the individual sound personalities of the group's members. [...]
Cilck to read the full article by Ben Ratliff, The New York Times, (June 6th 2006)
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A Wide World of Sound With an Argentine Beat: Guillermo Klein has built some fascinating bridges between jazz, pop, classical music and the chacareras and tangos of his native Argentina. His best music also carries smart harmonic ideas and surprising bolts of lyricism, but virtually all of it deals purposefully with the subject of groove.
Click to read the full article by Nate Chinen, The New York Times, (February 19th 2007)
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Known for his highly original approach to composition, Klein feeds off the improvisational energy of jazz, but also integrates sounds from a broad range of musical experiences. Among them are the folkloric tangos and chacareras of his native Argentina, though 20th Century European modernism, counterpoint, minimalism, drones, complex meters, children's songs, and human voices — including his own untrained but emotional delivery — are all featured heavily. The results are unclassifiable, but frequently buoyed by intense lyricism and thick, active grooves. [...]
It's music to the ears of many of New York's jazz musicians, who still count Los Guachos as one of their favorite bands. Over the past 14 years, some of the city's hottest young players have agreed to work for peanuts in order to have the chance to play Klein's challenging mix of latin rhythms, classical harmonies and singable melodies.[...]
Click to read the full article by NPR Radio, (June 28th 2008)
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One of the great pleasures of following today's jazz is introducing people to the music of Argentine composer and pianist Guillermo Klein. He flies in somewhat under the radar; his bands don't play more than a handful of U.S. dates every year. But it's astounding stuff when they do.
Click to read the full review of "Domador de Huellas", on NPR Radio (August 2010)
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When it comes to composition and orchestration, "Filtros" makes it abundantly clear that Klein is every bit as significant as the more highly visible Maria Schneider and Vince Mendoza. [...]
From his unique use of claves to his dexterous harmonies, Klein's music is a conversation between the remarkable curiosity that has propelled him throughout his continuing odyssey and the deep roots that have kept him dreaming of home. [...]
"Vaca" combines an Argentinean traditional song with 20th Century composer György Ligeti's "Hungarian Rock," while the closing "Louange a L'éternité de Jesus" is an unusual look at Messiaen, a tone poem filled with dissonant harmonies yet strangely appealing. It's this out-of-the-box thinking that makes Klein so important yet underrated [...]
Click to read the full review of "Filtros" @ All about Jazz.com (June 2008)
GUILLERMO KLEIN | OTHER LINKS
- Guillermo Klein's profile @ Sunny Side Records | [Excellent page gathering extensive information, interviews and reviews on Guillermo Klein]
- Guillermo Klein's profile @ All about jazz.com
- Guillermo Klein's profile @ MySpace.com
- Guillermo Klein @ Mariah Wilkin's Management | [Full biography of Guillermo Klein available here]
- Guillermo Klein @ Allmusic.com
- Guillermo Klein @ Last.fm
- Guillermo Klein @ Wikipedia.org