Simetrio

BIO Renowned Chilean bassist Marcelo Cordova and pianist Lautaro Quevedo met each other in the United Arab Emirates working as session musicians in the 90's. Since then, they have always kept the interest of creating a project that blends together their creative potential, the contemporary oriented jazz, groove, and latin American music. Recently, Cordova and Quevedo invited Carlos Cortes to drum for them which completed the formation of the band Simetrio. One of the greatest aspics of Simetrio is that they create outside of the boundaries of the common aesthetics that rule compositions. In other words, the ensemble wants to explore an infinite map of ideas that can surge from the music they love. In order to do this, the trio breakdown and distorts the instrumental and stylistic limitations. One can notice Simetrio's music is made with no compromises to any specific genres. They honor their first intention, which is to simply create and enjoy playing. Since 2009, Simetrio has performed in many different events in Santiago, Chile and prestigious jazz festivals across the country and nearby regions. They have obtained a mature repertoire by creating completely original songs which have been recorded on a self titled album, released in June 2011 and edited by Discos Pendiente record label in 2012. CD Reviews: By HRAYR ATTARIAN, Published: August 4, 2012 Simetrio: Simetrio Chile, the country of sensuous poetry and visceral prose, is not well known for it's jazz. Over the past two decades, however, the nation has been home to a growing improvised music scene. Three musicians who honed their skills in this relatively new environment have come together as Simetrio, releasing an eponymous CD of intellectually intense yet emotionally charged music. Pianist Lautaro Quevedo is the nominal leader of this collaborative group and the composer of seven out of the album's twelve tracks. Known as the sideman of Chile, Quevedo came into his own in the electrical fringes of the music, starting his career in fusion and acid jazz groups while simultaneously polishing his densely flowing acoustic sound. Quevedo's extreme chromatic harmonies are heard on the nocturnesque El Faro, where the piano's modal improvisation is vaguely reminiscent of Andrew Hill. Although not overtly in the Latin subgenre, some of the album's themes bear regional hints. The dark, sweet and minor-keyed ballad Camino has the lyricism of a tango, especially in Quevedo's opening and closing bars, while F de Hierro has a distinctly Afro Cuban structure, with Carlos Corts' percussive drumming and Quevedo's guajeo-like syncopated arpeggio chords. Corts, who has played in a variety of jazz-oriented bands, shows off his versatility on Azul, where his polyphonic and primal solo contrasts well with Quevedo's gently euphonious pianism. On bassist Marcelo Crdova's Jazziete, he provides rock-solid support to his cohorts, deftly navigating the tune's intricacies while Crdova weaves mellifluous lines around the main melody. Crdova, who also contributes four other quite elaborate pieces to the record, comes from a western classical background. This influence is apparent on the bassist's Toulouse, with it's overtly romantic explorations and dusky hues. Crdova and Quevedo engage in a modern deconstruction of the traditional dance on the bassist's Lost Waltz, while Corts' eggs them on with his almost martial drumming. Crdova's cello-like arco extemporization, together with Quevedo's angular notes, gives Impresin a distinct Debussy-esque flair Simetrio's native land may not be famous yet for it's jazz but the release of Simetrio should significantly contribute to putting Chile back on the proverbial map. By EYAL HAREUVENI, Eyal Hareuveni Contributor since 2004 Eyal Hareuveni is an Israeli journalist who lives in Jerusalem. Published: July 19, 2012 The debut release from Chilean piano trio Simetro has it's own fresh aesthetic. This trio does not want to be cornered as another Latin jazz outfit but seeks to create it's own repertoire free of any genre boundar