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| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ----------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
| |
| Tino_Contreras-Quinto_Sol-Musica_Infinita-(ARC001)-WEB-2020-SOUNDz |
| --------------------------------------------------------------------- |
| |
| Artist______________ Tino Contreras |
| Title_______________ Quinto Sol - Musica Infinita |
| Label_______________ Arc Records / ARC001 |
| Genre_______________ Jazz |
| Year________________ 2020 |
| Release Date________ 2020-06-28 |
| Street Date_________ 2020-01-10 |
| Source______________ WEB |
| Encoder_____________ MP3 / Lavf |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 46.3MiB |
| Playtime____________ 0:20:09 |
| URL_________________ https://play.google.com/store/music/album/ |
| ?id=Blnr6o7meqcss36riwc6ttlowtq |
| |
| |
| 1. Sinfonia Del Quinto Sol 10:10 |
| 2. El Hombre Cosmico 05:15 |
| 3. Orbita 13 04:44 |
| |
| |
| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
| ------------------------- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< |
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| |
| Gilles Peterson announces the launch of his new Arc Records imprint |
| with a reissue of cult record "Musica Infinita" by Mexican drummer |
| and composer Tino Contreras. A psychedelic, experimental jazz record, |
| originally released in 1978, it marked a daring step forward by the |
| Mexico City-based musician, and is now re-released for a chance to |
| get the widespread dues it deserves. |
| |
| A limited private press, copies of the original are highly sought |
| after, despite the drummer being much overlooked in both his home |
| country as well as abroad, with a career that started in the 1950s, |
| and which has seen him share stages with many of the greats - |
| including Dave Brubeck, Cannonball Adderley and the Duke Ellington |
| Orchestra. |
| |
| Explaining his connection to the record, Peterson says, "This was the |
| first record I heard from that region which had that amazing |
| psychedelic, cosmic jazz sound. It's somewhere between a David |
| Axelrod record and a release on Saturn. I've always had it as one of |
| my secret gems." |
| |
| The story behind Peterson re-releasing the record is serendipitous. |
| Several years ago, he bought a copy before a gig in Japan, and it |
| soon became one of his most cherished discoveries; he was awed by its |
| otherworldly blend of jazz fusion and psychedelia. Years later, |
| booked to play at a festival in Mexico, Peterson was introduced to |
| Carlos Icaza, a record collector and musician, who also had a copy of |
| the record - in fact, he has two - and to whom it was also an |
| extremely special album. To Peterson's delight, Icaza suggested they |
| meet up with Contreras who, at 95, is still active and based in |
| Mexico City. Soon enough, the three of them were sat down together |
| and agreed upon a plan to re-issue "Musica Infinita". |
| |
| The album is the product of a long, varied musical development for |
| Contreras, and of his productive partnership with Estrella Newman, a |
| scholar who championed pre-Columbian culture and Mexico's |
| experimental traditions, such as the micro-tonalism pioneered by |
| musician and academic Julian Carrillo. On "Musica Infinita", |
| Contreras filtered these local traditions through an |
| American-influenced jazz lense, his playing and compositions honed |
| through formative experiences seeing the likes of Art Blakey and |
| Shelly Manne, decades of touring internationally, and of being part |
| of a series of orchestras and ensembles central to Mexico's jazz |
| history. |
| |
| By the time he recorded "Musica Infinita", Contreras had been a part |
| of the Luis Arcaraz orchestra, had led a series of outfits to record |
| albums for the Musart label, been part of recordings for the Polydor, |
| Typic and Berta imprints, and had introduced Mexico to the Dominican |
| Republic's merengue rhythm, through his 1953 recording debut with an |
| orchestra, the 'Volado por los merengues' 10". |
| |
| The group name adopted for the album, Quinto Sol, reflects the |
| influence of the Aztec Calendar, a concept which Contreras and Newman |
| were inspired to build their shared musical project around. It's a |
| concept based around an Aztec carved stone structure, known as the |
| Sun Stone, discovered in the late eighteenth century, believed to |
| outline five periods - or suns - which explain the transformations of |
| the earth. Inspired by a nighttime visit to the Pyramid of the Sun, |
| in the ancient city of Teotihuacan, Contreras decided to adopt a |
| group name in reference to the fifth period of the Aztec Calendar. |
| Thus, he picked Quinto Sol - or, "Fifth Sun". |
| |
| Re-issued for the first time, it's a chance to get acquainted with an |
| especially bright moment for an artist whose legacy is surely due for |
| greater attention. Bridging strongly-felt Mexican tradition with a |
| grounding in a primo jazz schooling, "Musica Infinita" channels grand |
| concepts into a visceral musical experience. |
| |
| |
| Personnel: |
| Tino Contreras - drums, harp, composed by |
| Leo Carrillo - acoustic bass, electric bass |
| Jose Mata - baritone saxophone, arranged by, directed by |
| Polo Acosta - drums |
| Roberto Martinez - electric bass |
| Enrique Aaron - electric guitar |
| Alfredo Guemez - harp |
| Antonio Zepeda - percussion |
| Fredie Manzo - piano |
| Tony Rodriguez - tenor saxophone |
| Daniel Flores, Sergio Mata - trumpet |
| Margarita Gonzalez - vocals (track 3) |
| |
| |
| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
| |
| |
| . . |
| |\/\/| |
| |____| |
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