DIEGO URCOLA BUENOS AIRES QUINTET ON TOUR
Diego Urcola - trumpet, flugelhorn
Juan Dargenton - bandoneon, piano
Willy Gonzales - bass
Pepe Luna - guitar
Mario Gusso - drums, percussions
NEW CD: "Soundances" (Timba Records – 59786-2), GRAMMY NOMINATED
OPEN DATES: April/May 2005
Born in Buenos Aires, Argentina, Diego began his musical studies at the age of 9, in the Music Department of the Colegio Ward, where his father Ruben Urcola was director. Since 1991 he has been a member of the Paquito D’Rivera Quintet (2001 Latin Grammy award winner), and since 1999, the Avishai Cohen International Vamp Band.
· Diego has toured with Slide Hampton and “The Jazz Masters” and with the United Nations Orchestra,
· performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra;
· played with the Jimmy Heath Big Band and Steve Turre Sanctifeied Shells;
· worked with the Carnegie Hall Jazz Band, the Milt Jackson All Star Big Band, the Joe Henderson Sextet and the Dizzy Gillespie Alumni All Star Big Band;
· and appeared with Wayne Shorter on the broadcast TV special “The 2nd Annual Celebration of America’s Music” hosted by Bill Cosby and televised nationwide by ABC Television in December 1998.
He has also made several recordings as a sideman with artists such as Paquito D’Rivera, Ed Simon, Dee Dee Bridgewater, J.P. Torres, Bebo Valdes and Danilo Perez.
Other highlights of Diego’s career include his second place finish at the ’97 Thelonious Monk International Jazz Trumpet Competition, his appearance with Paquito D’Rivera Quintet in the documentary Calle 54 directed by Fernando Trueba, and a subsequent tour with Calle 54 All Star Band.
New York Times
A jazz trumpeter from Argentina who has shuttled between his home country and New York for some years, Diego Urcola plays with unusual dexterity and strength. He’s an orderly musician, and like so many young jazzplayers, he’s looking far and wide for music that will sum up himself and his generation.
“Soundances” (Sunnyside), made in Buenos Aires with an entirely Argentine band, moves from nimble Nuevo tango with bandoneon (“Blues for Astor”), to deep, discursive ballads that have their, roots in early Pat Metheny and the best Brazilian songwriters of the70’s (“La Milonga”, written by the band’s bassist, Willy Gonzalez), to Weather Report-style levels of interwining melody with electric piano and bass, to old Argentine songs, to a beautiful bandoneon-and-trumpet duet on Miles Davi’s “Blue in Green.”
“Soundances” offers more proof that a training in jazz isn’t just the thing-in-itself it used to be; it’s also a jumping-off place for exploring music from different areas, from different traditions, from past and present.
New York Post
The melancoholy vibe of Buenos Aires is ever present in this sophomore effort by Paquito D’Rivera protégée Urcola. Atemperamental trumpet player who alternates effortlessly between passionate exuberance and nostalgic contemplation, Urcola explores the inherent bitterness of tango – listen to his version of the venerable standard “Naranjo En Flor”.
The rootsiness of South American folklore “Despedida” is uplifting, and the caressing beauty of the bossa nova “Lorena” is an intriguing sound that evokes the aftertaste of a strong cup of café con leche.
Besides the close parallels and obvious influences he derives from Freddie Hubbard, Argentinean trumpeter Diego Urcola shines as a self-assured composer, steadfastly rooted within the Latin jazz idiom. Residing in New York City, this astute jazz musican also enjoys first-call session status. With his inaugural release for Sunnyside, Urcola relays a promising outlook for the sometimes under-investigated Afro-Cuban/Latin jazz genre.
Armed with dazzling chops and a piercingly radiant tone. Urcola and bandoneon player Juan Dargenton lift a few concepts rom tango innovator Astor Piazzolla’s songbook on “Blues For Astor”, and elsewhere. More importantly. Urcola’s compositional style proposes an abundance of sinuously devised countercurrents, teeming with multipart unison choruses by the various soloists.
The ensemble perpetuates the jazz element throughout these works, spanning blithely orchestated samba motifs and a streamlinded sals groove during the piece titled “Nanas Para Santi”. One noticeable aspect of this outing pertains to Urcola’s embryonic arrangements, where he fuses disparate angles and elements into a happy dedium, in which the soloists interleaving parts play the utmost importance.
Urcola’s works feature tuneful themes, yet the producers (perhaps unitentionally) decided to place the least appealing pieces toward the end of the mix. Myconcentration began to wane, further abetted by the album’s lengthy 76-minute duration.
For more information, contact:
PROMOTION AKTIV PRODUCTIONS
tel. +49 (0)831 15454