joan monné quartet


NEW BOTTLES, OLD WINE


Photo by Nil Mujal
Photo by Hal Masonberg
Photo by Hal Masonberg
Photo by Hal Masonberg
Photo by Hal Masonberg
Photo by Hal Masonberg
Photo by Miquel Monfort
Photo by Xavier Homet
Photo by Mariona Rius

LES AMPOLLES / THE BOTTLES



JOAN MONNÉ



En aquest nou projecte he volgut revisitar algunes composicions que havia gravat anteriorment amb altres grups com el trio, el Nou Nonet o el quartet amb la Carme Canela, interpretant-les amb aquesta nova formació de quartet sense bateria. Per fer-ho, m'he volgut acompanyar d’aquests tres grans músics que m’han permès donar nova vida a aquestes velles cançons.



With this new project, my aim has been to revisit some of the compositions that I had recorded in previous groups such as the trio, Nou Nonet or the quartet with Carme Canela, and through this new drummerless formation, give these compositions a fresh voice. To achieve this, I´ve surrounded myself with these three great musicians who have assisted me in bringing forth new life unto these old songs.



SANTI DE LA RUBIA



Va ser integrant del projecte que vaig formar amb alguns dels meus alumnes l’any 2005, el Nou Nonet. També va ser qui va estrenar el Concerto for de la Blonde, un concert en tres moviments per a saxo i big band estrenat en el marc de l’Esmuc Jazz Project el 2022, i que vaig escriure pensant en ell com a solista. En destacaria la versatilitat del seu so, que tant pot ser vigorós i enèrgic com delicat i tendre, i també la seva tècnica i el seu llenguatge exuberant.



Santi was one of the members of Nou Nonet, a project from 2005 which was integrated by some of my students at the time. He was also the artist featured in the Concerto for de la Blonde, a concert in three movements written for saxophone and big band. This work, which I wrote with him in mind as a soloist, was first performed under the 2022 Esmuc Jazz Project banner. I would like to point out the versatility of his sound, which can range from great intensity and energy to the most tender and delicate subtlety, as well as his flawless technique and his prolific and exuberant musical language.


ÒSCAR LATORRE



Ja em va semblar un músic impressionant, amb una aparent facilitat per construir un discurs fluid i ple de lirisme, des de les primeres classes de combo i improvisació fins al seu deliciós recital de final de carrera. Vaig poder comptar amb ell en alguna edició de l’Esmuc jazz Project, com ara la que va servir per celebrar el 15è aniversari de l’escola, amb una obra que vam estrenar per a orquestra simfònica i quintet de jazz. El seu so és preciós i es complementa a la perfecció amb el saxo del Santi, a banda de ser un solista exquisit.



I became aware of this impressive musician and his distinctive capacity to extemporize fluid and lyrical discourses, when I first met him in ensemble and improvisations courses. I enjoyed following his progress through those years, culminating in a very memorable final recital. I relied on him on different editions of Esmuc Jazz Project, like the time were we performed a work I wrote for symphony orchestra and jazz quintet to commemorate the 15th anniversary of the college. Apart from being an exquisite soloist, Òscar also possesses a captivating sound which complements perfectly with Santi’s sax.



RAI FERRER



Va ser company meu d’estudis al Taller de Músics, i amb ell vaig compartir molts anys d’assajos, concerts, gires,... Molts moments viscuts amb el trio amb David Xirgu, amb el quartet amb la Carme Canela, infinitat de grups, situacions i vivències compartides. Després d’uns anys en els que els nostres camins es van separar, no puc estar més content d’haver-nos retrobat per a aquest projecte. Ell entén a la perfecció la meva música, i fa que la resta del grup no ens haguem de preocupar per res, perquè és sòlid com una roca i posa la base perfecta per a que els demés puguem intentar volar sabent que sempre podrem tornar a terra sans i estalvis.



I have known Rai since we first studied together at the Taller de Músics. Together we’ve run the gamut of rehearsals, concerts and tours throughout the years…. the trio with David Xirgu, the quartet with Carme Canela, and many other countless groups, situations and experiences. After a number of years in which our paths hadn´t crossed, I am extremely pleased that this project has once again brought us together. His knowledge of my music and his rock-solid, earthy support, reassures the rest of us, providing the understanding that regardless of how far our musical flights may take us, we´re sure to return to a safe harbor.



EL VI / THE WINE



LA CARA OCULTA



La cara oculta és un dels primers temes que recordo haver escrit. El vaig gravar amb el trio en el meu primer disc, “Son song”, l’any 1994. I n’havia gravat anteriorment una versió a quartet per al disc de les obres finalistes del concurs SGAE Jazzautor 1993. És un tema al que li tinc molta estima, amb una melodia i una harmonia senzilles però que em sento molt meves.



La cara oculta (The dark side) is one of the first songs I remember writing. I recorded it with the trio on my first album “Song song” in 1994, though I had also previously recorded a quartet version of it for an album featuring songs that were selected as finalists in the SGAE Jazzautor contest in 1993. A song that I´m fond of, it is made of a simple melody and simple harmonies, and yet, I find the song to be deeply personal.



LA BROMA



La broma és un rhythm changes que va canviant de to a cada secció. És un recurs que m’agrada utilitzar. El títol ve del fals final que hi ha a la meitat del tema, i del canvi de to sobtat que hi ha al final real. El vaig escriure per a un quartet que es deia Alguimia, i està en el nostre primer disc, “U”, gravat en directe al Jamboree l’any 1997.



La broma (The jest) is a “rhythm changes” with key changes occurring in every section. Modulation is indeed a resource I thoroughly enjoy. The title derives from both the faux ending planted halfway through the piece, as well as the sudden key change in the real finale. The piece was written for a quartet named Alguimia, and was featured in our first album “U,” which was recorded live at Jamboree in 1997.


MY ONE AND ONLY LOVE



My one and only love és un standard que sempre m’ha fascinat. Recordo perfectament el primer cop que el vaig tocar, en una jam session, a proposta del gran Pep Cucurella, que me’l va descobrir. És el tema que obre el disc “Standards”, de l’any 2008, amb el mateix arranjament amb el que l’he gravat ara. Tot i que s’acostuma a tocar com a balada, m’agrada molt tocar-lo en aquest aire de open even 8’s feel.



My One and Only Love is a standard which I have always found fascinating. I still vividly recall the first time I came across it, when Pep Cucurella called it at a jam session I happened to be playing in, thus introducing me to it. It is the first tune on the album “Standards,” from 2008, and features the exact same arrangement as the one recorded for this present album. Though it is usually performed as a ballad, I tend to enjoy playing it with an open, even 8ths kind of feel.


1934 / 1944



1934 és un tema que vaig escriure originalment com a 3/4 a mig temps, i que vaig gravar amb el trio en el disc “Mireia”, l’any 2000. Més endavant el vaig revisar, convertint-lo en un 4/4 ràpid i sota el títol de 1944, per a la gravació del programa de televisió Jazz a l’estudi, l’any 2011. Ara he volgut fer un mix de les dues versions, començant en un compàs i acabant en un altre.



1934 is a song I wrote originally as a 3/4 medium-tempo song; a version of which I recorded with the trio on the album “Mireia” in 2000. Years later, in 2011, and looking to perform it on the television program Jazz a l’estudi, I refashioned the piece, changing both its style, by making it a 4/4 up-tempo piece, as well as its title, which became 1944. I have now brought both versions together, beginning the song in one time signature while ending up in the other.


HOMENAJE



Homenaje és un bolero que vaig gravar a “Son song”, el 1994. Va ser el primer disc del trio, i vaig voler que hi hagués col·laboracions d’alguns dels músics amb els que tocava en aquella època. A banda de Rai Ferrer i David Xirgu, van participar-hi Jon Robles al saxo, Vicenç Solsona a la guitarra, Pep Cucurella al baix, Àlex Ventura a les pailes i Vicenç Soler a les congues. Tant a la melodia com a la base harmònica hi ha diverses cites (o homenatges) a temes que van ser una influència per a mi en aquella època.



Homenaje (Homage) is a bolero I first recorded on “Son song” in 1994. It being the trio´s first album, I wanted to invite a slew of special guests made up of some of the musicians I was performing with at that time. Along with Rai Ferrer and David Xirgu, we had Jon Robles on saxophone, Vicenç Solsona on guitar, Pep Cucurella on bass, Alex Ventura on timbales as well as Vicenç Soler on congas. The melody and harmonic structure of the piece contains nods to some of the works that were of influence to me around that time.


IRIS



Iris és un tema que vaig escriure per al quartet que teníem amb la Carme Canela. De fet, aquest va acabar sent també el títol del disc que vam gravar l’any 2002. Més tard vaig decidir convertir-lo en un 7/4 i gravar-lo amb el Nou Nonet, l’any 2006. I encara en vaig gravar una nova versió amb el trio per al programa Jazz a l’estudi del 2011. És un tema fosc, potser fins i tot intrigant, però que trobo també molt líric.



Iris is a song which I first wrote for the quartet I shared with Carme Canela. In fact, it also became the title to the album we recorded together in 2002. Years later, in 2006, I decided to record it with Nou Nonet, switching things up by revamping the piece into a 7/4 time signature. In 2011, the piece made a resurgence when I recorded a new version of it with the trio for the program Jazz a l’estudi. It is a dark, somber piece, perhaps even full of intrigue, and yet, I find, a piece that is profoundly lyrical.


RUBATO



Rubato va ser un dels temes que vaig escriure per al Nou Nonet, el grup que vaig formar amb alumnes de l’Esmuc l’any 2005. Ja hi havia el Santi de la Rubia al saxo, i també la gran Sílvia Pérez Cruz a la veu, Julián Sánchez a la trompeta, o Bori Albero al contrabaix. Gravar i anar de gira amb músics molt més joves que jo va ser una experiència inoblidable, que em va omplir d’energia alhora que d’una immensa gratitud. El títol s’explica per sí sol, perquè el tema està interpretat íntegrament sense un tempo concret.



Rubato was one of the tunes I wrote for Nou Nonet, the ensemble I created in 2005 and comprised of some of my students from Esmuc. It was a thrill to work with such talented up-and-coming artists like Santi de la Rubia on sax, as well as the great Sílvia Pérez Cruz on vocals, Julián Sánchez on trumpet, or Bori Albero on upright bass. To be able to record and tour with musicians much younger than I became an unforgettable experience that filled me with both energy and a profound sense of gratitude. The title is self-evident, as the piece is elusive of any strict meter.


WHERE'S FREDDIE?



Where’s Freddie? també va ser escrit originalment per al nonet. Torna a ser un tema amb estructura de rhythm changes, però aquest cop no hi ha canvis de to a les diferents seccions sinó canvis de tempo. Al final del tema es desvetlla la incògnita del títol. La última modulació tonal i mètrica em va portar a un acord i a un tempo que em va fer pensar en el clàssic de Miles Davis, que vaig voler homenatjar.



Where´s Freddie? was another piece written for the nonet. It is also based on the “rhythm changes” structure, however, this time around, it isn´t concerned with key changes, but rather, changes in tempo. The answer to the question posed by the title is revealed at the end of the piece. The final metric and tonal modulation brings us to a soundscape reminiscent of the great Miles Davis classic; a classic which this music aims to celebrate.


LLUNA



Lluna és un tema que vaig gravar l’any 2000 per al disc “Mireia”, i també en vam gravar una versió a piano i veu amb la Carme Canela el 2002, per al seu disc “Iris”. La lluna sempre m’ha generat una gran atracció. Torna a ser un tema senzill, amb una forma molt simple, i amb una línia melòdica que intento portar a diferents centres tonals de la manera més suau i fluida possible.



Lluna (The Moon) is a piece I recorded in the year 2000 for the album “Mireia.” I also recorded a duet version of it along with Carme Canela for her 2002 album “Iris.” The moon has always exuded an attraction upon me. The song is quite easy-going, comprised of a rather simple form, and centered around a melodic line attempting to weave around different key centers in a fluid and subtle manner.


ALL THE THINGS YOU ARE



L’arranjament del clàssic All the things you are m’acompanya des de que se’m va acudir la idea de fusionar la melodia d’aquest standard amb la rítmica angulosa i asimètrica del cèlebre Evidence de Monk. El vaig gravar el 2000 (“Mireia”) i el 2008 (“Standards”), però també era el tema que sovint tocàvem a trio enmig dels concerts amb Benny Golson per a que ell pogués descansar. Vaig tenir l’honor de que quedés enregistrat en el seu disc “Benny Golson – European Tour 2019”.



This arrangement of the timeless All the Things You Are has been a constant companion ever since I first envisioned fusing its melody with the jagged, asymmetric rhythms of Monk´s classic “Evidence.” I first recorded it in 2000 (“Mireia”) and later on in 2008 (“Standards”), and was also the tune which, while in tour with the great Benny Golson, we would perform as trio in the midst of the show, allowing for the maestro to enjoy a well-earned break. In fact, it made its way into his album “Benny Golson – European Tour 2019,” an honor that I hold dear to this day.


VIDEOS



NEW BOTTLES, OLD WINE (TEASER)





NEW BOTTLES, OLD WINE





LA CARA OCULTA





LA BROMA





ALL THE THINGS YOU ARE (SHORT VERSION)





IRIS (SHORT VERSION)





joanmonne@gmail.com