Es asombroso cómo un compositor como Abraham puede ser tan versátil, enriquece mucho el lenguaje de mi instrumento. says HORACIO FRANCO, Mexico's gift to the recorder world. He was complimenting the H3A pianist-composer's accomplishment in enriching the language of the recorder.
|You can be sure Franco also dressed flamboyantly at the concert too|
I was very taken with the skill of bass player Aaron Cruz. Drummer Adrian Oropeza not only used many percussion techniques during Barrera's work but also composed the final number H3! played.
My take: It was evident H3A takes jazz seriously, but I'm unsure that this should have been my main perception. The recorder as a jazz instrument? Maybe, but for me, some of the most tantalizing parts came when the 3As played alone. Sometimes I missed the mellow sound of a clarinet. But watching Franco's switch from the body language of a conductor leading a performance of Bach's Passion of St. John (I saw him do that a month before) to that of a jazz player was fascinating.
In the words of this adventurous recorder player, "The technique isn't different, but the state of mind is."
For HELEN SUNG, jazz has been a state of mind since she first heard Tommy Flanagan play. After earning her masters in classical piano, she took a right turn from her formal training by applying to the inaugural class at the Monk Institute in Boston where for two years it was jazz from morning to night. After working under some of the jazz greats, she now she has her own band, the Helen Sung Quartet, in New York City.
|Helen bravely started with a light silk dress but added a jacket on the cold night|
|Morelia saxophonist Juan Alzate (2nd from left) and guitar player Rodrigo Nefthali (right) added to the swing|