Jordi Sabates i Toti Soler - Jordi Sabates amb Toti Soler (1973) {Picap ‎910694-02 rel 2008}

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Jordi Sabates i Toti Soler - Jordi Sabates amb Toti Soler (1973) {Picap ‎910694-02 rel 2008}

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Jordi Sabates i Toti Soler - Jordi Sabates amb Toti Soler (1973) {Picap ‎910694-02 rel 2008}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 187 Mb | MP3 @320 -> 93 Mb
Full Artwork @ 600 dpi (jpg) -> 35 Mb | 5% repair rar
© 1973, 2008 Edigsa / Picap | 910694-02
Jazz / Contemporary Jazz / World Fusion / Flamenco / Piano / Guitar

How do I start talking about this compact and capital work? Perhaps saying that the magnificent cover, a drawing by Jordi Graells, in which the pair of musicians on stage, on the back, under a light bulb, is playing in an empty room (well, there are four cats), the I have framed and hung in my studio …? It was in 1973, neither the Mirasol Orchestra nor the Dharma existed yet. So, as today, open-minded adventures were a matter of four cats. It is what it touches when it lacks the parameters of the pop and the law of the majorities. This record has nothing to do with it.

Although, two years earlier, we had already given a wonderful miniature, the single Little party and Everything is a lie, on the B face; the LP Om, Liebeslied and El gat blanc, (the latter, a cornerstone that marks a before and after in the music that should be cultivated in this country, the seed from which the Laietan music would emerge) . With The white cat, then, Toti was positioned at the head of the movement, not just musical: it was also a statement of principles, which is difficult to explain today. But yes, there was a time when the principles, the restlessness, the planting and turning their backs to music, made their eyes shine; for that reason it is still kept intact.

We return, however, to the disk in question. Jordi Sabatés, to the piano and Toti Soler, to the Spanish and electric guitar, spurred on by the musical ideas that Miles Davis had expanded, although with their personality and language, they recorded six extraordinary songs:

"Bicicletes marinos" (Soler), begins with guitar and piano agreements in unison that gradually separate to dialogue. It has the effect that the musicians were at the bottom of the sea and, instrument in hand, they were describing everything that they saw, with mysterious and obscure phrases. Now speak the one, now the other, always accepting, sharing the same impression. The piano goes into dangerous, dizzying phrasings, until it finds with the flamenco guitar of his friend who protects him and accompanies him, and takes his place because, after more than six minutes, at the backs of Spooky agreements come back to the surface.

"Moyenne Girl" (Sabatés), a delicate melody on a guitar phrase that is repeated, gives us the charm and the dream. Sabatés, inspiring, dominates the song, marking the way to Toti. And the song ends with a melody of those that leave you suspicious.

"Poema do Brasil" (Sabatés-Soler) seems a medieval piece, despite the Brazilian airs that take in half. It is then that Sabatés takes the voice soloist with a very beautiful melody that comes out when Toti gives him a walk (reminiscent of Black Orfeo). Then, they both return to the initial melody, which is languishing languidly.

"The butterfly of death" (Soler) is a pass. Here, Toti takes Les Paul out and leaves his mother: guitar dreams of dissonance. The wah-wah goes through a melody filled with beauty, pain and mystery; a darkness that was already beginning to be part of the times. Beauty has different faces, it lives in sumptuous palaces and in unexplored underground caves. There is, doubtless, the dark side of it. In short: nine minutes of tension and rage that Toti takes to the limit and without concessions. And Sabatés accompanies him, fraternally, in this journey of solitude, without abandoning him ever.

"Morgue ou berenice" (Sabatés). Piano and electric guitar. Sabatés takes over the reins of this European melody that Toti's electric hands break and mask. They separate him from the gardens to take him to a gloomy forest, in the moonlight, of silent statues that make him even more lonely.

"Song of cradle" (Sabatés). With Toti making dark voices, the latter song begins, the shortest of the disc. Flamenco guitar and piano, in a clearing of the forest of the past, touch solitary notes, like drops of humidity that fall from a nocturnal mist that has been placed on this outer terrain. For who is this crib song? For statues without life? For tomorrow's nostalgia?

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Jordi Sabates i Toti Soler - Jordi Sabates amb Toti Soler (1973) {Picap ‎910694-02 rel 2008}

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Jordi Sabates i Toti Soler - Jordi Sabates amb Toti Soler (1973) {Picap ‎910694-02 rel 2008}

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