Renowned Chilean bassist Marcelo Cordova and pianist Lautaro Quevedo met each other in the United Arab Emirates working as session musicians in the 90′s. Since then, they have always kept the interest of creating a project that blends together their creative potential, the contemporary oriented jazz, groove, and latin american music. Recently, Cordova and Quevedo invited Carlos Cortes to drum for them which completed the formation of the band Simetrio. One of the greatest aspics of Simetrio is that they create outside of the boundaries of the common aesthetics that rule compositions. In other words, the ensemble wants to explore an infinite map of ideas that can surge from the music they love. In order to do this, the trio breakdown and distorts the instrumental and stylistic limitations. One can notice Simetrio’s music is made with no compromises to any specific genres. They honor their first intention, which is to simply create and enjoy playing.
Since 2009, Simetrio has performed in many different events in Santiago, Chile and prestigious jazz festivals across the country and nearby regions. They have obtained a mature repertoire by creating completely original songs which have been recorded on a self titled album, released in June 2011 and edited by “Discos Pendiente” record label in 2012.
Published: August 4, 2012
Chile, the country of sensuous poetry and visceral prose, is not well known for its jazz. Over the past two decades, however, the nation has been home to a growing improvised music scene. Three musicians who honed their skills in this relatively new environment have come together as Simetrio, releasing an eponymous CD of intellectually intense yet emotionally charged music.
Pianist Lautaro Quevedo is the nominal leader of this collaborative group and the composer of seven out of the album’s twelve tracks. Known as “the sideman of Chile,” Quevedo came into his own in the electrical fringes of the music, starting his career in fusion and acid jazz groups while simultaneously polishing his densely flowing acoustic sound. Quevedo’s extreme chromatic harmonies are heard on the nocturnesque “El Faro,” where the piano’s modal improvisation is vaguely reminiscent of Andrew Hill.
Although not overtly in the Latin subgenre, some of the album’s themes bear regional hints. The dark, sweet and minor-keyed ballad “Camino” has the lyricism of a tango, especially in Quevedo’s opening and closing bars, while “Fé de Hierro” has a distinctly Afro Cuban structure, with Carlos Cortés’ percussive drumming and Quevedo’s guajeo-like syncopated arpeggio chords.
Cortés, who has played in a variety of jazz-oriented bands, shows off his versatility on “Azul,” where his polyphonic and primal solo contrasts well with Quevedo’s gently euphonious pianism. On bassist Marcelo Córdova’s “Jazziete,” he provides rock-solid support to his cohorts, deftly navigating the tune’s intricacies while Córdova weaves mellifluous lines around the main melody.
Córdova, who also contributes four other quite elaborate pieces to the record, comes from a western classical background. This influence is apparent on the bassist’s “Toulouse,” with its overtly romantic explorations and dusky hues. Córdova and Quevedo engage in a modern deconstruction of the traditional dance on the bassist’s “Lost Waltz,” while Cortés’ eggs them on with his almost martial drumming. Córdova’s cello-like arco extemporization, together with Quevedo’s angular notes, gives “Impresión” a distinct Debussy-esque flair
Simetrio’s native land may not be famous yet for its jazz but the release of Simetrio should significantly contribute to putting Chile back on the proverbial map.
Contributor since 2004
Eyal Hareuveni is an Israeli journalist who lives in Jerusalem.
Published: July 19, 2012
The debut release from Chilean piano trio Simetrío has its own fresh aesthetic. This trio does not want to be cornered as another Latin jazz outfit but seeks to create its own repertoire free of any genre boundaries.
The trio have been working since 2009 but bassist Marcelo Córdova and pianist Lautaro Quevedo, the composers of the trio original material, began working together in the nineties as session musicians in the United Arab Emirates. The trio refer to pianists Keith Jarrett, Chick Corea Egberto Gismonti and Enrico Pieranunzzi as major influences.
True to the trio’s artistic ethos the compositions don’t surrender to typical descriptions. There is a lyrical, light touch in Quevedo’s playing—particularly on his own compositions, “Encuentro” and “Pasaje en el tiempo,” but the tight rhythm section of Córdova and drummer Carlos Cortés always keep the tension up. Even the Latin elements that are apparent in some of the compositions such as “El ataque” or “Lost Waltz” surrender to the driving interplay of the trio.
The first eight compositions on this release were penned by Quevedo and the last four by Córdova. The latter compositions further emphasize the trio’s tight rhythmic interplay and their Latin inflections, especially on “Fe de hierro” where the trio is augmented by percussionist Cristian Moraga. Córdova gently leads the lyrical “El Faro” and the brief, elegiac “Impresión,” which are the most beautiful compositions on this recording.
A promising and unique trio.