1 - Argentina
2 - Nave
3 - Fiu
4 - Venga
5 - Flores
6 - Luminarias (Tango)
7 - Piernas
8 - Niza (Milonga)
9 - El Fin
10 - La Ultima
11 - Luci
12 - Miminashi Yama
13 - El Rio
14 - Fascinating Rhythm-Moliendo Caf?
15 - Ojos Cerrados
16 - Flores India
CD Quality - 16 bit / 44.1 khz
Here is a musical postcard from Guillermo in Barcelona. Unfortunately for the New York jazz scene the Argentinian pianist is one of the latest to have joined the ranks of top jazz musicians moving to Barcelona. But before that Klein studied at the famous Berklee College of Music, and in 1995, after settling in New York, he started up a big band that began playing at the Smalls club, a pillar of the jazz scene, where, thanks to musicians like him, the most contemporary jazz was cooking. Arranger and composer like no other, Klein brings together influences that range from Gil Evans to the melodies of Argentina itself.
II volt les choses en grand, Klein. II pense orchestre. Avec un sens aigu de la mise en scene, de I'habillage, de I'intrique et des nuances, II compose, fusionne, arrange, "desar-range" et dirige.
Jazz Magazine - November 2005 Read the full article
When I moved to New York in the mid '90s, a new generation of musicians was converging ou the city. New sounds and ideas flourished, most notably at Smalls, where bands had the opportunity to develop their music through weekly gigs. Of all the incredible experiences l had hearing music then, some of the most moving and profound were the nights when Guillermn Klein played with his group, Los Guachos. It was like nothing I had heard before. Ethereal yet accessible, Guillermo's music is rich in detail, combining rhythmic and contrapuntal intensity with flights of pure melodic joy. He writes music for big bands that is not big band music, drawing as freely from Stravinsky, Bach and pop music as he does from Latin American folkloric music and jazz.
Reid Anderson, Downbeat
"..the sheer audacity of grasp demonstrated by Una Nave can only be compared to as brash and fearless a musical personality as Mingus. There’s so much to marvel at...it all fits together fine; this is the rare CD where plentiful musical variety only gives an impression of hungry and far-reaching giftedness--not arrogant hubris or lack of focus.
Paul Olson, All About Jazz
As effective as the individual compositions are, their contextual placement creates an even more vivid and profound experience that makes Una Nave one of the best albums of this year, or any year for that matter.
John Kelman, All About Jazz
released May 10, 2005
Juan Cruz De Urquiza - trompeta
Richard Nant - trompeta , percusión, voz en “moliendo cafe” y fius
Ricardo Cavalli - saxo tenor
Rodrigo Dominguez - saxo tenor, soprano y clarinete
Nahuel Litwin - guitarra
Matias Mendez - bajo, coros, voz en “...moliendo café” y fius
Guillermo Klein - piano, rhodes, guitarra, voz y fius
Daniel “Pipi” Piazzolla - batería
Sergio Verdinelli - bateria n “tango”,“miminashiyama”y tercera batería en “argentina”
Alvaro Torres - rhodes en “piernas”
Pablo Klein - guitarra en “flores”
Silvia Aramayo - coros en “piernas”
Matias Conte - coros en “piernas”
Javier Calequi - coros en “piernas”
Tsai - tablas en “flores (india)”
Saindevi - voz en “flores (india)”
This is one of the albums that really sweep me away, no matter which track I'm listening to, and its pleasantly long running time of almost 80 minutes guarantees a maximum sweeping effect. Basically, Matt Ulery is a jazz musician and composer playing the double bass, but the magic he creates on this and other albums is well beyond the confines of the genre. The brilliant varied orchestrations clearly put it into a neo-classical chamber music frame, frequently reminding me of Argentine chamber folk, and the smooth vocals contributed by Grażyna Auguścik and Sarah Marie Young add considerably to the magic, as does the piano work of Rob Clearfield, who's a great composer himself. Sven B. Schreiber
"By A Little Light" is of the same class and perfection as "In The Ivory", released two years later. Matt Ulery's unique writing style is the constant in the varied pieces on this exceptional double album, and many of the first-class musicians performing on "In The Ivory" can be found here as well. I'm especially pleased to hear the magnificent voice of Grażyna Auguścik and the piano virtuosity of Rob Clearfield once again. My favorite track "Gone Like It Always Was" is not among those playable for free, so I recommend "To Lose Your Mind" as a representative sample. Sven B. Schreiber