Alejandra López is a Spanish double bass participant and composer who, at solely 19, is a brand new expertise in improvised music. From a really younger age, she was surrounded by a musical household. She accomplished skilled research in classical piano and double bass, and is presently learning for a better diploma in double bass on the Royal Conservatory of Madrid. On the age of 14 she turned all for improvised music, wherein she may specific herself higher. Ever since Alejandra took to the stage, she has had quite a few invites to collaborate with established musicians from the jazz scene. She’s been influenced and impressed by Christian McBride, Esperanza Spalding, Niels-Henning Ørsted Pedersen, and numerous kinds resembling neo-soul. Improvised music is the place to begin for structuring concepts. With a recent, candy, highly effective, good sound and a variety of concepts and assets, she communicates deeply with the viewers. Interview co-published by eight European jazz publications by Bega Villalobos (*)

In&OutJazz How, when and why did you uncover jazz?

Alejandra López I keep in mind that once I was learning within the conservatory’s apply rooms, I used to be at all times improvising on the piece I used to be enjoying. I’d provide you with new melodies and mess around lots with the music. In the future, once I was ten, I requested my piano instructor, who additionally taught jazz on the conservatory, if he may educate me some jazz. He taught me the right way to improvise over the modifications of the blues with the piano. This curiosity led me to take some jazz classes with double-bass academics like Toño Miguel, Reinier Elizarde and Javier Colina. One thing that influenced my strategy to jazz was being round musicians and associates who have been obsessed with this music. I began going to jam classes and acquired to satisfy loads of musicians from the jazz scene in Madrid. I listened to loads of music and realized lots.

IOJ: How do you construction concepts? What’s your concept of construction when it comes to composition?

AL: I’ve loads of concepts. Many of the sounds and music I normally take heed to encourage me, whether or not it’s a chunk from Chopin or the sound of the incoming subway; even automotive horns encourage me. I write and file these concepts and steadily give them form. Once I was seven years outdated, I began writing music with music-notation software program. I wrote melodies and formed them based on how they sounded to me. With every track now, I attempt to discover a construction that enables the vitality to circulation. I begin with loads of uncooked elements, so generally I go for rondos or rhapsodies, however to pay attention the fabric of every track I additionally search for extra typical constructions – AABA constructions, for instance – and I normally add codas to introduce a brand new closing concept.

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IOJ: What are your influences and what have they dropped at your enjoying and composing?

AL: My influences are very diversified. I’m impressed by classical composers like Debussy, Bach, Beethoven, Brahms, and lots of others, for the melodies and sensitivity they transmit to me; double bass gamers like Ron Carter, Esperanza Spalding, Charles Mingus, Niels-Henning Ørsted Pedersen, Ray Brown and Christian McBride, for his or her distinctive method of enjoying and interpretive strategies; guitarists resembling Pat Metheny and Mike Stern, for his or her sonic world and fusion model; Stevie Surprise for his mastery of composition and manufacturing. Erykah Badu and Esperanza Spalding have influenced me lots, they’re inspirations to me. I attempt to incorporate a little bit bit of every of those artists, amongst many others.

IOJ: What would you say are your strengths when performing and composing?

AL: My strengths as a performer are vitality, and dedication to the second and the track that’s being performed. Once I go on stage I give it my all. When it comes to composing, I might say that I’m trying to find spontaneity.

IOJ: How do you concentrate on improvised music and what does it carry to your music?

AL I actually recognize improvised music as a result of you may see the individuality of every musician and it encourages listening between the band members, creating interplay and spontaneous dialogue whereas one particular person is soloing, plus a seek for sound textures. The skills of every musician be a part of collectively and create a cooperative effort.

IOJ: What are your upcoming tasks?

AL I’m presently making ready my first venture at Café Berlin in Madrid, the place I’ll be enjoying and singing my very own songs and a few of my favourite jazz requirements. After that I’ll be performing with Abe Rábade’s quintet at worldwide jazz festivals within the USA and Portugal. And shortly I can be showing on quite a lot of albums by artists I enormously admire. All of the whereas, I’ll proceed my classical music research in Madrid, combining them with jazz research.

(*) English model by Julian Maynard-Smith

This text is printed concurrently within the following European magazines, as a part of an operation to focus on younger jazz and blues feminine musicians: Citizen Jazz (France), JazzMania (Belgium), Jazz’halo (Belgium), London Jazz Information (UK), Jazz-Enjoyable (Germany), Giornale della musica (Italia), In&Out Jazz (Spain) and Donos Kulturalny (Poland).

LINKS: This interview within the unique Spanish
LJN’s IWD interviews since 2011