July 25, 2021

Magnificent welcome to the Ados Jazz 4tet at the Guggenheim

Olatz parapeted behind the lectern with the letters / Carlos Gª Azpiazu

With sound reinforcement, the Olatz García-Erguin combo alternated bossas in Portuguese and swing in English in the ‘Art & Music’ cycle, which was refilled

Oscar Cubillo

The third Wednesday jazz musician of the eight summers that are prepared on the terrace of the Guggenheim for July-August was the protagonist of the Ados Jazz 4tet and a great influx was once again obtained despite the cloudy sky and the supervening sirimiri. The quartet mounted a large acoustic installation for the usual in such a space (to the stage inaugurated this year they added two large external sound speakers, another two to hear them, and also a tablet recorded their concert), and not only for that reason they won to the public, who applauded numerous solos by the guitarist Jabi Conde and even interventions by the singer, Olatz García-Erguin, who announced in his first parliament: “Welcome everyone, we from Bilbao are not afraid of gales. We are going to play standards, bossa nova, ballads and, of course, swing ».

And at the end of his 123 minutes of performance (including the 23 rest or intermission) in which 15 pieces sounded (6 + 9), Olatz said: “Thank you very much for this magnificent reception”, and the people had resisted, applauded and enjoyed both the music and the drinks served at tables, just like in a guiri jazz club but outdoors.

Ander and Jon Ander, the rhythmic base. /

Carlos Gª Azpiazu

In a quartet completed by Jon Ander Amigo (bass and double bass; we saw him on Monday at the Bidebarrieta Library playing electric with Xahu) plus the young Ander Hernández (drums) and benefited by the aforementioned powerful sound, unpublished in this series called ‘Art & Music . Km 0. 2021 ‘(we imagine that to attract the attention of tourists), Ados Jazz 4tet (which this Saturday will take part in the Euskalduna Aurrera Fest cycle: room OE, 8pm, € 14.50) reappeared more energetic in its second pass, as is usually the norm in jazz: they caught the tumbao, the swagger to ‘On The Sunny Side Of The Street’ (sometimes Olatz sings very timbral and enthusiastic, and here was one of them), they injected funk (¡ sacrilege!) to an estimable ‘Summertime’, the exaggerated opening vocal engolanment of the Platters ballad ‘Smoke get in your eyes’ was righted when its epilogue spurred us on with swing (and another plucking with personality by Jabi Conde), in guitar and voice duo, the respectable applauded the very well adapted ‘Just the two of us’ by Grover Washington Jr because he surely identified it (since it was from 1980 Azpiazu did not sound like it), and the top of the quote, of the two passes, it was ‘One note samba’ by Jobim.

Ander, Olatz, Jon Ander and Jabi waving before the requested encore. /

Carlos Gª Azpiazu

In addition to English and Portuguese, in the first show, Olatz sang a piece in Italian, ‘Estate’, summer, by Bruno Martino and more famous in the version by Joao Gilberto. And also in this first pass we should consign the daring opening with Wayne Shorter’s ‘Footprints’, and the three most rounded titles: the swing known by Nat King Cole ‘Almost like being in love’, a successful ‘Cry me a river’ “With a special arrangement that gives it more strength” (and where Olatz, the singer, as she once defined herself, received another interlocking ovation), plus a sophisticated ‘Well you needn’t’ by Thelonius Monk (on the second pass they reviewed his ‘In walked Bud’), in whose introduction Olatz García-Erguin argued that, “although sometimes it is difficult for him to enter, jazz is popular music, for the people, not elitist.”

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