BandcampAMAZONiTUNES
Types of Online Private Lessons available
* Las clases pueden ser en español o inglés.
- Piano
- Improvisation
- Composition
- Arranging
- Orchestration
- Film Scoring
- Music Preparation
- Electronic Music [audio manipulation, synthesis, sampling, etc.]
Duration
- 30 minutes
- 45 minutes
- 1 hour
Video Streaming Platforms
- Google Meet (sign up here: https://meet.google.com)
- Zoom (sign up here: https://zoom.us/)
- Skype (sign up here: https://skype.com)
*Students are highly encouraged to have the app “ForScore” installed on their mobile devices and/or tablet/iPad.
Software
- Sibelius
- Finale
- ProTools
- Ableton Live
- Logic
- Garage Band
- Digital Performer
Cuban-American pianist/composer Fabian Almazan found his musical roots as a child in Havana where he first became involved in the classical piano tradition. Most recently, Almazan can be heard in such films as Harriet, Chi-Raq, Red Tails and Miracle at St Anna.
During the completion of his jazz piano bachelor's degree at the Manhattan School of Music, Almazan immersed himself in the realm of orchestral composition studying instrumentation and orchestration with Mr. Giampaolo Bracali.
Almazan is the founder and director of Biophilia Records. Biophilia means "an instinctive bond between human beings and other living systems.” In addition to creating meaningful and imaginative music, Biophilia Records artists are united by a common interest in having a positive impact on the environment and our communities. Biophilia artists collaborate with organizations that specialize in conservation, sustainability and outreach initiatives, regularly volunteering hands-on in community events.
As an environmentalist and naturalist, Almazan travelled back to his birthplace where he made field recordings of endemic Cuban birds which were then Incorporated into "This Land Abounds With Life", Almazan's most recent and 5th album as a leader. He is the founder and director of Biophilia Records and has worked diligently towards ensuring a continued dialogue of awareness concerning music and environmental justice.
As a performer, Almazan has developed a personal voice through the electric manipulation of the acoustic piano in live and studio settings. He has toured his music extensively as well as accompanied artists such as Linda May Han Oh, Terence Blanchard, Gretchen Parlato, John Hollenbeck, Mark Guiliana, Dave Douglass, Avishai Cohen and Ambrose Akinmusire among others.
Awards include 2 Grammy nominations, the SWR New Jazz Meeting commission, the Copland Fund, the Jerome Fund for Emerging Composers Award, the Jazz Gallery Residency, Rockerfeller Brothers Residency, Cintas Foundation Award in Composition and the Sundance Composers’ Lab.
LEADER
RHIZOME
The Cuban-born pianist Fabian Almazan is moving quickly. On his first album, “Personalities,” from two years ago, he showed that he was serious about piano-trio music as well as how to add string-quartet arrangements to tightly woven jazz without making a mess. On “Rhizome,” coming out later this month from Blue Note/ArtistShare, he’s gone further into making hybrid composed-improvised music —Ben Ratliff New York Times
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If the two albums are emblematic of any trend, they reveal a generation of musicians with training in jazz, classical and other styles successfully chipping away at the walls between genres and cultures, or simply enjoying freedoms afforded by natural decay. Both CDs feature vocalists and original lyrics, integrated within mostly instrumental frameworks in ways that also suggest the erosion of the lines between sung songs and small-ensemble jazz compositions....Larry Blumenfeld Wall Street Journal
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As both a composer and pianist, Fabian Almazan masterfully manipulates a balance between lyricism and tension. His second disc is rich with moments of heart-swelling beauty roiled with subtle dissonances that promote stunning, continuously unfolding harmonic growth. Rhizome is a tender and transporting set of chamber pieces borrowing from jazz, modern classical and echoes of the artist’s Cuban heritage. It’s a sound both joyful and achingly poignant.Jeff Potter Downbeat
This album is about so much more than Almazan's gifts as an improviser and instrumentalist. Rhizome is too diverse to be called a concept album. But it is a single arc, a deep personal reflection on our present moment. His work with Terence Blanchard has revealed him as a brilliantly expressive pianist. But the complexity of subject matter on Rhizome...Thomas Conrad Jazz Times
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Personalities
Much like the best of his contemporaries, Mr. Almazan revels in the space between musical styles, and between form and improvisation. As Ms. Oh explained, "What he gives us on the page isn't necessarily what we have to do. He wants us on the same page in a deeper sense." Mr. Almazan's new CD is meant, he said, "to reflect the people I've encountered in my life." These include strangers overheard on the street and his mother, as captured in the old snapshot from Havana that inspired a poignant original ballad, "Una Foto." What he achieves is personal, based on reflection, the sound of a man finding his place in a world that, musically speaking, can defy borders.Larry Blumenfeld Wall Street Journal
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Captivating young pianist Fabian Almazan has shown his mettle as a sideman with Terence Blanchard, Ambrose Akinmusire and others. In the latter half of 2011 he debuted as a leader with Personalities and appeared on Crosby Street, the worthy maiden voyage of tenor saxophonist Jake Saslow.
Personalities offers the fuller view of Almazan’s musicianship and artistic vision. The album begins out of left field, with a reworking of the third movement of Shostakovich’s String Quartet no. 10. Almazan supplements his trio (bassist Linda Oh and drummer Henry Cole) with a full string quartet and alters the soundscape further with electronics, making the music whoosh and dive and bend in the oddest ways. Gradually the electronic haze becomes a roar, eclipsing all else. But after a quiet break, the string quartet dominates for a long four minutes until the end. It’s a courageous opener and yet Almazan quickly puts the electronics aside. He switches to Rhodes for the trio number “H.U.G.s (Historically Underrepresented Groups)”, highlighting the taut yet flexible interplay between Oh and Cole that will dominate the album. The string quartet does return, however, for the title track, a nine-minute original with a bold, romantic sweep, yet none of the sheer eccentricity of the first cut. Almazan sings on his instrument, whether he’s surging on the fast tempos of “The Vicarious Life” and “Russian Love Story” or mining a dark and moody ballad like the 6/4 “Grandmother Song”. He also delves into his Cuban heritage with Carlos Varela’s “Bola de Nieve” and Antonio María Romeu’s “Tres Lindas Cubanas” - the latter complete with pops and cracks of old vinyl to affect a vintage danzón.David R. Adler New York City Jazz Record
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Personalities offers the fuller view of Almazan’s musicianship and artistic vision. The album begins out of left field, with a reworking of the third movement of Shostakovich’s String Quartet no. 10. Almazan supplements his trio (bassist Linda Oh and drummer Henry Cole) with a full string quartet and alters the soundscape further with electronics, making the music whoosh and dive and bend in the oddest ways. Gradually the electronic haze becomes a roar, eclipsing all else. But after a quiet break, the string quartet dominates for a long four minutes until the end. It’s a courageous opener and yet Almazan quickly puts the electronics aside. He switches to Rhodes for the trio number “H.U.G.s (Historically Underrepresented Groups)”, highlighting the taut yet flexible interplay between Oh and Cole that will dominate the album. The string quartet does return, however, for the title track, a nine-minute original with a bold, romantic sweep, yet none of the sheer eccentricity of the first cut. Almazan sings on his instrument, whether he’s surging on the fast tempos of “The Vicarious Life” and “Russian Love Story” or mining a dark and moody ballad like the 6/4 “Grandmother Song”. He also delves into his Cuban heritage with Carlos Varela’s “Bola de Nieve” and Antonio María Romeu’s “Tres Lindas Cubanas” - the latter complete with pops and cracks of old vinyl to affect a vintage danzón.
read more
Captivating young pianist Fabian Almazan has shown his mettle as a sideman with Terence Blanchard, Ambrose Akinmusire and others. In the latter half of 2011 he debuted as a leader with Personalities and appeared on Crosby Street, the worthy maiden voyage of tenor saxophonist Jake Saslow.
Personalities offers the fuller view of Almazan’s musicianship and artistic vision. The album begins out of left field, with a reworking of the third movement of Shostakovich’s String Quartet no. 10. Almazan supplements his trio (bassist Linda Oh and drummer Henry Cole) with a full string quartet and alters the soundscape further with electronics, making the music whoosh and dive and bend in the oddest ways. Gradually the electronic haze becomes a roar, eclipsing all else. But after a quiet break, the string quartet dominates for a long four minutes until the end. It’s a courageous opener and yet Almazan quickly puts the electronics aside. He switches to Rhodes for the trio number “H.U.G.s (Historically Underrepresented Groups)”, highlighting the taut yet flexible interplay between Oh and Cole that will dominate the album. The string quartet does return, however, for the title track, a nine-minute original with a bold, romantic sweep, yet none of the sheer eccentricity of the first cut. Almazan sings on his instrument, whether he’s surging on the fast tempos of “The Vicarious Life” and “Russian Love Story” or mining a dark and moody ballad like the 6/4 “Grandmother Song”. He also delves into his Cuban heritage with Carlos Varela’s “Bola de Nieve” and Antonio María Romeu’s “Tres Lindas Cubanas” - the latter complete with pops and cracks of old vinyl to affect a vintage danzón. Sonic creativity abounds on Personalities, but there’s a bit too much reliance on flowing, spiraling harmonies in irregular meters, a common sound these days.
Jake Saslow’s Crosby Street finds Almazan in a more limited role, playing behind the able tenorist on four out of seven tracks. He doesn’t get a solo on “Early Riser”, but he fills out dreamy chords and doubles melodies and basslines, supporting guitarist Mike Moreno and bassist Joe Martin respectively. On “Taiga Forest”, however, Almazan solos first; he’s also prominent at the start of the tune with dissonant high- register clusters and motives under Saslow and Moreno’s unison theme. The pianist is also strong on the fast-paced title track and the straight-eighth ballad “How Things Were”, locking in creatively with Martin and drummer Marcus Gilmore. Saslow, for his part, does admirably with Horace Silver’s “Lonely Woman”, opting for a chordless trio format that shows off his rich tone and skillful pacing. But the finest thing on the record is the closing “Until Next Time” (without Almazan). The mood here, even the instrumentation to a degree, brings to mind Joe Lovano with Bill Frisell and Paul Motian (if one imagines Martin in the role of Charlie Haden). It’s a moment that promises even better records to come from this rising horn player and New York native.David R. Adler New York City Jazz Record
read more
Personalities offers the fuller view of Almazan’s musicianship and artistic vision. The album begins out of left field, with a reworking of the third movement of Shostakovich’s String Quartet no. 10. Almazan supplements his trio (bassist Linda Oh and drummer Henry Cole) with a full string quartet and alters the soundscape further with electronics, making the music whoosh and dive and bend in the oddest ways. Gradually the electronic haze becomes a roar, eclipsing all else. But after a quiet break, the string quartet dominates for a long four minutes until the end. It’s a courageous opener and yet Almazan quickly puts the electronics aside. He switches to Rhodes for the trio number “H.U.G.s (Historically Underrepresented Groups)”, highlighting the taut yet flexible interplay between Oh and Cole that will dominate the album. The string quartet does return, however, for the title track, a nine-minute original with a bold, romantic sweep, yet none of the sheer eccentricity of the first cut. Almazan sings on his instrument, whether he’s surging on the fast tempos of “The Vicarious Life” and “Russian Love Story” or mining a dark and moody ballad like the 6/4 “Grandmother Song”. He also delves into his Cuban heritage with Carlos Varela’s “Bola de Nieve” and Antonio María Romeu’s “Tres Lindas Cubanas” - the latter complete with pops and cracks of old vinyl to affect a vintage danzón. Sonic creativity abounds on Personalities, but there’s a bit too much reliance on flowing, spiraling harmonies in irregular meters, a common sound these days.
Jake Saslow’s Crosby Street finds Almazan in a more limited role, playing behind the able tenorist on four out of seven tracks. He doesn’t get a solo on “Early Riser”, but he fills out dreamy chords and doubles melodies and basslines, supporting guitarist Mike Moreno and bassist Joe Martin respectively. On “Taiga Forest”, however, Almazan solos first; he’s also prominent at the start of the tune with dissonant high- register clusters and motives under Saslow and Moreno’s unison theme. The pianist is also strong on the fast-paced title track and the straight-eighth ballad “How Things Were”, locking in creatively with Martin and drummer Marcus Gilmore. Saslow, for his part, does admirably with Horace Silver’s “Lonely Woman”, opting for a chordless trio format that shows off his rich tone and skillful pacing. But the finest thing on the record is the closing “Until Next Time” (without Almazan). The mood here, even the instrumentation to a degree, brings to mind Joe Lovano with Bill Frisell and Paul Motian (if one imagines Martin in the role of Charlie Haden). It’s a moment that promises even better records to come from this rising horn player and New York native.
read more
If Shostakovich's third movement speaks of Almazan's interpretative daring then "The Vicarious Life" shouts his virtuosity as the trio works through the track's dizzying cadence. Almazan plays like a man possessed, at times flamboyantly, yet with masterful control, while his equally competent trio mates have their own bright moments such as Cole's intro on "H.U.Gs (Historically Under-Represented Groups)" and Oh's punchy solo in "Russian Love Story."Mark F. Turner AllAboutJazz.com
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Captivating young pianist Fabian Almazan has shown his mettle as a sideman with Terence Blanchard, Ambrose Akinmusire and others. In the latter half of 2011 he debuted as a leader with Personalities and appeared on Crosby Street, the worthy maiden voyage of tenor saxophonist Jake Saslow.
Personalities offers the fuller view of Almazan’s musicianship and artistic vision. The album begins out of left field, with a reworking of the third movement of Shostakovich’s String Quartet no. 10. Almazan supplements his trio (bassist Linda Oh and drummer Henry Cole) with a full string quartet and alters the soundscape further with electronics, making the music whoosh and dive and bend in the oddest ways. Gradually the electronic haze becomes a roar, eclipsing all else. But after a quiet break, the string quartet dominates for a long four minutes until the end. It’s a courageous opener and yet Almazan quickly puts the electronics aside. He switches to Rhodes for the trio number “H.U.G.s (Historically Underrepresented Groups)”, highlighting the taut yet flexible interplay between Oh and Cole that will dominate the album. The string quartet does return, however, for the title track, a nine-minute original with a bold, romantic sweep, yet none of the sheer eccentricity of the first cut. Almazan sings on his instrument, whether he’s surging on the fast tempos of “The Vicarious Life” and “Russian Love Story” or mining a dark and moody ballad like the 6/4 “Grandmother Song”. He also delves into his Cuban heritage with Carlos Varela’s “Bola de Nieve” and Antonio María Romeu’s “Tres Lindas Cubanas” - the latter complete with pops and cracks of old vinyl to affect a vintage danzón. Sonic creativity abounds on Personalities, but there’s a bit too much reliance on flowing, spiraling harmonies in irregular meters, a common sound these days.David R. Adler New York City Jazz Record
read more
Personalities offers the fuller view of Almazan’s musicianship and artistic vision. The album begins out of left field, with a reworking of the third movement of Shostakovich’s String Quartet no. 10. Almazan supplements his trio (bassist Linda Oh and drummer Henry Cole) with a full string quartet and alters the soundscape further with electronics, making the music whoosh and dive and bend in the oddest ways. Gradually the electronic haze becomes a roar, eclipsing all else. But after a quiet break, the string quartet dominates for a long four minutes until the end. It’s a courageous opener and yet Almazan quickly puts the electronics aside. He switches to Rhodes for the trio number “H.U.G.s (Historically Underrepresented Groups)”, highlighting the taut yet flexible interplay between Oh and Cole that will dominate the album. The string quartet does return, however, for the title track, a nine-minute original with a bold, romantic sweep, yet none of the sheer eccentricity of the first cut. Almazan sings on his instrument, whether he’s surging on the fast tempos of “The Vicarious Life” and “Russian Love Story” or mining a dark and moody ballad like the 6/4 “Grandmother Song”. He also delves into his Cuban heritage with Carlos Varela’s “Bola de Nieve” and Antonio María Romeu’s “Tres Lindas Cubanas” - the latter complete with pops and cracks of old vinyl to affect a vintage danzón. Sonic creativity abounds on Personalities, but there’s a bit too much reliance on flowing, spiraling harmonies in irregular meters, a common sound these days.
read more
Other Press
Pianist Fabian Almazan took the stage for his first set of the night at New York’s Village Vanguard on Aug. 15 without a word. With his septet, consisting of a rhythm section and string quartet, he launched into a lush and languid version of “Stormy Weather.” His striking arrangement of the standard also appears on his gorgeous new album, Rhizome (ArtistShare/Blue Note). How many times had that song been played in the cramped and hallowed hall over the years?Kurt Gottschalk Downbeat Magazine
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Around the midpoint of his first set at the Village Vanguard on Wednesday night, the pianist Fabian Almazan paused to explain the title of his most recent album, “Rhizome.” He touched on the botanical definition of the word, a rootstock from which multiple shoots typically emerge. Then he drew a parallel to humankind, saying that for all our differences, and “the violence in the world,” a core commonality lurks under the surface.Nate Chinen New York Times
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Mr. Almazan, placid and serious, immersed in sound, the kind of musician who's more fascinated by text than context, was born in Havana, the son of the bass player Rafael Almazán. His family moved briefly to Mexico when he was 9, then sought political asylum in the United States, settling in Miami. In Mexico he started piano lessons, and in Miami his parents bought a pianoBen Ratliff New York Times
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"Some days I love this city, and some days I hate it," said pianist Fabian Almazan, sounding every bit the typical New Yorker. Now 27, he's lived here for nearly nine years, having arrived to attend the Manhattan School of Music. He recalled the displacement he felt at age 9, when his family left Havana, Cuba, arriving first in Mexico and then, six months later, in Miami, seeking political asylum. "It was a hard adjustment, really jarring," he said.
Pianist Fabian Almazan starts a six-night run at the Village Vanguard on Tuesday. Today, the living room of his Hamilton Heights apartment looks much like any young musician's, an orderly sprawl of instruments, technology and sheet music surrounding an upright piano.Larry Blumenfeld Wall Street Journal
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Pianist Fabian Almazan starts a six-night run at the Village Vanguard on Tuesday. Today, the living room of his Hamilton Heights apartment looks much like any young musician's, an orderly sprawl of instruments, technology and sheet music surrounding an upright piano.
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[Top Live Shows of 2012]
FABIAN ALMAZAN Sullivan Hall, Jan. 7. A young jazz pianist with a precise and fully formed sound, a great rhythm section (Linda Oh on bass, Henry Cole on drums) and a string quartet: tight and alert, it devoured its material, including his originals and a version of Shostakovich’s String Quartet No. 10.Ben Ratliff New York Times
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FABIAN ALMAZAN Sullivan Hall, Jan. 7. A young jazz pianist with a precise and fully formed sound, a great rhythm section (Linda Oh on bass, Henry Cole on drums) and a string quartet: tight and alert, it devoured its material, including his originals and a version of Shostakovich’s String Quartet No. 10.
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I would bet that a lot of listeners — the festival sold out, with around 2,000 each night — were rooted to the spot, as they were probably hearing for the first time the pianist Fabian Almazan’s intense and crystalline trio music, sometimes augmented by a string quartet (a version of Shostakovich’s String Quartet No. 10 was a total ear-opener)Ben Ratliff New York Times
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The Cuban-born, New York-based pianist and composer Fabian Almazan, 27, is developing the sort of career most young jazz musicians can’t fathom. Since 2007 he’s held the piano chair in the revered Terence Blanchard Quintet; when we speak for this piece, he’s just wrapped a wildly successful week headlining the Village Vanguard, in support of his acclaimed debut album, Personalities (Biophilia). “It was a dream come true,” he says of the gigs, which featured his trio with bassist Linda Oh and drummer Henry Cole, plus a string quartet. (He will return to the club with Oh and Cole Feb. 21-26.) “Everybody was really encouraging, and I learned a lot.”
Blanchard speaks of him in less modest terms. “Fabian is probably one of the great young talents of his generation,” the trumpeter says. “Once people really hear what he’s about and what he’s doing, they’re gonna be enriched.”
Certainly the notices Almazan’s received from his trio CD and live appearances bear out Blanchard’s prediction. So does his sound: a polished, careful touch that hints at his Latin heritage (particularly when he plays songs from the Cuban repertoire), but utilizes the angular rhythms and advanced harmony of 21st-century jazz. If he gets his way, however, audiences will be enriched by him in another way. Almazan’s ambitions include not only the concert stage and recording studio, but the silver screen as well. “Right now I find myself listening to a lot of film music,” he says. “I’m becoming very interested in, sonically, what can happen with recorded music and film. That’s kind of what I’ve been experimenting with.”
Jazz musicians writing for film is nothing new.Michael J. West Jazz Times
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Blanchard speaks of him in less modest terms. “Fabian is probably one of the great young talents of his generation,” the trumpeter says. “Once people really hear what he’s about and what he’s doing, they’re gonna be enriched.”
Certainly the notices Almazan’s received from his trio CD and live appearances bear out Blanchard’s prediction. So does his sound: a polished, careful touch that hints at his Latin heritage (particularly when he plays songs from the Cuban repertoire), but utilizes the angular rhythms and advanced harmony of 21st-century jazz. If he gets his way, however, audiences will be enriched by him in another way. Almazan’s ambitions include not only the concert stage and recording studio, but the silver screen as well. “Right now I find myself listening to a lot of film music,” he says. “I’m becoming very interested in, sonically, what can happen with recorded music and film. That’s kind of what I’ve been experimenting with.”
Jazz musicians writing for film is nothing new.
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27-year-old pianist Fabian Almazan dispels any idea that he’s pursuing a conventional path with his debut album pretty quickly. Though taking a run at classical music isn’t too surprising in jazz’s musically omnivorous universe, Almazan’s approach is as his piano gives way to delicate strings, which are slowly squelched and melted down into a wash of effects and percussion until the song resembles something from Radiohead’s wheelhouse before the melody returns with an unruffled grace.Chris Barton LA Times
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Fabian Almazan began creating some buzz with his sparkling piano chops in trumpeter Terence Blanchard's group on Choices (Concord Music Group, 2009). Originally from Havana, Cuba, Almazan is not only one of the young rising stars in New York, but is also classically trained and has received a number of awards as a composer in film, chamber and orchestral projects.Mark Turner All About Jazz
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The Cuban-born, New York-based pianist and composer Fabian Almazan, 27, is developing the sort of career most young jazz musicians can’t fathom. Since 2007 he’s held the piano chair in the revered Terence Blanchard Quintet; when we speak for this piece, he’s just wrapped a wildly successful week headlining the Village Vanguard, in support of his acclaimed debut album, Personalities (Biophilia). “It was a dream come true,” he says of the gigs, which featured his trio with bassist Linda Oh and drummer Henry Cole, plus a string quartet. (He will return to the club with Oh and Cole Feb. 21-26.) “Everybody was really encouraging, and I learned a lot.”
Blanchard speaks of him in less modest terms. “Fabian is probably one of the great young talents of his generation,” the trumpeter says. “Once people really hear what he’s about and what he’s doing, they’re gonna be enriched.”
read more
Upcoming Performances
Past Performances
Contact Fabian
Fabian's Albums
Other Recordings
RHIZOME RECORDING SESSION 2013
PUBLICITY PHOTOS 2013
PHOTOS
PUBLICITY PHOTOS 2011
Sheet Music
FABIAN ALMAZAN
Alcanza Suite No 1: Vida Absurda y Bella (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: This movement is meant to depict the ever surprising nature of simply living our lives. Life is not a perfectly executed plan. We might think our day is going to unravel in particular manner but along the way, we encounter completely unexpected incidents, tragedies, surprises,…we find ourselves having to take pauses for unexpected beauty where we wouldn’t have predicted. Life is absurd and beautiful. -Fabian Almazan
Español: Este movimiento representa lo sorprendente e impredecible que puede ser nuestra existencia. La vida no es un plan perfectamente ejecutado. Podríamos pensar que nuestro día se va a desarrollar de una manera particular, pero al final de este nos suceden cosas completamente inesperadas: tragedias, sorpresas, puro aburrimiento… y de repente nos encontramos tomando una pausa para reconocer cosas bellas e inesperadas. La vida es absurda y hermosa. -Fabian Almazan
Español: Este movimiento representa lo sorprendente e impredecible que puede ser nuestra existencia. La vida no es un plan perfectamente ejecutado. Podríamos pensar que nuestro día se va a desarrollar de una manera particular, pero al final de este nos suceden cosas completamente inesperadas: tragedias, sorpresas, puro aburrimiento… y de repente nos encontramos tomando una pausa para reconocer cosas bellas e inesperadas. La vida es absurda y hermosa. -Fabian Almazan
Alcanza Suite No 1: Vida Absurda y Bella (score only)
voice, guitar, piano, bass, string quartet & drums
English: This movement is meant to depict the ever surprising nature of simply living our lives. Life is not a perfectly executed plan. We might think our day is going to unravel in particular manner but along the way, we encounter completely unexpected incidents, tragedies, surprises,…we find ourselves having to take pauses for unexpected beauty where we wouldn’t have predicted. Life is absurd and beautiful. -Fabian Almazan
Español: Este movimiento representa lo sorprendente e impredecible que puede ser nuestra existencia. La vida no es un plan perfectamente ejecutado. Podríamos pensar que nuestro día se va a desarrollar de una manera particular, pero al final de este nos suceden cosas completamente inesperadas: tragedias, sorpresas, puro aburrimiento… y de repente nos encontramos tomando una pausa para reconocer cosas bellas e inesperadas. La vida es absurda y hermosa. -Fabian Almazan
Español: Este movimiento representa lo sorprendente e impredecible que puede ser nuestra existencia. La vida no es un plan perfectamente ejecutado. Podríamos pensar que nuestro día se va a desarrollar de una manera particular, pero al final de este nos suceden cosas completamente inesperadas: tragedias, sorpresas, puro aburrimiento… y de repente nos encontramos tomando una pausa para reconocer cosas bellas e inesperadas. La vida es absurda y hermosa. -Fabian Almazan
Alcanza Suite No 2: Marea Baja (score only)
voice, guitar, piano, bass, string quartet & drums
English: A couple of years ago, I performed in a small seaside town in Brazil called Jericoacoara. It’s unusual to have nights off on tours but for whatever reason, we had two nights off in this incredibly beautiful place. On the second night I noticed that the tide was extremely low- so low that you could walk what felt like a mile into the ocean. I ventured so far out (into where there had been water during the day) that night that the lights on the shore began to fade and I found myself in darkness- nothing but stars above and no sound other than the waves. I was profoundly moved by how miraculous and insignificant everything felt. As a nature lover, I always believed that planet earth is alive and that there is an inherent magical quality to life. But here I was looking up into a universe full of rocks and gases; inanimate objects that have been around floating and colliding, jumbled up for 13.8 billion years. It was both immensely spiritual and dead at the same time. It was a life-changing reflection into the mysterious, precious and brief existence we are in. “Marea Baja” is meant to reflect the walk from the lights of the town into the darkness of the ocean, and from there into the unknown. -Fabian Almazan
Español: Hace un par de años, tocamos en una pequeña ciudad costera de Brasil llamada Jericoacoara. Es inusual tener noches sin concierto en estas giras, pero por cualquier razón, tuvimos dos noches libres en este paraje increíblemente hermoso. Durante la segunda noche me di cuenta de que la marea estaba extremadamente baja, así que pude caminar lo que a mi juicio aparentaba ser una milla océano adentro. Me aventuré a adentrarme tanto esa noche que las luces de la orilla comenzaron a desvanecerse y me encontré en una oscuridad total, solo me acompañaban las estrellas en el cielo y el sonido de las olas. Me sentí profundamente conmovido por lo milagroso y - a la misma vez - insignificante que se sentía todo. Como amante de la naturaleza, siempre he creído que el planeta tierra está vivo y que hay una calidad mágica inherente a la vida. Pero aquí estaba mirando hacia un universo lleno de rocas y gases, objetos inanimados que han estado alrededor flotando y chocando uno contra el otro, mezclándose durante mas de13 mil millones de años. Era algo inmensamente espiritual pero inanimadamente muerto a la misma vez. La vida es misteriosa, delicada y breve. "Marea baja" comparte un paseo desde las luces de la ciudad hacia la oscuridad del océano, y de allí, hacia lo desconocido." -Fabian Almazan
Español: Hace un par de años, tocamos en una pequeña ciudad costera de Brasil llamada Jericoacoara. Es inusual tener noches sin concierto en estas giras, pero por cualquier razón, tuvimos dos noches libres en este paraje increíblemente hermoso. Durante la segunda noche me di cuenta de que la marea estaba extremadamente baja, así que pude caminar lo que a mi juicio aparentaba ser una milla océano adentro. Me aventuré a adentrarme tanto esa noche que las luces de la orilla comenzaron a desvanecerse y me encontré en una oscuridad total, solo me acompañaban las estrellas en el cielo y el sonido de las olas. Me sentí profundamente conmovido por lo milagroso y - a la misma vez - insignificante que se sentía todo. Como amante de la naturaleza, siempre he creído que el planeta tierra está vivo y que hay una calidad mágica inherente a la vida. Pero aquí estaba mirando hacia un universo lleno de rocas y gases, objetos inanimados que han estado alrededor flotando y chocando uno contra el otro, mezclándose durante mas de13 mil millones de años. Era algo inmensamente espiritual pero inanimadamente muerto a la misma vez. La vida es misteriosa, delicada y breve. "Marea baja" comparte un paseo desde las luces de la ciudad hacia la oscuridad del océano, y de allí, hacia lo desconocido." -Fabian Almazan
Alcanza Suite No 2: Marea Baja (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: A couple of years ago, I performed in a small seaside town in Brazil called Jericoacoara. It’s unusual to have nights off on tours but for whatever reason, we had two nights off in this incredibly beautiful place. On the second night I noticed that the tide was extremely low- so low that you could walk what felt like a mile into the ocean. I ventured so far out (into where there had been water during the day) that night that the lights on the shore began to fade and I found myself in darkness- nothing but stars above and no sound other than the waves. I was profoundly moved by how miraculous and insignificant everything felt. As a nature lover, I always believed that planet earth is alive and that there is an inherent magical quality to life. But here I was looking up into a universe full of rocks and gases; inanimate objects that have been around floating and colliding, jumbled up for 13.8 billion years. It was both immensely spiritual and dead at the same time. It was a life-changing reflection into the mysterious, precious and brief existence we are in. “Marea Baja” is meant to reflect the walk from the lights of the town into the darkness of the ocean, and from there into the unknown. -Fabian Almazan
Español: Hace un par de años, tocamos en una pequeña ciudad costera de Brasil llamada Jericoacoara. Es inusual tener noches sin concierto en estas giras, pero por cualquier razón, tuvimos dos noches libres en este paraje increíblemente hermoso. Durante la segunda noche me di cuenta de que la marea estaba extremadamente baja, así que pude caminar lo que a mi juicio aparentaba ser una milla océano adentro. Me aventuré a adentrarme tanto esa noche que las luces de la orilla comenzaron a desvanecerse y me encontré en una oscuridad total, solo me acompañaban las estrellas en el cielo y el sonido de las olas. Me sentí profundamente conmovido por lo milagroso y - a la misma vez - insignificante que se sentía todo. Como amante de la naturaleza, siempre he creído que el planeta tierra está vivo y que hay una calidad mágica inherente a la vida. Pero aquí estaba mirando hacia un universo lleno de rocas y gases, objetos inanimados que han estado alrededor flotando y chocando uno contra el otro, mezclándose durante mas de13 mil millones de años. Era algo inmensamente espiritual pero inanimadamente muerto a la misma vez. La vida es misteriosa, delicada y breve. "Marea baja" comparte un paseo desde las luces de la ciudad hacia la oscuridad del océano, y de allí, hacia lo desconocido." -Fabian Almazan
Español: Hace un par de años, tocamos en una pequeña ciudad costera de Brasil llamada Jericoacoara. Es inusual tener noches sin concierto en estas giras, pero por cualquier razón, tuvimos dos noches libres en este paraje increíblemente hermoso. Durante la segunda noche me di cuenta de que la marea estaba extremadamente baja, así que pude caminar lo que a mi juicio aparentaba ser una milla océano adentro. Me aventuré a adentrarme tanto esa noche que las luces de la orilla comenzaron a desvanecerse y me encontré en una oscuridad total, solo me acompañaban las estrellas en el cielo y el sonido de las olas. Me sentí profundamente conmovido por lo milagroso y - a la misma vez - insignificante que se sentía todo. Como amante de la naturaleza, siempre he creído que el planeta tierra está vivo y que hay una calidad mágica inherente a la vida. Pero aquí estaba mirando hacia un universo lleno de rocas y gases, objetos inanimados que han estado alrededor flotando y chocando uno contra el otro, mezclándose durante mas de13 mil millones de años. Era algo inmensamente espiritual pero inanimadamente muerto a la misma vez. La vida es misteriosa, delicada y breve. "Marea baja" comparte un paseo desde las luces de la ciudad hacia la oscuridad del océano, y de allí, hacia lo desconocido." -Fabian Almazan
Alcanza Suite No 3: Verla (score only)
voice, guitar, piano, bass, string quartet & drums
English: “Verla” is a continuation of “Marea Baja.” Verla" is Spanish for “seeing her” and in this instance, the “her” is the ever-changing “truth” that I briefly felt as I stood that night in the Jericoacoara darkness, with nothing but stars above and no other sound than that of the waves. -Fabian Almazan
Español: "Verla" es una continuación de "Marea Baja". La personificación de la verdad a la que nos referimos en el titulo de este movimiento. La vi brevemente, una verdad siempre cambiante. Me paré esa noche en la oscuridad de Jericoacoara con la única compañía de ella a mi alrededor, las estrellas sobre mi, y un sonido claro de las olas distantes. -Fabian Almazan
Español: "Verla" es una continuación de "Marea Baja". La personificación de la verdad a la que nos referimos en el titulo de este movimiento. La vi brevemente, una verdad siempre cambiante. Me paré esa noche en la oscuridad de Jericoacoara con la única compañía de ella a mi alrededor, las estrellas sobre mi, y un sonido claro de las olas distantes. -Fabian Almazan
Alcanza Suite No 3: Verla (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: “Verla” is a continuation of “Marea Baja.” Verla" is Spanish for “seeing her” and in this instance, the “her” is the ever-changing “truth” that I briefly felt as I stood that night in the Jericoacoara darkness, with nothing but stars above and no other sound than that of the waves. -Fabian Almazan
Español: "Verla" es una continuación de "Marea Baja". La personificación de la verdad a la que nos referimos en el titulo de este movimiento. La vi brevemente, una verdad siempre cambiante. Me paré esa noche en la oscuridad de Jericoacoara con la única compañía de ella a mi alrededor, las estrellas sobre mi, y un sonido claro de las olas distantes. -Fabian Almazan
Español: "Verla" es una continuación de "Marea Baja". La personificación de la verdad a la que nos referimos en el titulo de este movimiento. La vi brevemente, una verdad siempre cambiante. Me paré esa noche en la oscuridad de Jericoacoara con la única compañía de ella a mi alrededor, las estrellas sobre mi, y un sonido claro de las olas distantes. -Fabian Almazan
Alcanza Suite No 4: Mas (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: This song is intended to serve as an outlet for the frustration that we sometimes experience in finding ourselves. My hope is that people, particularly teenagers (because it was in my late childhood/early adulthood that I began searching for my identity) find consolation in this song- that they find comfort in the lyrics and that it is not strange or weird to have that intense, burning for finding something “more” out of life. It is OK to not settle for the same path that everyone expects us to take. It is our lives and our right to pursue our aspirations- whatever they may be. -Fabian Almazan
Español: Esta canción sirve como escape de la frustración que a veces sentimos al tratar de encontrar quienes verdaderamente somos. A finales de mí niñez comencé buscar mi identidad. Mi esperanza es que la gente, fundamentalmente los adolescentes encuentren consuelo en esta canción, en la letra y que sepan que no es extraño o raro sentir ese intenso y ardiente anhelo de algo “Más”. Está bien no conformarse con el camino que todos esperan que tomemos. Es nuestra vida y nuestro derecho perseguir nuestras aspiraciones, cualesquiera que sean. -Fabian Almazan
Español: Esta canción sirve como escape de la frustración que a veces sentimos al tratar de encontrar quienes verdaderamente somos. A finales de mí niñez comencé buscar mi identidad. Mi esperanza es que la gente, fundamentalmente los adolescentes encuentren consuelo en esta canción, en la letra y que sepan que no es extraño o raro sentir ese intenso y ardiente anhelo de algo “Más”. Está bien no conformarse con el camino que todos esperan que tomemos. Es nuestra vida y nuestro derecho perseguir nuestras aspiraciones, cualesquiera que sean. -Fabian Almazan
Alcanza Suite No 4: Mas (score only)
voice, guitar, piano, bass, string quartet & drums
English: This song is intended to serve as an outlet for the frustration that we sometimes experience in finding ourselves. My hope is that people, particularly teenagers (because it was in my late childhood/early adulthood that I began searching for my identity) find consolation in this song- that they find comfort in the lyrics and that it is not strange or weird to have that intense, burning for finding something “more” out of life. It is OK to not settle for the same path that everyone expects us to take. It is our lives and our right to pursue our aspirations- whatever they may be. -Fabian Almazan
Español: Esta canción sirve como escape de la frustración que a veces sentimos al tratar de encontrar quienes verdaderamente somos. A finales de mí niñez comencé buscar mi identidad. Mi esperanza es que la gente, fundamentalmente los adolescentes encuentren consuelo en esta canción, en la letra y que sepan que no es extraño o raro sentir ese intenso y ardiente anhelo de algo “Más”. Está bien no conformarse con el camino que todos esperan que tomemos. Es nuestra vida y nuestro derecho perseguir nuestras aspiraciones, cualesquiera que sean. -Fabian Almazan
Español: Esta canción sirve como escape de la frustración que a veces sentimos al tratar de encontrar quienes verdaderamente somos. A finales de mí niñez comencé buscar mi identidad. Mi esperanza es que la gente, fundamentalmente los adolescentes encuentren consuelo en esta canción, en la letra y que sepan que no es extraño o raro sentir ese intenso y ardiente anhelo de algo “Más”. Está bien no conformarse con el camino que todos esperan que tomemos. Es nuestra vida y nuestro derecho perseguir nuestras aspiraciones, cualesquiera que sean. -Fabian Almazan
Alcanza Suite No 5: Tribu T9 (score only)
voice, guitar, piano, bass, string quartet & drums
English: This track deals with adolescence similarly to how “Mas” does. When I first moved to New York in 2003, the smartphone had not made its impact on society yet and at the time, cellphones used something called T9 where each number button had 3 or 4 letters on it and when you’d try to type out a message, the phone would try to guess what you were trying to write down. There were times when I would be out in the city, late at night with my peers, who were all just as enamored and stunned by the music scene in New York, where inevitably at some point, everyone’s heads would be tilted down and texting via T9 would ensue. This was what I thought of as the “T9 tribe”- a bunch of young kids playing music in New York that are now leading a world-wide movement in the evolution of jazz. -Fabian Almazan
Español: Este movimiento vincula a la adolescencia de una manera similar a lo ocurrido en: "Mas" . Cuando me mudé a Nueva York en el 2003, el “smart-phone” no había tenido aun el impacto en la sociedad que actualmente posee. Los teléfonos celulares usaban algo llamado "T9" donde cada botón de número tenía 3 o 4 letras incluidas y cuando se intentaba escribir un mensaje, el teléfono trataba de adivinar lo que se pretendía anotar. Había momentos en que yo estaba en la ciudad, tarde en la noche con mis compañeros, que estaban todos tan enamorados e impactados - como yo - por la escena musical que caracteriza a Nueva York, donde inevitablemente en algún momento, las cabezas de todo el mundo se inclinaban hacia abajo para elaborar mensajes de texto a través de "T9". Esto es lo que yo pienso de la "tribu T9", un grupo de jóvenes niños tocando música en Nueva York quienes hoy en día lideran un movimiento mundial en la evolución del jazz. -Fabian Almazan
Español: Este movimiento vincula a la adolescencia de una manera similar a lo ocurrido en: "Mas" . Cuando me mudé a Nueva York en el 2003, el “smart-phone” no había tenido aun el impacto en la sociedad que actualmente posee. Los teléfonos celulares usaban algo llamado "T9" donde cada botón de número tenía 3 o 4 letras incluidas y cuando se intentaba escribir un mensaje, el teléfono trataba de adivinar lo que se pretendía anotar. Había momentos en que yo estaba en la ciudad, tarde en la noche con mis compañeros, que estaban todos tan enamorados e impactados - como yo - por la escena musical que caracteriza a Nueva York, donde inevitablemente en algún momento, las cabezas de todo el mundo se inclinaban hacia abajo para elaborar mensajes de texto a través de "T9". Esto es lo que yo pienso de la "tribu T9", un grupo de jóvenes niños tocando música en Nueva York quienes hoy en día lideran un movimiento mundial en la evolución del jazz. -Fabian Almazan
Alcanza Suite No 5: Tribu T9 (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: This track deals with adolescence similarly to how “Mas” does. When I first moved to New York in 2003, the smartphone had not made its impact on society yet and at the time, cellphones used something called T9 where each number button had 3 or 4 letters on it and when you’d try to type out a message, the phone would try to guess what you were trying to write down. There were times when I would be out in the city, late at night with my peers, who were all just as enamored and stunned by the music scene in New York, where inevitably at some point, everyone’s heads would be tilted down and texting via T9 would ensue. This was what I thought of as the “T9 tribe”- a bunch of young kids playing music in New York that are now leading a world-wide movement in the evolution of jazz. -Fabian Almazan
Español: Este movimiento vincula a la adolescencia de una manera similar a lo ocurrido en: "Mas" . Cuando me mudé a Nueva York en el 2003, el “smart-phone” no había tenido aun el impacto en la sociedad que actualmente posee. Los teléfonos celulares usaban algo llamado "T9" donde cada botón de número tenía 3 o 4 letras incluidas y cuando se intentaba escribir un mensaje, el teléfono trataba de adivinar lo que se pretendía anotar. Había momentos en que yo estaba en la ciudad, tarde en la noche con mis compañeros, que estaban todos tan enamorados e impactados - como yo - por la escena musical que caracteriza a Nueva York, donde inevitablemente en algún momento, las cabezas de todo el mundo se inclinaban hacia abajo para elaborar mensajes de texto a través de "T9". Esto es lo que yo pienso de la "tribu T9", un grupo de jóvenes niños tocando música en Nueva York quienes hoy en día lideran un movimiento mundial en la evolución del jazz. -Fabian Almazan
Español: Este movimiento vincula a la adolescencia de una manera similar a lo ocurrido en: "Mas" . Cuando me mudé a Nueva York en el 2003, el “smart-phone” no había tenido aun el impacto en la sociedad que actualmente posee. Los teléfonos celulares usaban algo llamado "T9" donde cada botón de número tenía 3 o 4 letras incluidas y cuando se intentaba escribir un mensaje, el teléfono trataba de adivinar lo que se pretendía anotar. Había momentos en que yo estaba en la ciudad, tarde en la noche con mis compañeros, que estaban todos tan enamorados e impactados - como yo - por la escena musical que caracteriza a Nueva York, donde inevitablemente en algún momento, las cabezas de todo el mundo se inclinaban hacia abajo para elaborar mensajes de texto a través de "T9". Esto es lo que yo pienso de la "tribu T9", un grupo de jóvenes niños tocando música en Nueva York quienes hoy en día lideran un movimiento mundial en la evolución del jazz. -Fabian Almazan
Alcanza Suite No 6: Cazador Antiguo (score only)
voice, guitar, piano, bass, string quartet & drums
English: The idea behind this movement is that the music is adapting the characteristics of an “ancient hunter” (title translated into english). I try to portray those primal, reptilian brain aspects of our identity as modern day human beings. Our ancestors had no choice but to hunt. And we ourselves are (no matter we try to convince ourselves otherwise) still easy prey for other predators. When one takes the human being out of the natural world, from the forests and jungles to metropolises and financial districts, there we get a fabricated, money driven prey/predator paradigm. And I don’t think it’s pretty, but it’s the reality of our society. -Fabian Almazan
Español: En este movimiento, la música adopta las características de un cazador antiguo. Intento retratar esos aspectos primordiales "reptilianos" del cerebro de nuestra identidad como seres humanos modernos. Para nuestros antepasados la caza no fue una opción sino una necesidad y nosotros mismos (aunque no queramos entenderlo) somos una presa fácil para otros depredadores. Cuando uno saca al ser humano del mundo natural, los bosques y las selvas, a las actuales metrópolis y distritos financieros, nos encontramos en presencia de un paradigma entre "presa" / "depredador" fabricado por el dinero. No creo que sea bonito, pero es la realidad de nuestra sociedad. -Fabian Almazan
Español: En este movimiento, la música adopta las características de un cazador antiguo. Intento retratar esos aspectos primordiales "reptilianos" del cerebro de nuestra identidad como seres humanos modernos. Para nuestros antepasados la caza no fue una opción sino una necesidad y nosotros mismos (aunque no queramos entenderlo) somos una presa fácil para otros depredadores. Cuando uno saca al ser humano del mundo natural, los bosques y las selvas, a las actuales metrópolis y distritos financieros, nos encontramos en presencia de un paradigma entre "presa" / "depredador" fabricado por el dinero. No creo que sea bonito, pero es la realidad de nuestra sociedad. -Fabian Almazan
Alcanza Suite No 6: Cazador Antiguo (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: The idea behind this movement is that the music is adapting the characteristics of an “ancient hunter” (title translated into english). I try to portray those primal, reptilian brain aspects of our identity as modern day human beings. Our ancestors had no choice but to hunt. And we ourselves are (no matter we try to convince ourselves otherwise) still easy prey for other predators. When one takes the human being out of the natural world, from the forests and jungles to metropolises and financial districts, there we get a fabricated, money driven prey/predator paradigm. And I don’t think it’s pretty, but it’s the reality of our society. -Fabian Almazan
Español: En este movimiento, la música adopta las características de un cazador antiguo. Intento retratar esos aspectos primordiales "reptilianos" del cerebro de nuestra identidad como seres humanos modernos. Para nuestros antepasados la caza no fue una opción sino una necesidad y nosotros mismos (aunque no queramos entenderlo) somos una presa fácil para otros depredadores. Cuando uno saca al ser humano del mundo natural, los bosques y las selvas, a las actuales metrópolis y distritos financieros, nos encontramos en presencia de un paradigma entre "presa" / "depredador" fabricado por el dinero. No creo que sea bonito, pero es la realidad de nuestra sociedad. -Fabian Almazan
Español: En este movimiento, la música adopta las características de un cazador antiguo. Intento retratar esos aspectos primordiales "reptilianos" del cerebro de nuestra identidad como seres humanos modernos. Para nuestros antepasados la caza no fue una opción sino una necesidad y nosotros mismos (aunque no queramos entenderlo) somos una presa fácil para otros depredadores. Cuando uno saca al ser humano del mundo natural, los bosques y las selvas, a las actuales metrópolis y distritos financieros, nos encontramos en presencia de un paradigma entre "presa" / "depredador" fabricado por el dinero. No creo que sea bonito, pero es la realidad de nuestra sociedad. -Fabian Almazan
Alcanza Suite No 7: Pater Familias (score only)
voice, guitar, piano, bass, string quartet & drums
English: In line with the themes explored in this music… finding your way, having the courage to find yourself and navigating through the defining years of adolescence, “Pater Familias” looks at these things from the point of view of our parent, and the challenges of parenthood. The term paterfamilias is latin for “head of the family.” This movement is lovingly dedicated to my father, Rafael Almazan. -Fabian Almazan
Español: Consecuentemente con la línea de los temas explorados en esta música ... en búsqueda de un camino, teniendo el valor de encontrarnos a nosotros mismos y navegando a través de los años definitorios de la adolescencia, "Pater Familias" aborda estas temáticas desde el punto de vista de nuestros padres, y los retos de paternidad. El término latino: "Paterfamilias" es sinónimo de: "cabeza de familia". Este movimiento esta dedicado a mi padre, Rafael Almazán, a quien quiero mucho. -Fabian Almazan
Español: Consecuentemente con la línea de los temas explorados en esta música ... en búsqueda de un camino, teniendo el valor de encontrarnos a nosotros mismos y navegando a través de los años definitorios de la adolescencia, "Pater Familias" aborda estas temáticas desde el punto de vista de nuestros padres, y los retos de paternidad. El término latino: "Paterfamilias" es sinónimo de: "cabeza de familia". Este movimiento esta dedicado a mi padre, Rafael Almazán, a quien quiero mucho. -Fabian Almazan
Alcanza Suite No 7: Pater Familias (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: In line with the themes explored in this music… finding your way, having the courage to find yourself and navigating through the defining years of adolescence, “Pater Familias” looks at these things from the point of view of our parent, and the challenges of parenthood. The term paterfamilias is latin for “head of the family.” This movement is lovingly dedicated to my father, Rafael Almazan. -Fabian Almazan
Español: Consecuentemente con la línea de los temas explorados en esta música ... en búsqueda de un camino, teniendo el valor de encontrarnos a nosotros mismos y navegando a través de los años definitorios de la adolescencia, "Pater Familias" aborda estas temáticas desde el punto de vista de nuestros padres, y los retos de paternidad. El término latino: "Paterfamilias" es sinónimo de: "cabeza de familia". Este movimiento esta dedicado a mi padre, Rafael Almazán, a quien quiero mucho. -Fabian Almazan
Español: Consecuentemente con la línea de los temas explorados en esta música ... en búsqueda de un camino, teniendo el valor de encontrarnos a nosotros mismos y navegando a través de los años definitorios de la adolescencia, "Pater Familias" aborda estas temáticas desde el punto de vista de nuestros padres, y los retos de paternidad. El término latino: "Paterfamilias" es sinónimo de: "cabeza de familia". Este movimiento esta dedicado a mi padre, Rafael Almazán, a quien quiero mucho. -Fabian Almazan
Alcanza Suite No 8: Este Lugar (score only)
voice, guitar, piano, bass, string quartet & drums
English: In this movement entitled “Este Lugar” (Spanish for “This Place”), on the one hand, you have the migration from a place you know and love to a foreign land; and on the other, living in a place you know and love where foreigner have arrived and in turn threaten its survival. The difference is that the migration is that of people moving from place to place, but its the plants and trees that are the original inhabitants of “This Place.” -Fabian Almazan
Español: En este movimiento titulado "Este Lugar", de un lado, tenemos una migración procedente de su tierra amada hacia una tierra ajena y extraña. Del otro, un lugar familiar y bello donde reciben a extranjeros, amenazando su supervivencia. El hecho es que la diferencia radica en que la migración se realiza entre personas que se desplazan de un lugar a otro, pero los verdaderos habitantes originales de "Este lugar" son las plantas y los árboles. -Fabian Almazan
Español: En este movimiento titulado "Este Lugar", de un lado, tenemos una migración procedente de su tierra amada hacia una tierra ajena y extraña. Del otro, un lugar familiar y bello donde reciben a extranjeros, amenazando su supervivencia. El hecho es que la diferencia radica en que la migración se realiza entre personas que se desplazan de un lugar a otro, pero los verdaderos habitantes originales de "Este lugar" son las plantas y los árboles. -Fabian Almazan
Alcanza Suite No 8: Este Lugar (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: In this movement entitled “Este Lugar” (Spanish for “This Place”), on the one hand, you have the migration from a place you know and love to a foreign land; and on the other, living in a place you know and love where foreigner have arrived and in turn threaten its survival. The difference is that the migration is that of people moving from place to place, but its the plants and trees that are the original inhabitants of “This Place.” -Fabian Almazan
Español: En este movimiento titulado "Este Lugar", de un lado, tenemos una migración procedente de su tierra amada hacia una tierra ajena y extraña. Del otro, un lugar familiar y bello donde reciben a extranjeros, amenazando su supervivencia. El hecho es que la diferencia radica en que la migración se realiza entre personas que se desplazan de un lugar a otro, pero los verdaderos habitantes originales de "Este lugar" son las plantas y los árboles. -Fabian Almazan
Español: En este movimiento titulado "Este Lugar", de un lado, tenemos una migración procedente de su tierra amada hacia una tierra ajena y extraña. Del otro, un lugar familiar y bello donde reciben a extranjeros, amenazando su supervivencia. El hecho es que la diferencia radica en que la migración se realiza entre personas que se desplazan de un lugar a otro, pero los verdaderos habitantes originales de "Este lugar" son las plantas y los árboles. -Fabian Almazan
Alcanza Suite No 9: Marea Alta (score only)
voice, guitar, piano, bass, string quartet & drums
English: Description of Track: In this final movement, we come back to re-visit that beautiful shoreline we experienced in “Marea Baja” (the second movement of this suite). The difference this time however, is that it is high tide and the ocean water brings with it all of the adventures we have had since we last set foot on this sand. Musically, one hears a collage of motifs returning amid a backdrop of drums energetically providing the underlining pulse for the rest of the instruments to “swim” in. -Fabian Almazan
Español: En este último movimiento, revisitámos esa hermosa costa que vivimos en "Marea Baja" (segundo movimiento). La diferencia es que en esta ocasión, la marea está alta y el agua del océano trae consigo todas las aventuras que hemos tenido desde que pusimos pie en la arena la última vez. Musicalmente, se oye un "collage" de motivos que vuelven en medio de un fondo de tambores, proporcionando enérgicamente el pulso requerido para que el resto de los instrumentos puedan "nadar". -Fabian Almazan
Español: En este último movimiento, revisitámos esa hermosa costa que vivimos en "Marea Baja" (segundo movimiento). La diferencia es que en esta ocasión, la marea está alta y el agua del océano trae consigo todas las aventuras que hemos tenido desde que pusimos pie en la arena la última vez. Musicalmente, se oye un "collage" de motivos que vuelven en medio de un fondo de tambores, proporcionando enérgicamente el pulso requerido para que el resto de los instrumentos puedan "nadar". -Fabian Almazan
Alcanza Suite No 9: Marea Alta (score and parts)
voice, guitar, piano, bass, string quartet & drums
English: Description of Track: In this final movement, we come back to re-visit that beautiful shoreline we experienced in “Marea Baja” (the second movement of this suite). The difference this time however, is that it is high tide and the ocean water brings with it all of the adventures we have had since we last set foot on this sand. Musically, one hears a collage of motifs returning amid a backdrop of drums energetically providing the underlining pulse for the rest of the instruments to “swim” in. -Fabian Almazan
Español: En este último movimiento, revisitámos esa hermosa costa que vivimos en "Marea Baja" (segundo movimiento). La diferencia es que en esta ocasión, la marea está alta y el agua del océano trae consigo todas las aventuras que hemos tenido desde que pusimos pie en la arena la última vez. Musicalmente, se oye un "collage" de motivos que vuelven en medio de un fondo de tambores, proporcionando enérgicamente el pulso requerido para que el resto de los instrumentos puedan "nadar". -Fabian Almazan
Español: En este último movimiento, revisitámos esa hermosa costa que vivimos en "Marea Baja" (segundo movimiento). La diferencia es que en esta ocasión, la marea está alta y el agua del océano trae consigo todas las aventuras que hemos tenido desde que pusimos pie en la arena la última vez. Musicalmente, se oye un "collage" de motivos que vuelven en medio de un fondo de tambores, proporcionando enérgicamente el pulso requerido para que el resto de los instrumentos puedan "nadar". -Fabian Almazan
The Full Alcanza Suite Score (9 pieces)
voice, guitar, piano, bass, string quartet & drums
The Full Alcanza Suite Parts and Score (9 pieces)
voice, guitar, piano, bass, string quartet & drums
All of it. Everything. In one place
A New Child in an Old Place
score & parts for: string quartet, piano, bass & drums
The inspiration behind this piece came from the time I have spent in New Orleans. I have observed that there is a new generation of children living in New Orleans that either were born after or were simply too young to remember experiencing hurricane Katrina. These children are happy and enjoying life in a place that underwent catastrophic difficulties. As a composer, I'm trying meld together two distinctly different reactions/interpretations of the same situation; one from the point of view of the children, in their infancy, wholly devoted to having fun - the other is that of the adult, who is trying to pick up the pieces of a catastrophic event and return to a normal, productive life. New generations of people have been sprouting forth for thousands of years on this planet and every single time, we enter this life as children, completely unaware of the dangers and challenges that inevitably form our identity and character throughout our lives. -fabian almazan
El Coquí's Dream
score & parts for: string quartet & drums and/or percussion
This is a drum feature that I wrote for an amazing drummer, Henry Cole, originally from Puerto Rico, now living in New York City. The coquí is the single most distinctive animal in the island of Puerto Rico, a small tree frog with a distinctive call. The instrumentation for this piece is only drums and strings. The strings play pizzicato the entire time. I play around as a composer musically using the call of the coquí as a musical motif. The sound that results from having only percussion and pizzacato strings together is reminiscent of South American folk music played by guitar or harp-like instruments.
-fabian almazan
Espejos
score & parts for: voice, string quartet, piano, bass & drums
I wrote this song, which is spanish for “mirrors”, right around the time of the tragic Sandy Hook Elementary shooting. It was also the time period after the divisive 2012 elections in the U.S. and amidst the “Arab Spring” clashes happening in the Middle East. I was saddened as I observed people alienating themselves from each other based on their belief system. It seemed to me that they were isolating themselves from one another, resulting in tragedy brought forth by violence. People began viewing others as different things from themselves and thus strange and worthless. The idea behind the song “Espejos” is that we are all reflections of each other, and although we are all unique and distinct individuals, we are all shoots from the stem of the same rhizome and have been so for the thousands of years we’ve roamed this planet as a species. -fabian almazan
Hacia el Aire
score & parts for: voice(s), guitar, string quartet, piano, bass, drums
This composition was initially recorded with Terence Blanchard for the “Choices” album. Although it wasn’t intended to be a string quartet/trio piece, ever since we recorded it with Terence, I always heard it with the strings in my head so I decided to go forward and record it again with this instrumentation. The inspiration behind it is the following:There is a non-profit group in Washington, D.C. called the E.C.C (earth conservation corps). They take in troubled youths from the streets and offer them a decent paying job to clean up the Anacostia River, which is heavily polluted. One of the things they do is rehabilitate injured or sick bald eagles that live along the river. “Hacia el Aire” means “towards the air” and the reason for the title is that, as a result of the violence in the ghettos from where these young men and women came from, the E.C.C began naming the rehabilitated, released eagles after the people who took care of them, who had been shot to death in their neighborhoods. These kids were criticized for not “keepin’ it real” because they were working towards helping the environment instead of staying in the hood and doing what their peers were doing.... and for that, they were persecuted and harassed. I never met any of them, but this is my musical eulogy to them. -fabian almazan
Jambo
score & parts for: string quartet, piano, bass, drums & percussion
Jambo means hello in Swahili. I took a trip to Kenya and this is the music that came out of it. It features Yosvany Terry on chekeré and Mauricio Herrera on batá on the original recording [Rhizome] so I encourage any ensemble that decides to perform this piece to invite as many percussionist as desired to play with them. In the final solo section, the strings are given different choices as to what they want to play- although it is not technically improvisation, the music provided makes an attempt to facilitate improvisation for non-improvising string players. -fabian almazan
Personalities
score & parts for: string quartet, piano, bass, drums
This was my first attempt at composing music for an ensemble of a string quartet and piano, bass and drums. It is the title track of my first album. It includes an extended section for a piano and bass solo as well as the coda section which gives the drummer room to come forth with the rest of the ensemble supporting the energy. -fabian almazan
Rhizome
score & parts for: voice(s), string quartet, piano, bass & drums
The main message of this piece is to unite people of all races and walks of life and provide them with inspiration to strive towards happiness, whatever that might mean for any given individual... The piece "Rhizome" was initially inspired by this quote I read in one of Carl Jung's books -fabian almazan:
“Life has always seemed to me like a plant that lives on its rhizome. Its true life is invisible, hidden in the rhizome. The part that appears above ground lasts only a single summer. Then it withers away—an ephemeral apparition. When we think of the unending growth and decay of life and civilizations, we cannot escape the impression of absolute nullity. Yet I have never lost a sense of something that lives and endures underneath the eternal flux. What we see is the blossom, which passes. The rhizome remains.”
“Life has always seemed to me like a plant that lives on its rhizome. Its true life is invisible, hidden in the rhizome. The part that appears above ground lasts only a single summer. Then it withers away—an ephemeral apparition. When we think of the unending growth and decay of life and civilizations, we cannot escape the impression of absolute nullity. Yet I have never lost a sense of something that lives and endures underneath the eternal flux. What we see is the blossom, which passes. The rhizome remains.”
Sol del Mar
score & parts for: voice, guitar, string quartet, piano, bass, drums
Book of 8 Original Scores
Only scores, no parts
Includes scores of A New Child in an Old Place, El Coquí’s Dream, Espejos (song), Hacia el Aire, Jambo, Personalities, Rhizome, Sol del Mar (song)
Complete Rhizome/Personalities String Quartet Bundle
Scores & parts for: voice (s), guitar, string quartet, piano, bass, drums & percussion
Full Bundle includes "Book of 8 Original Scores" plus all of the following sheet music (scores & parts): A New Child in an Old Place, El Coquí’s Dream, Espejos (song), Hacia el Aire, Jambo, Personalities, Rhizome, Sol del Mar (song)