Quick and to the Point: Unique and fascinating guitar led work in improvisational music that eludes genre categorization.
"Sztez," as I can manage Gabriel Szternsztejn's last name, is a bearer of the future of guitar playing roaming alongside the border regions of several musical geographies. Improvisational-minded music, as "Sztez" produces here, immediately remits to jazz. There are, nevertheless, suggestive vistas from elsewhere such as Classical and European derived folk formsas well as a mixture of percussive effects and colorsin this self-titled Argentinean release.
All throughout, one can hear a cosmopolitan guitarist grounded in his stringed instrument through an architectural understanding of its history. His deeply expressive compositions, arrangements and performances, do not recur to unintelligent melodic resources. The clear improvisations do not generate affected aimless abstractions in their resolutely concise approach to a felt emotive vastness communicated through a minimalist sense of purpose guiding each tune's instrumental and sonic character. When one has a testicular techniquewithout recurring priapismsmatched by a tone exuding curiosity, singular harmonic and melodic formations canand do ensueunder Szternsztejn's leadership. Except for the help received with the piano arrangements on "El viento" and "Remar," the recording was entirely composed and arranged by "Sztez."
Gabriel Szternsztejn will not betray anyone open to the best music available throughout the world, as this artist is much more intent into producing seemingly simple challenges rather than limiting himself to musical and ethnic agendas disloyal to the sincere quest for cultured contemporary music. Indeed, "Sztez" could very well be counted among many leading exponents of cultured broad-based contemporary music with improvisational inclinations.
Track Listing: Tan bien; Dias de lluvia; Trenes pasados; El compartimiento; El viento; Tanto tiempo; Una vez, una tarde; Remar; Farol; Estrella de piedra.
Personnel: Gabriel Szternsztejn: acoustic and spanish guitar, keyboard programming; Alan Ballan: bass (1, 8); Fabian Martin: bass (3, 6); Santiago Vazquez: bendir, pote, cajon, platos, handclaps, effects (1, 2, 6, 8, 9); Raul "Chulo" Sarno: congas, guiro, gansa, effects (3); Gustavo Sadofschi: keyboard programming (1); Sergio Liszewski: keyboard programming (7); Mario Herrerias: piano (5); Gustavo Rivero Boschi: piano (8).
Pote-Alejandro Oliva (1).
Soprano sax-Victor Skorupski (2, 9).
Spanish guitar & keyboard programming-Alejandro Lamothe (2, 3, 4, 7, 9).
I love jazz because next to my kids, it's the love of my life.
I was first exposed to jazz by Joe Rico from a tiny station in Niagara Falls in 1954 when I was 13.
The best show I ever attended was Maynard Ferguson who blew the roof off Massey Hall in the late 50s.
My advice to new listeners is to listen to everything you can and then listen again.