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About Mario Wellmann
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Mario Wellmann
Mario Wellmann is a Chilean guitarist, composer and music theorist whose work explores contemporary jazz, Chilean musical traditions and the relationship between place and memory. He has performed throughout the Americas and Europe, including appearances at Blues Alley, The Django, Jazz Forum, the Elkhart Jazz Festival, and Sala Master. He received two DownBeat Student Music Awards in 2022.
His debut album as a leader, Ecos del Sur, is scheduled for release on December 4, 2026. Recorded at Greyfade Studio in New York and co-produced with Grammy-winning engineer Joseph Branciforte, it features Guillermo López on double bass and Daniel Dufour on drums. Five trio compositions and five solo interludes trace an imagined road trip through south-central Chile. The album’s production received support from Chile’s Fondo de la Música in 2026. Wellmann’s recording credits include Alexa Torres Quartet’s In Situ, to which he contributed as guitarist, composer and co-producer; Of Narratives & Nocturnes with the Simeon Davis Group; I Carry Your Heart with UNT Jazz Singers; and 5th Harvest with UNT Latin Jazz Lab. His composition “Consolidation” was featured in Strings Magazine. He also co-leads Torres & Wellmann.
Strange Bedfellows: Jazz and Pop and Heinrich Schenker?
by Kurt Ellenberger
Strange Bedfellows Footnote FixI. A Brief Introduction to Schenkerian Analysis Heinrich Schenker (1868-1935) was an Austrian musician, composer, and most notably, music theorist whose ideas about analyzing and explaining music were groundbreaking and successful. Along with other theories, like Allen Forte's Set Theory" and Arnold Schoenberg's Serialism" (two mathematically oriented theories of analysis (Set ...
About André Pogoriloffsky
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André Pogoriloffsky
Born:
André Pogoriloffsky is the pen name used by Andrei Covaciu- Pogorilowski for his book "The music of the Temporalists". He was born in Bucharest, Romania, in February 1968. Starting with 1982, he studied music independently, helped by several private professors. In 1989 A.P. started to hear in his head a strange yet beautiful music that he was unable to notate. Short excerpts were presented on the piano to his musician friends who confirmed that the temporal fabric of that music could not be rendered satisfactorily with help from the traditional, bar-rhythmical, semiography. Between that point and 1994, A.P

