Jazz in Time III, The years 1968–1986

Jazz in Time III, The years 1968–1986

By Pablo Alejandro Malagón Gallegos


Jazz in Time III

By Andrew Peruzzini Jazz Masters

Sat, Feb 22, 7:30pm

Paprika Restaurante

Ancha de San Antonio 9A, Centro

200 pesos


415 152 4373

As we all know, behind every great piece of art there’s always a great story. By learning those stories we expand our imagination and travel to places we couldn’t otherwise even dream of. That’s the beauty of joining these Jazz Masters in their journey through time and music.

The years of music they’re presenting on this occasion is from 1968 to 1986, the time when jazz fused with rock and musicians crossed borders into other forms of music and made new genres, such as smooth jazz and acid jazz.

The songs they’ll be playing are from amazing composers such as Herbie Hancock, Chick Corea, Frank Zappa, George Benson, Keith Jarret, Ernie Krivda, Chuck Mangione, and many others.

I sat down with trumpeter and producer Andrew Peruzzini for an interview in advance of his third and fourth concerts at Paprika and this is what he told me:

Q: Why do you approach your concerts from a historical viewpoint?

A: I think people love to hear the human side of the stories connected to the music. I think the stories fuel the imagination of the listener and make the experience all the more vivid.

Q: How long has your group been together?

A: This particular group of Jazz Masters has been together for only a couple of months but their collective training and understanding of the music goes back decades. It takes years of dedication to fluently improvise and to read music in real time. It is the equivalent of a painter painting complete works in front of a live audience—it’s very intimidating at first.

Q: Why did you select these particular musicians?

A: For their high level of skill, dedication to their craft, and ability to do large projects like these with very little group rehearsal time.

Q: Do you read music?

A: Yes, we all do. Playing, and even recording and performing on sight is a key skill for professional musicians.

Q: How can you make so much music but use only a one-page sheet of music?

A: The lead-sheet contains not only melody but a short-hand for harmony as well. The rest is up to us to collectively bring the piece to life by listening intently and responding to one another. When it is working the way it should, the participants should hear a musical conversation.

Q: Who are your favorite musicians?

A: It is a hard question because it is important that serious musicians learn from all sources. Rarely do I listen for pure recreation. My latest musical guru is trumpeter Randy Brecker, but there have been many others.

Q: Why did you choose San Miguel de Allende for your concerts?

A: San Miguel chose me. I think most of us can understand the reasons for this: It is a magical place that welcomes open-minded, curious people.