A film ending to three batteries

Anne Paceo, voice and drums, whose imaginative and contemporary concert suffered from a weightless sound of bass drum and little present cymbals. / BLANCA CASTILLO

Natxo Artundo

Daredevil was ‘The Man Without Fear’, according to the mythology of the Marvel heroes. He starred in a film in which the current Batman, Ben Affleck, embodied the character. According to whom, with more pain or more glory. But the Anglo-Saxon term also applies to those who do daring motorcycle stunts, even more so than that Steve McQueen in ‘The Great Escape’. But there are others
gentlemen without fear, the jazzmen captained by an entire lady of music –Who defines herself as «very movie» – and whose name is Lucía Martínez. The drummer, percussionist and composer led a film concert, which had some special effects left over. And is that sometimes the weight of the DJ in the mix was excessive, to the point of stepping on his companions with noise and turning the group into a low-fi ruckus.

However, the Spanish artist’s proposal shone in a wide collection of rhythms and atmospheres, from rumba to swing, touches of reggae or fierce groove and even echoes of a Holy Week procession.
Very different atmospheres and with a spirit that would have fitted in with the freakiness that The Mothers of Invention championed.

Apart from my ever-present fanaticism for Mr. Zappa and his things, the theater session once again sounded in capital letters. There was
Cinephile tributes by Martínez, with pieces dedicated to Marlene Dietrich and her legend or to Bruce Lee and his waters. Also, Sergio Leone, with the detail of that harmonica played by the character of Charles Bronson in ‘Until his time came’, together with a divine Claudia Cardinale and a diabolical Henry Fonda. A great wink from the DJ.

Much more measured was the electronics in Anne Paceo’s band, whose drums were somewhat faded by the almost total absence of the bass drum in the mix that reached the stands.
Contemporary compositions, full of lyricism at times and with sound depth that, again, the lack of decibels left half immersed. Modern sound, with an electric piano very well imbued with electronics, a taste for drumsticks or mallets and important contributions from the saxophone. And let’s not talk about warm voices full of expressive intention.

But it is of little use to program a group like this if the nuances of their music cannot be exploited in all their intensity and dimension. For various reasons already stated,
both drummers – who escape from the ‘mainstream’ with contemporary ideas and height – deserve to return. The public deserves them too.

As the culmination of the double program, the respectable enjoyed an impressive quartet led by Antonio Sánchez. Stratospheric and Coltranian, the saxes crowned that impressive Mexican rhythm machine, with a high bass.
“Musical promiscuity,” said the leader. A lot of art in the ring. Well, jazz is.

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