Simbeque Project continues being immersed in its core essence: delving deeply into the folklore of the Canary Islands paying special attention to the purest sounds of Canarian culture, while always maintaining the defence of contemporaneity and without losing sight of the notion of its internationalization; as was successfully done with other folklore, like the genre ‘son cubano’, Brazilean music and flamenco.
It is a fusion of root sounds together with eclectic elements of modern music which they carry on defining & determining. They keep the original melodies and lyrics known by numerous generations; it’s their contributory support to enable to continue enjoying elements as basic as Canarian culture, and that these not be forgotten. And so, once more, let’s revise and fuse the different types of music that have gone to build up the component members of Simbeque: jazz, rock, electronic, funk, drum and bass…
Whatsmore, they have endeavoured to get to know external perspectives, outside of their folklore by acquiring collaborations by excellent musicians from several different parts of the world; discovering new kinds of sound and, above all, progressing with their learning enriching it with perspectives as unalike as they are noteworthy.
In their evolution & growth as an entity, they adopt a closer approach to the philosophy and orotundity/sonority that they had dreamt about and keep on dreaming. Tradition, avant-garde, music & poetry come together in this volume.
Simbeque Project will present numbers from their disc Vol. II, featuring a repertoire that doesn’t comply with a preconceived idea. As well as wanting to complete the circle giving enough attention to themes pertinent to each & every island of the Archipelago, the guidelines were the possible voices & sounds that the originals rendered in the achievement of the ‘simbequean sound’ in this process of finalising and providing the group’s personal hallmark.
In this respect, the musicialization of the poem La lluvia viene cantando, by the poet from Gran Canaria Josefina de la Torre, is truly remarkable. A contribution which gives prominence to the female and carries on in the pattern of an earlier work by Simbeque Project, in which they reinterpreted Tambor de sequías, a poem Pedro García Cabrera musically rendered in its day by the group Los Sabandeños.
Equally stunning is the contribution by Beatriz Alonso as lyricist of El Baile del Santo, in which she conserves the aesthetics and structure of the original theme; the vocalist sings about one of the very pivotal features of the Simbequean philosophy: “The customs of the elderly should not be abandoned / The customs of my old folk can be interpreted like this / This is the dance of the Saint, that which was danced before; the ideas of the new should also be respected”. Another theme in which one can appreciate her gall & determination as lyricist is in the Romance palmero: “Shout that you are free to build bridges & roads…”
Miguel Manescau: Guitars & Musical Direction
Yul Ballesteros: Guitar
Jonay González Mesa: Guitar
José Alberto Medina: Keyboards & Piano
Beatriz Alonso: Vocals
Roberto Domínguez: Electric Bass
Akior García: Drums
Luis Suárez: Percussion
Norberto Arteaga: Saxophones & EWI
Gustavo Gamaza: Tenor Sax
Idafe Pérez: Trumpet
Gustavo Gamaza: Saxo tenor.
Idafe Pérez: Trompeta.