Lucas Polichiso’s Pólvora Negra Album Debut Tour at Petit Salón de Plataforma Lavardén – A Little Jazz

Lucas Polichiso’s sound research with Pólvora negra had a constant journey, with rehearsals and stages, to reach the album now. The trio of instruments that the piano and keyboard joins Andrés Tarrab (drums) and Emanuel Marquiore (electric bass) will present his material next Wednesday at 9 pm, at the Petit Salón de Plataforma Lavardén (Sarmiento and Mendoza) within the framework of the tour. A little jazz.

Themes of the album black powder They offer diverse rhythms, where jazz organizes and revises according to the dialogue of the three, through their own compositions, where Polichiso indicates a musical and personal direction. “With Pólvora Negra we started a few days before social isolation, in 2020, with drummer Gaspar Paternostro. We experimented with improvisation, always with jazz very present, and then we saw what would come up. That is to say, my songs were not produced, but instead it was a place for musical practice and experimentation. When we could start meeting to report, the themes emerged little by little. I was writing and we were experimenting, and we started playing with a bassist, who couldn’t continue later. At the beginning of 2022, Emanuel Marquiore, a jazz and rock guitarist, joins and tells us that he used to play bass and would like to join. We put together a collection of seven original songs, along with other pop-rock songs, covered in our own way, and continued to use some jazz standards. At the end of 2022, we were able to record the record. A few months later, Gaspar goes to Spain, and about five months ago, we started playing with Andrés Tarrab on the drums, who is already a member of the trio,” says Lucas Polichiso . Rosario/12.

“I’ve been playing with different groups, I was with Rosario Smowing for eight years, and with San Telmo Lounge for about 12 or 13 years. One collects a lot of information in his head, adding that my father (Cuqui) is a jazz guitarist, and my grandfather is a box player. You keep everything inside of you, and somehow I had to give it a sound, because I had never done it with original songs. I was looking for that sound a little through black music, but also through Argentinian roots, because I can’t ignore colors like the zamba, the chacarera or the music of the River Plate, like the candombe. Next to that, one begins to release the inscriptions and find colors. The musicians really helped me in that search,” he continues.

– You notice a combination of these colors, which the concept of the song somehow brings together.

-The album sometimes seems very eclectic to me, because sometimes it has more North American jazz, or the River Plate and Argentine jazz; but in that difference there is an identity, something that I have in my head, generally. There are things that appeared as something that was suggested, such as wanting to work on zamba; but in reality it is not zamba, because for Argentine folklore, the zamba has a formal structure, related to dance; and in this case, it is not a traditional structure, but a jazz ballad style; That’s why the name is “Zambalada”, because it has the color of zamba, but the formal structure is a jazz ballad. If you want, jazz works as a universal language, and gets a little into the country music of the world, until a new product or a musical track comes, where the original native color but on to process with the jazziest language. .

-Jazz always seems uninhibited and accessible.

– Yes, everything is allowed (smile).

– The album has a kind of coda, with the cover “Come Together” by Lennon and McCartney.

-In the concerts and recitals we always do two or three songs that we like, but with processing or a different approach. We play them because they are great, but in our own way, also to differentiate them from the jazz standard.

– The record was possible thanks to the support of the National Music Institute (Inamu), something to celebrate, especially in these times.

-Support for this type of work is important, such as Inamu support or regional or national level support, such as the National Arts Fund. We do not know what will happen, if they continue or not, but they are fundamental in our work, because what we do is non-profitable; Many of us need to put money in and we rely on other jobs to do it. In any case, with Emanuel and Andrés we are already working on new pieces and thinking about the next album.