MOVIMIENTO

I’m Victor Correa, born in Segovia (1977) and a musician.

My professional journey primarily focuses on creative, improvised, and contemporary music, often associated, but not limited to, what is known as “Jazz.” Open to learning from life’s offerings and in contact with various traditions and styles, my career unfolds with music as a means of understanding the Universe and our role within it.

With a long history in performance and teaching, I have, over time, felt that I’ve reached a musical maturity that provides me the serenity to experiment and explore the realm of creation.

As a composer, my intention is to give voice to the depth of the human experience, to the ineffable, embodying the guide to experiences and sensations that may perhaps transform and inspire others in the grandeur of art.

Hailing from a small village in the Castilian mountains and from a working-class family, I have been influenced by the land from my earliest years. I’ve been fascinated by how the world resists change, perhaps particularly in our region, and bewildered by how culture, art, and expressions born from daily labor are seen, in rural areas, as a challenge to the established order.

I propose a return to the ancestral from my personal perspective: a Castilian who had to migrate to Madrid for education, later to Barcelona for specialization, passing through New York or Rotterdam to broaden my studies and experiences, spending several years maturing in Mexico, and finally returning, twenty years later, with the intention of re-establishing my roots in the land of my birth.

The round trip signifies an evolutionary change in mindset, as several wedges have entered my mind, opening spaces that were previously nonexistent, providing a new perspective that I want to capture because it is of interest to Castilian society.

The project’s concept involves the creation of a multi-disciplinary and audiovisual artistic object, combining various techniques: theatrical, musical, conceptual, spatial, dance, movement, improvisation, interaction, experimentation, and more.

We will argue with the physical movement of the body as an expressive language, using music as a spatial vehicle, an emotional and aesthetic context. We will delve into the ancestral cadence of the land’s rhythms and folklore, its connection with the territory, the ground, the sky, nature, and the society it contains. We will examine traditional instruments, structures, and rhythms to bring them into our world from tradition while keeping a firm eye on the cutting edge of time.

I am interested in the study and experience of society as a generator of unconscious beauty, and I am passionate about how order emerges from chaos. I want to explore the Castilian idiosyncrasy: the solitude of the rural world, the peace of our natural spaces, the rugged treatment, honesty, austerity, humility, and industriousness of Castilians.

Once the ensemble is chosen, we will begin to explore rhythms, both those consciously or unconsciously generated by humans and those produced by nature itself. If one pays attention, nature is full of sounds: villages, paths, rivers, trails, forests, meadows, roads, livestock, etc. All of these provoke and foster the emergence of rhythms that sometimes synchronize into small pieces of spontaneous music. “Rhythm and Movement” will be the two pillars upon which the entire work is built.

Pau’s body will be the physical embodiment of movement, a natural instrument in the service of language, the visual tool that conveys the discourse. Melody will be imagined from the ancestral but, above all, we will seek maximum expression with the minimum possible, exploiting silence as a discursive element similar to the space on the stage. Improvisation will be the means of construction: I will be surrounded by the best creators specifically chosen for this project.

Over the past three years, and after a long period of neglecting its existence, I have become interested in Iberian-origin music, its influence on Latin American music – especially in the Caribbean, Brazil, and Mexico – and on the Iberian and American folklore. This interest has been on a compositional and formal level; Iberian and Latin music has been a part of my career from its earliest beginnings.

These influences will lead us to the superimposition of rhythms and styles that can be layered as totems, creating different textures, to modal melodies from folklore that we will twist into less-trodden paths, or to the ancestral rhythmic component of the land: the connection with the heartbeat and physical functions of the body, with the daily activities of life.

I will arrange meetings with the entire team where we will work and experiment with concepts and ideas, try things out, engage in discussions, and learn from each other. Knowing how far we can push the boundaries, we will make any necessary adjustments.

After maturing through these meetings, there will be a concentrated period of several days to make the final adjustments to the work before delivering everything that each of us can contribute to it before the premiere.

PAU ARNAL

Born in Barcelona on June 21, 1995. As a member and co-choreographer of the “Kampai” Collective, he extends his movement research beyond urban dance, infusing it with principles and techniques from other disciplines, creating a unique contemporary style. He also incorporates his knowledge of other arts, particularly music, which plays a significant role in his expression.

Introduced to classical dance during his childhood for five years, he developed a bodily awareness that later proved advantageous in quickly adapting to other styles. This ability enables him to grasp technical aspects swiftly and incorporate new creative components into his artistic vocabulary.

Official Judge of the Spanish Sports Federation.

Co-creator of the Continuous Movement technique. He has won numerous national competitions (Urban Display, Idance, World Of Dance, Urbance, VicDanceContest…) as a choreographer and dancer in various categories (Couples, Absolute, Junior, Professional, Megacrew). In the choreographic competition “The Best On,” alongside the “Kampai” Collective, they received the 1st prize in both 2017 and 2019, and the 3rd prize in 2018. With the group “CK” (choreographed by Manel Cabeza), he participated as a dancer and won the 1st prize in 2016.

He has worked as a dancer for various national artists and brands such as Melendi, Alejandro Sanz, Alizz, and Desigual, and has also choreographed for the young pop star Abraham Mateo and the emerging figure in the Spanish rap scene, Fernando Costa. He has collaborated with other artists like Kyne, Alex Serra, and Mans-o, performing with the latter at the renowned Sonar Festival.

He had the opportunity to work as a dancer and assistant to various internationally renowned choreographers, including Brian Puspos.

VIOLETA DIEZ

Violeta Diez Diez is a violinist, singer, and composer from Segovia. She graduated in jazz violin performance from the ESMUC (Escuela de Música de Cataluña) in Barcelona. She has been a student of teachers such as Maureen Choi, Apel-les Carod, Joan Monné, Gorka Benítez, and Oriol Saña, among others. She has also trained as an actress and holds a degree in Environmental Sciences from the University of Alcalá de Henares. Throughout her musical career, she has played in multiple ensembles of different styles (jazz, Brazilian music, pop, classical music), collaborating with many musicians from the national scene, including Andrea Motis, Noa Lur, Sheila Blanco, and more. She is currently a member of groups such as Swing Machine Orchestra, Almadera, Still Life, and Sisters and Bro, while also leading her own band (Violeta Veinte Quartet) and teaching at the Escuela de Música Creativa in Madrid.

MIGUEL LÓPEZ

Actualmente imparte clases de Composición de Jazz y Repertorio de Big Band en la Escuela Superior de Música del País Vasco (Musikene) y dirige la Andalucía Big Band. También ha dirigido el Grado en Composición de la Escuela Universitaria TAI (2016). Ha sido apoyo docente del departamento de Jazz de la Universidad de las Artes de Bremen (HfK-Bremen, 2010-11).
Participa en proyectos con Chano Domínguez, David Binney, Guillermo McGill, Mariano Díaz, Bob Sands, Perico Sambeat, Pablo Martín Caminero, Julián Sánchez y Javier Galiana. Entre sus proyectos de jazz destacados se encuentran las grabaciones de “The Wise Guys Octet Plays Guais Plais Mais” (en producción), “La nota del blues” con la Clasijazz Big Band Pro (en producción), “Dr. Frankenstein” de Pedro Cortejosa junto a la Andalucía Big Band (2021), “The Magi Are Coming” (2015) y “The Magi Are Coming Again” (2019) del Wise Guys Octet del que es miembro; “Suite Trafalgar” (2017) de Javier Galiana dirigiendo la Andalucía Big Band; “Boreal Project” (2016). Además, compone y arregla para la Bob Sands Big Band (Madrid), la Reunion Big Band (Donostia), OYK Big Band (Granada), Let The Children Play (Segovia), o la Sonora Big Band (Cádiz) entre otras.

Ha dirigido las Galas XXII y XXVI de los Premios Max (2019 y 2023 respectivamente). Ha producido y dirigido junto a Javier Galiana el espectáculo “El carnaval de los animales” en el XV Festival de Jazz de Cádiz (2022).
En el flamenco y la copla ha colaborado con Rosario “La Tremendita”, Encarna Anillo, David Palomar, Santiago Lara, Joaquín “El Grilo”, Martirio, Antonio Najarro, Mercedes Ruiz, José Antonio Rodríguez, Jesús Méndez, Rafael de Utrera, Blas Córdoba o la compañía “Flamenco Hoy”.

JAVIER MORENO

Javier Moreno is a double bassist and composer born in Madrid. Over the past decade, he has primarily resided in New York City, with intermittent stays in various other places, including Rome, Paris, and Buenos Aires.

He studied at institutions such as New York University and the Royal Conservatory of The Hague. He has received awards, scholarships, and recognitions from organizations such as the Ban Centre of Creative Arts (Canada), Tete Montoliu Scholarship (AIE) (Spain), Caja Madrid Foundation (Spain), ART-EXT (AECID) (Spain), National Endowment for the Arts (USA), MacDowell Colony (USA), Exploring the Metropolis (USA), Conde Duque Composition Residency (Spain), and the Real Academia de España in Rome Scholarship (AECID).

As an accompanist, he has played with artists such as Gerald Cleaver, Tim Berne, Dino Saluzzi, Tony Malaby, Craig Taborn, Badal Roy, Jeremy Pelt, Ralph Lalama, Mat Maneri, Carmen Linares, Greg Tardy, Agustín Carbonell “El Bola,” Javier Ruibal, Arcángel, Rycardo Moreno, and David Dorantes on prestigious national and international stages and at festivals.

Over the past years, apart from recording seven albums as a leader (three of them with the Catalan jazz label Fresh Sound New Talent), he has served as a musical director, double bassist, and composer in various projects and commissions for different ensembles.

As an educator, he is currently part of the teaching staff of the Advanced Jazz and Contemporary Music program at the Escuela de Música Creativa in Madrid, where he teaches jazz double bass, composition, and specific ensembles.

BORJA BARRUETA

Borja Barrueta, born in Bilbao, began drumming and percussion during his youth, creating his first drum kit from a cardboard box, a large container for powdered cement, and a birdcage.

Since then, he has turned this passion into a way of life, becoming one of the most sought-after musicians in the country. This has led him to travel the world and perform at major festivals such as the Monterey Jazz Festival, the Bregenz Festival, Lollapalooza Argentina, and venues like the Gran Teatro del Liceu in Barcelona, the Metropolitan in Mexico City, and Carnegie Hall and the Bacon Theatre in New York.

His musicality, sensitivity, and personal improvisational style have led him to perform with renowned artists like Jorge Drexler, Carmen París, Depedro, Javier Colina, Gerardo Nuñez, Perico Sambeat, Jorge Pardo, Malikian, Niño Josele, Joe Lovano, Lionel Loueke, Buika, Antonio Serrano, and Moisés P. Sanchez, among others, at prestigious national and international festivals and clubs.

In addition, he has contributed to multiple album recordings, some of which have received Grammy Awards, working with producers like Lee Townsend (Bill Frisell), Carlos Raya, Matias Cella, Campi Campón, and Juan Campodónico. He has also been involved in cinematic soundtracks, collaborating with composers such as Alberto Iglesias and Fernando Velázquez.

ADAL FERNÁNDEZ

Adal Fernández began his musical career in his hometown of La Laguna, Canary Islands, immersing himself in the wisdom of local musicians and the folk traditions of the island.

He is a strong advocate of empirical, street-based, and sporadic training. In more formal settings, he attended courses at the School of Arts in Havana, Cuba, specializing in harmony, piano, and Afro-Cuban percussion. He obtained a degree in jazz drumming from the Higher Conservatory of Navarra and holds a degree in Agricultural and Food Industries. He has received additional training from masters such as Paquito Baeza in Afro-Cuban percussion, Eliseo Parra in Iberian percussion, Eduardo Martínez in jazz improvisation, Oghene Kologbo in Afro-beat, Omar Silva in bombo legüero, and in seminars with artists like Jorge Pardo, Borja Barrueta, and Ron Van Stratum, among others.

As an active project leader, he is one of the creators of the group El Naán (inspired by traditional music), Primitive Groove (ethno-jazz), and Agua Proyect (Iberian-Afro-American music). During his professional career, he has spent extended periods working in theater, performing as part of the musical ensembles for companies such as Alkimia 130, Rayuela Producciones Teatrales S.L, Compañía Kull’d Sac, Generic Vapeur, and Visitans. He has also participated in musical projects of various genres, including Modulando Big Band (jazz-swing), Jabardeus (world music), Chuchi Step Cuarteto (jazz-hard-bop), Solo Para Locos (jazz-fusion), Trío Carabalí (Cuban popular music), La Familia Iskariote (Jamaican-inspired music), Cherry Boppers (soul-funk), Castijazz (fusion rooted in tradition), and has accompanied solo artists like María Salgado, Antonio Serrano, Raynald Colom, Ariel Brínguez, and Víctor Antón.

In his vocational role as a producer, he founded Pumarabin-Records in 2009. Under this label, he has produced various works, including musical educational projects for the Everest publishing company, a documentary soundtrack (“La Tierra Asoma,” Metrópoli Video Films SCP-BABUIN), and music albums such as “Decinium” (Jabardeus), “Caminos de Arena” (Jabardeus), “Kousa de Dos” (Kousa group), “Bubango” (Festive Songbook of Cerrato Palentino), “Transhumante” (Carlos Herrero), and “Un Viaje Inesperado” (María Guerra). His album “La Danza de la Semilla” (El Naán) was named the best European album of 2018 by the Transglobal World Music Chart, reaching the number 4 spot in the global top 100