ALEXÁNDER PEWLÓ PROJECT
Alexánder Pewló Project is formed by musicians experimented on ancient music and roots music (sephardic, andalusian, medieval, traditional and folkloric from Bulgaria, Greece, Turkey, Armenia, Azerbaijan…) Alexánder Pewló Project presents three programs: Tres Culturas, which integrates the heritage of a number of cultures that have kept their melodies and rhythms around the Mediterranean Basin; Kritiko Mikró with a traditional repertory from the Greek Islands and neighbouring countries; AP Project, with a repertory of sufi, classic ottoman and Middle East music.
Instruments: Lavta, yayli tanbur, bouzouki, baglama and santur
He was born in Madrid in 1986. At the age of 4, he started studying piano at Centro de Formación Musical Tristán, relying on the experiences of teachers such as Lourdes Pérez or Cristina del Mar Gómer. In 2006 , taught by Nisio Aranguren and Juan Carlos Alonso López, he studied Spanish guitar. Immersed in the improvisation world, he took classes along the pianist and saxophonist Marcelo Peralta in the Escuela de Música Creativa of Madrid.Since 2009, he makes various trips to Crete and Turkey where he specialized and took lessons of baglama, yayli tanbur, lavta, bouzouki, makam, modal composition and orchestration in music of the Mediterranean and Middle East with masters such as Cihan Turkoglu, Evgenios Voulgaris, Christos Barbas, Sinan Ayyildiz, Cem Çelebi, Theodora Athanassiou, Efrén López.
Instruments: Cretan Lira, Spoons, Bendir and Square Tambourine.
In 2012, she specialized in viola and started getting in touch with the Aberastury Method (Conscient System in the Movement Technique). In love with Cretan music, in 2011, she traveled to Crete in order to start her studies on Modal Music Composition, lyra and Cretan and Turkish traditional music. She received advice from great masters and composers such as Stelios Petrakis, Efrén López, Hristos Barbas, Dimitri Psonis, Tatiana Matsurenko, Clara García… and has made collaborations in various folk music recordings.
Instruments: Bendir, tombak, riq, davul, darbuka and daf
An specialist of a number of traditional percussion instruments, which he plays and makes himself. He studied Arabic percussion with Samir Shabi, bendir with the masters Zohar Fresco, David Mayoral, Sergei Sapritchev and Glen Velez, Indian tabla with Shiv Shankar Ray, and Iranian tombak with Pedram Khavarzamini and Bijan Chemirani. He applied that knowledge in projects of ancient music and root music. L’Ham de Foc, Ross Daly & Labyrinth, Stelios Petrakis, Evo, Aman Aman, Miquel Gil, Ana Alcaide, Sabir, La Beniterrània, Lluís Llach… He is also a teacher of Mediterranean percussion in the prestigious Escuela Berklee de Valencia. Currently, he is the producer of La Banda de Pepo’s second album and the recently released album Flamencrow.
Instruments: Rabab, Kopuz, baglama, tanbur, bendir, tombak and davul
Autodidactic multi-instrumentalist. He has deepened his studies on different types of Middle East folkloric music. He learned stringed instruments and studied the theory of makam music with Efrén López and Christos Barbas, afghan rabab with Ustad Daud Khan Sadozai, baglama with Mustafa Dogan and Cihan Turkoglu, and kopuz with Erkan Ogur. In the percussion universe, he learned Afro-Cuban music and drums with Michael Weis. The sound universe of this musician is based on modal music, essential characteristic of the eastern mediterranean music.
Aya El Dika
Aya El Dika is a Lebanese artist that lives in Madrid. Her repertory as a singer embraces classic Arab music (Muwaxaha, folk song…), as well as traditional music from the Mediterranean,and folk and sacral music from Middle East. Nowadays, she collaborates with artists such as Eduardo Paniaga, and she is training as a dancer of this traditions with Cristiane Azem and other masters, along with her studies in modal music in Spain, Tunisia and Turkey.
Instruments: Nickelharpa, Fretless Bass and Santur
With more than twenty years of experience in the ethnic and ancient music world, playing with different formations as multi-instrumentalist in Europe, in recent years, Renzo Ruggiero has specialized in the Nyckelharpa, an 15th century instrument that comes from Sweden, and the santur, ancient instrument of Persian origins, focusing in the study of ethnic and ancient music as well as in traditional repertories. He was chosen by the European orchestra of nyckelharpas. He has been the promoter of the diffusion and teaching of the nyckelharpa in Italy and he is a member of the educative program ‘European Nyckelharpa Training’. Nowadays, he works in Spain as a member of Ana Alcaide’s group, in ‘Rhodes y Chelo’ and he is, as well, developing his artistic project ‘Sapori e Música’. He was hired by ‘Arte y Solera’, one of the best flamenco companies in Japan, and went there to participate in their new show that was launched in Tokyo. He edited his first solo CD ‘Alma’ as a producer, performer and composer.
Instruments: Frame drum, Riq, Bendir and Darbuka
Since he was young, he started playing drums and, later on, he starts to feel an interest for percussion in general, that from Arabia and Middle East, particularly, which makes him live three years in Tunisia where he studies the three instruments of Eastern Percussion: the Daburka, the Daf/Bendir and the Riq. He has realized stays in Turkey and in the Balkans, studying the rhythmic richness of the music of these countries and has participated in many projects from musical meetings in the Balkans and the ancient Yugoslavia. In the Balkanic countries he learned another percussion instrument that is essential for this kind of folklore; the Tapan, also known as Davul. In parallel, he has trained with many big names of the percussion world such as Glen Vélez, Ruben Van Rompaey, Pedram Khavar Zamini or Zohar Fresco.
Instruments: Guitar, frame drum, Riq, Bendir and Darbuka
Luis Gálvez. Musically speaking, he was autodidactic. He has been a drummer in Dalia and in Pop-Rock La Noche lo Sabe. He has been also a member of Qantara and the music, poetry and dance group Palenque as well as a percussionist in Las Dos en Punto, in the jewish-sephardic music group Safar; in the jazz trio Una Diop Tria; in the play “Mujeres de sangre y fuego” from the Armar teatro company; in the singer Ainda’s tour titled “Pájaros en la cabeza”; in the play of flamenco La Celestina, directed by the company La Recua Teatro (La Puebla de Moltalbán, Toledo); in the group La Baldosa Flotante and in the flamenco group Azerí from Toledo.
Almost in all non-Western musical traditions, harmony is more horizontal than vertical. The melody participates more in the poliphony than in the homophony and when each performer adds their own garnishes while the rest play the same melody line, this homophony gives way to one of the main characteristics of modal music: heterophony. We find a strong bound in the ways of improvisation and composition based in the modal language of makam (a system we find in the majority of musical expressions and styles of the Southern Mediterranean Basin, Western Asia and Northern Africa). This project, which works solo, in duo or trio proposes, beyond all the cultural, religious and geographic frontiers, a repertory inspired in the classic ottoman music and sufi music as well as folkloric pieces of Middle East.
Kritiko Mikró means “little Cretan” in greek. From the inspiration in this land where every family has a musician on it and where music constructs a place that is completed by its tradition, to the admiration for its compositions in form of Syrtos, Pentozalis, Kontilies or its instruments, like the lira or the lauto, are the motives that give name to this project. We offer a repertory of traditional music from Crete and the Greek Isles and compositions collected from Eastern Europe, the Balkans and Minor Asia. An instrumental staging in duo/trio that brings the modal music and rhythms characteristic from these regions closer.
It is a musical creation that works in quartet that interprets pieces from the Mediterranean as legacy and an example of the “three” cultures that lived together in Al-Andalus. Paying maximum respect to this inheritance, we propose a repertory of the Muslim and Jewish community that was expelled after the Christian Reconquest since 1492. A repertory of music formed by the Andalusian exodus and religious songs from these three beliefs accompanied by the voice of the lebanese Aya El Dika. Instruments from Iran, Greece, Turkey, Sweden, Spain and a voice (transmitted from parents to children) are the tools with which this ensemble closes its own sonorous labyrinth.