INTERLUDE
by Moro
|
||
|
||
" ...along comes Moro - the incessant guitar noodling maestro from Bodega. If you're looking for close-your-eyes, teleportation music, this is it. The home-schooled Moro fondles his acoustic guitar, a century-old classic handcrafted by master luthier Marcelo Barbero, to crystallized Old World-meets-New Age perfection.
Classical, jazz and flamenco styles blanket melancholy bass notes and acrobatic finger picking. In the odd way that colors fit their titles, these entirely instrumental songs occasionally fit titles like 'Moonset' 'Dancing Horse' and 'Bodega Reggae'.
Possibly the most inspired of the 22 tunes are the last pair, 'Centurias' and 'Alegria'.
Digested as one long seamless dance, it's not too much to say that the mellow Moro is gifted with talents becoming of ballerinas and flamenco dancers." -- Reviewer John Beck
Did you listen to Thespian's Ballade on our vinyl page? If you'd love to have it in your collection, PIECES OF ANDA is the CD for you. This sweet and romantic collection of moromusic includes some of Moro's most famous pieces, among them Vermouth Rondo and Hosanna Blue. As usual, we have some ear candy for you here. This one is called Interlude. This piece has an interesting story behind it....scroll down to read about it. Music here is for demo purposes; the audio quality is less than you will hear on the actual CD.
THE STORY BEHIND INTERLUDE
This piece is another example of Grenadine Andalusianesque, in the romantic flavor of old Granada. Moro spent many nights playing round table concerts in Spain with two or more guitarists at candlelit coffeehouses, surrounded by the shining happy faces of the musicians and listeners who sipped their espresso or sangria as they enjoyed the music. INTERLUDE is a reflection of those round table evenings.
A NOTE ABOUT MORO'S COMPOSING STYLE
Over the years, myriad influences have found their ways into Moro's compositions. Perhaps because of his philosophy of allowing the guitar to do what it wishes, it sings brilliantly in many languages, so no two pieces of his work sound alike. His years spent traveling the world likewise gave him fresh perspectives and enhanced the flavors of his compositions, spicing them delicately along the way.
Many people are quite surprised to learn that he did not learn to play in conservatories, for his mastery of the guitar is exemplary. He was never schooled in the classic techniques of guitaristry in academies; his technique he learned from listening to the old guitar masters and letting his instrument guide him by singing his own thoughts back to him. This accounts for the spectacular freedom of forms his music exhibits, and for the graceful flow that is one of the hallmarks of moromusic.
|
|
