Alberto Favero - 1970 - Suite Trane in Memoriam John Coltrane

Alberto Favero

1970

Suite Trane in Memoriam John Coltrane

01. Primer Movimiento (Opening) 7:50

02. Segundo Movimiento (Quinteto) 6:50

03. Tercer Movimiento (Soprano) 6:50

04. Cuarto Movimiento (Requiem) 8:10

05. Quinto Movimiento (Finale) 6:15

Alto Saxophone – Santiago Bo

Alto Saxophone, Soloist – Luis Alberto Ferreira

Piano, Soloist – Alberto Favero

Contrabass – Raul Curi

Contrabass, Soloist – Jorge González

Horn – Armando Izzi

Horn, Soloist – Domingo Garrefa

Percussion – Domingo Martino, Ernesto Ringer, Carlos Lapouble

Soprano Saxophone, Soloist – Bernardo Baraj

Tenor Saxophone – Mariano Grisiglione, Oscar Tissera

Tenor Saxophone, Soloist – Horacio Borraro

Trombone – Abel La Rosa, Jorge Ramírez

Trombone, Soloist – Christian Kellens

Trumpet – Emilio Martino, José Granata, Roberto Fernández*, Tomás Lepere

Trumpet, Soloist, Flugelhorn – Gustavo Bergalli

Tuba – Jorge Rodríguez

Alberto Favero is an Argentine musician, pianist, composer, educator and conductor. His work is associated with composition, musical arrangement, orchestration, musical conducting and supervision in various genres, both in musical theatre, ballet, jazz, as well as songwriting, as a solo musician, and in various audiovisual media, TV, Film and Phonographic Production, in collaboration with various artists. Among these, the Uruguayan poet Mario Benedetti stands out, with whom he carried out extensive joint work, Gian Franco Pagliaro, Julio Bocca, Eleonora Cassano, Nacha Guevara and Pedro Orgambide among others.

In 1968, impressed by the talent and early death of saxophonist John Coltrane, he composed the Trane Suite, a Jazz Suite in his memory. The work premiered at the Teatro del Globo in Buenos Aires with the participation of the greatest figures of the jazz scene in Argentina, under his direction. "Suite Train" (In Memoriam John Coltrane) is a Suite for jazz orchestra and soloists; It was recorded and released by the Sello Trova in 1970 under the auspices of the National Endowment for the Arts.

It was premiered by an impressive all-star orchestra, as can be seen in the corresponding credits, soloists and ensemble: everyone wanted to pay tribute to one of the most paradigmatic jazz creators of the era. Today I still hold in my heart the warmest memory and appreciation for the musicians of my country, for the faith and trust placed in my project and in my unknown person. Reaching an agreement that this unknown young man be in charge of the conception of the work and its more practical dimension (rehearsals and direction) despite his young age: what I say: age does not have much to do with these things. Impressive... It was premiered by an impressive all-star orchestra, as can be seen in the corresponding credits, soloists and ensemble: everyone wanted to pay tribute to one of the most paradigmatic jazz creators of the era. Today I still hold in my heart the warmest memory and appreciation for the musicians of my country, for the faith and trust placed in my project and in my unknown person. Reaching an agreement that this unknown young man be in charge of the conception of the work and its more practical dimension (rehearsals and direction) despite his young age: what I say: age does not have much to do with these things. Impressive... It was premiered by an impressive all-star orchestra, as can be seen in the corresponding credits, soloists and ensemble: everyone wanted to pay tribute to one of the most paradigmatic jazz creators of the era. Today I still hold in my heart the warmest memory and appreciation for the musicians of my country, for the faith and trust placed in my project and in my unknown person. Reaching an agreement that this unknown young man be in charge of the conception of the work and its more practical dimension (rehearsals and direction) despite his young age: what I say: age does not have much to do with these things. Today I still hold in my heart the warmest memory and appreciation for the musicians of my country, for the faith and trust placed in my project and in my unknown person. Reaching an agreement that this unknown young man be in charge of the conception of the work and its more practical dimension (rehearsals and direction) despite his young age: what I say: age does not have much to do with these things. Today I still hold in my heart the warmest memory and appreciation for the musicians of my country, for the faith and trust placed in my project and in my unknown person. Reaching an agreement that this unknown young man be in charge of the conception of the work and its more practical dimension (rehearsals and direction) despite his young age: what I say: age does not have much to do with these things.

At some point later, a credit from the National Endowment for the Arts came to my aid (the orchestra required 23 performers), and the work established itself firmly in the world of phonographic records when it was recorded in 1969 and released for the first time. edition by trova in 1970, at that time led by Rodolfo Radoszinsky. After that came the release in Uruguay (Tacuabé / Ayuí / 1971 editions), made by the composer Coriún Aharonián who decided that it would be part of his catalogue. Then the US edition: (Catalyst Records / springboard international / 1977). The suite won important awards and special mentions (“best work of the year” Fernando Alvarado, La Prensa newspaper, Buenos Aires / 1968) and “Best International Jazz Work” (Monthly Jazz Magazine, London/UK, 1969), to name a few. Finally, and before this reissue of Acqua Records in Argentina, came the magnificent English reissue of Whatmusic in London, which was managed by Fernando Gelbard, a great friend and musician linked in different ways with this work, more than 30 years after the original release of Trova , with the necessary technological updating, digital re-mastering and the addition of three bonus tracks recorded in 1967, neighboring the record of the Trane Suite. Considering that the suite was the most important work of my youth, and also my first jazz recording and/or production, it is obvious that this was also the first reissue in my career as a musician." great friend and musician linked in different ways with this work, more than 30 years after the original release of Trova, with the necessary technological updating, digital re-mastering and addition of three bonus tracks recorded in 1967, neighboring the record of the Trane Suite . Considering that the suite was the most important work of my youth, and also my first jazz recording and/or production, it is obvious that this was also the first reissue in my career as a musician." great friend and musician linked in different ways with this work, more than 30 years after the original release of Trova, with the necessary technological updating, digital re-mastering and addition of three bonus tracks recorded in 1967, neighboring the record of the Trane Suite . Considering that the suite was the most important work of my youth, and also my first jazz recording and/or production, it is obvious that this was also the first reissue in my career as a musician."

Alberto Favero (About Suite Train-2011)

Mr. Favero and his orchestra faithfully capture the phases of John Coltrane's musical ascension through these five beautiful movements. I had the record but somehow I lost it - contacted Mr. Favero and he responded that the CD was about to be release. That was perhaps fifteen or so years ago. Glorious Music!