Cheeky puppy, one of the artistic collectives that traces the paths of the new jazz with the greatest intensity, will return to its beloved Buenos Aires. In their healthy habit, they will see their loyal Buenos Aires audience again, this time to present Central Empirehis latest award-winning album.
In an upward spiral that took them away Nicetus to the konex and then to Colonthe large Texan band led by the bassist league michele will be presented at Luna Park in what promises to be a celebration of groove, in this case fueled by compositional flight and instrumental skill.
Tickets for the event are available through the Entradafan system and the stadium website.
The energy and warmth of Buenos Aires
Michael League is ready, attentive and interesting, to chat with Clarín before returning to play in one of his favorite places in the world.
-Snarky Puppy has a special relationship with his audience in Buenos Aires. How do you feel about coming back and what can people expect for this upcoming meeting?
-I must say that what happened with Snarky Puppy in Argentina is absolutely unique. Yes, we have fans all over the world and we tour internationally, but for some unknown reason, Argentina welcomed us as if we were Argentines. The energy and warmth we feel in Buenos Aires is absolutely amazing. Maybe it’s the only country in the world where people treat us like rock stars.
So it’s only natural that we have to show our appreciation by putting on the best show possible. This tour is about playing and growing the songs of Central Empireso i can only say that the audience can expect a lot of new music!
-You played at the Teatro Colón in 2017. What do you remember? I remember they were a much more “respectful” and cautious band than the day before at CC Konex.
We always try to create a unique musical experience every time we play, and the type of venue we play, as well as the audience, are probably the biggest determining factors in how the band will perform.
The Colón is a very ambient and reverberant space. Playing loud, high-energy songs doesn’t work well in spaces like that. We embrace the reality of the situation and play for the room.
-Next year they will be 20 years old. Are you planning a special party?
-We don’t plan to celebrate, other than doing what we do every day: try to keep the music going. Every marathon starts with a single step and I think over the years we’ve done a good job of focusing on that rather than the finish line.
We’ve always celebrated the small victories to get us through our darkest times, and even though those tough times are behind us, we keep the same attitude.
-I’ll give you an idea, although I’m sure you’ve already thought about it: how about expanding the festival that is organized every year in Miami, GroundUP, to other parts of the world, incorporating local talent?
-It’s a plan we’ve had for a while, with Buenos Aires at the top of the list! We have been talking about it for three years with Argentine promoters. We are just waiting for the right moment to make it happen.
The most recent Grammy
-They received another Grammy in this case for “Empire Central”. How important is the fact that the work is recognized in this way?
We are very grateful to know that our colleagues at the Recording Academy are listening to what we create, and also that music like ours is accepted by the industry at large. This has not always been the case, which is why we feel extremely lucky to be part of the conversation and so consistently recognized since our first award in 2013.
-It seems they are aiming to avoid labels. What do you feel about the need for audiences or journalists to put music in stylistic “cages”?
-I think it’s convenient when you have to communicate something very quickly and broadly, but I also think it should stop there. I don’t see it helping to zoom into the minutiae of tags or genres in any way. We’re all just making music, following traditions, yes, but also pushing them in new directions.
In the age of the internet it’s actually quite difficult to find music that fits perfectly into these “cages”, and I like that.
-They explore a lot of rhythmic variety and climates, but I think I barely heard any distorted guitars or electronic beats on Snarky Puppy. Is there any kind of limitation while writing?
-We don’t have any specific rules or compositional limits, but after so much time playing together, there is a collective understanding of what works and what doesn’t. In fact, it’s no more and no less than two decades of trial and error.
Some songs can be brought to rehearsals and sound a little out of the box, but once the whole band gets their hands on it and starts sharing ideas on how to change it up, overall the song turns into something that makes sense in the world. context of our repertoire.
Know the tradition
-Is there some aspect of your musical personality in which you consider yourself a purist?
-I don’t like it when people don’t know or respect the musical tradition they participate in. I feel that once you have a deep understanding of the history of your musical style, you earn the right to break the rules and innovate. But an ambitious and innovative spirit who does not know the past usually comes across as ignorant and immature.
-Texas isn’t the first place one might think of when hearing Snarky Puppy. How did being there pave the way for you to do this project?
-Texas has shaped the sound of this band more than any other place in the world. Many of the members are from there, but even those who aren’t have used Texas musicians as their main influence when thinking about our vocabulary and sound. Specifically I can name Texans like Roy Hargrove, Erykah Badu, Robert Glasper, Kirk Franklin and many others in this context.
Charles Hurd is an entertainment journalist for News Rebeat. He brings a fresh and engaging voice to the world of pop culture, covering the latest developments in film, television, music, and more.