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Billboard

"this is an attractive first effort from the extremely talented Diego Barber, a portent of things to come, and the beginnings of a bright career from one who has all the potential to be a truly original voice in modern music." Michael G. ... (read more)

All about Jazz. Mark F. Turner

"Diego Barber, a gifted classically trained jazz guitarist who draws inspiration from both Bach and Miles Davis, but whose music contains visions that are uniquely his own."
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Jazz Times

Diego Barber approaches the guitar with precision and fluidity - and with great sensitivity....He's adept at coaxing melodies embedded with an air of mystery and mischief

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2010

Diego Barber is musician from Lanzarote, Canary Islands. There was already some musical precedent in his family; his great uncle was a pianist and his father, in his youth, played the bass in a band called “Peppermint.” Very early on, his mother encouraged listening to classical music. When he turned ten years old he was given as a gift his first electric guitar and firmly decided to study that instrument. At that time, his musical preferences started to include jazz as well as some contemporary guitarists. It can be said that since then, the debate had begun within himself between these two musical styles. Maybe this was a dilemma that remained with him throughout his entire trajectory, until he came to the conclusion that perhaps both of them are part of his musical path.


In the beginning, Diego attended the Conservatory of Lanzarote, taking music classes from Miguel Angel Calzadilla, and he also received private lessons by attending a music school where Toñin Corujo was his professor. He began to seriously consider the idea of relocating away from the island, but because of his young age, this was a decision he had to make with the support of his family. After thinking about it and accepting the challenge that leaving home entails, he moved to Madrid and enrolled in the Conservatory of Arturo Soria. Possibly the most important and providential event that occurred was getting to know Jose Ramon Garcia, whose harmony, analytical and composition classes, helped Diego to develop as a musician. Following this period, he enrolled in the Conservatory Superior of Music of Salamanca where he completed his degree in Classical Guitar. While he studied in Salamanca, two very important events happened: instructors Costas Cotsiolis and Ricardo Gallen accepted him as their student. The first one taught him in Athens for a year; the second, wherever they happened to coincide in the world.

He attended graduate school at the Mozarteum University in Salzburg, under the tutelage of master Marco Tamayo. As part of his classical music training, he received master classes from musicians like David Russell, Zoran Dukic, Eliot Fisk and Pavel Steidl, among others. Prior to attending the university, Barber won first place at the Classical Guitar International Contest in 2004 (the event was dedicated to Leo Brouwer) as well as first place at the Miami Classical Guitar Society competition in 2005. He also began performing concerts in different cities across Europe, including those in Greece, Spain and Germany.

Toward the end of his training in Austria, Barber had already composed some of the pieces that would form part of his first album, and he takes great pride in the fact that Ricardo Gallen has chosen one of his pieces as part of his repertoire. He composed other pieces in the Mauritanian desert where he goes every year with his father and family and where he always finds great inspiration.

Before moving to New York in 2007, where he presently resides, he spent time in Madrid with the guitarist Chema Vilchez, who not only taught him jazz, but also gave him great moral support. In New York, Diego composed some of his last pieces and recorded Calima, which is maybe the crystallization of years of doubt and work. For the recording of Calima, he collaborated with first-class musicians like Mark Turner (saxophone), Larry Grenadier (double bass) and Jeff Ballard (drums) for whom he feels great admiration and deep gratitude. This way, his dream is realized.


Barber is currently signed to the prestigious American label, Sunnyside Records, and is collaborating with prominent musicians and playing festivals around the world.
Jeff Tamarkin Calima review

Diego Barber approaches the acoustic guitar with precision and fluidity - and with great sensitivity. Conservatory trained, his background is in both classical and traditional jazz (he cites Miles and Bach as key inspirations), but he also displays a working knowledge of the basic properties of flamenco and fusion, all of which manifest in myriad, often surprising ways in this largely easygoing, mostly impressive set of instrumentals. Working with Fly (tenor saxophonist Mark Turner, bassist Larry Grenadier and drummer Jeff Ballard), Barber, originally from the Canary Islands, avoids rough edges throughout most of Calima but he's not afraid of a good challenge.

On "Piru," the opener, his smooth lead lines and chord flourishes encircle the bass and drums in a cat-and-mouse game; Turner sits it out till midway, then invites the others to switch on the funk. On the sax-less followup, "190 East," Barber enters alone, flaunting his familiarity with Spanish flair, exploring deep, dark crevices where others might have chosen instead to brighten things up. He's adept at coaxing melodies embedded with an air of mystery and mischief, and even after Grenadier joins in to recalculate the melodic route, Barber can be counted on to fill a hole with an unexpected run or chord pattern.

It all coalesces in "Air," the 21-minute finale that serves as the album's most radical offering. Alternating judicious use of space and jarring, freestyle stabs of guitar, alien ambient sounds and dynamic group interaction, Barber hints at possibilities otherwise avoided in the more pristine, serene numbers and the more pedestrian funk. It's almost a shame when the full quartet reenters to close things out. Things were starting to get really interesting.

Jazz Times
Jeff Tamarkin · Jazz Times




Calima's All About Jazz Review by Mark F. Turner


All About Jazz
Calima review




Calima All About Jazz Review by Raul d'Gama Rose

Impressionism in music. Bruce Dunlap also hit the spot with About Home (Chesky Records, 1990), which used tonal color so vividly that the musical notes felt like wet paint. And now there is this young man, Diego Barber, whose sensibilities swirl around in giant arcs encircling eons of musical tradition. This certainly includes the legacy of Bach as it collides with modern Impressionism. And then his music curves through Andalusia, Cordoba, the Canary Islands, Francophone North Africa, the Middle East, and God knows if there was a whole planet of exquisite impressionist art, then Diego Barber would embody all of it.

All About Jazz
Calima All About Jazz review




HMV onlione Calima Review


HMV Online
HMV online review




Calima Billboard review

Young acoustic guitarist Diego Barber reflects his experiences living in Spain, Greece, and Germany with a classically oriented set of contemporary jazz rooted in -- but not beholden to -- flamenco and traditional Baroque sounds. The liner notes make reference to the Saharan Air Layer, "an intensely warm, dry, and sometimes dust-laden" part of the atmosphere over the Atlantic Ocean that originates in the Sahara Desert region of North Africa, at times reaching the Canary Islands. So naturally, you'd expect this music to be airy, floating, and breezy, bereft of jagged edges as it drifts back and forth from sea to sand. At the music's base, Barber uses progressive elements and variations mastered by Ralph Towner, but it is refined in a different way, less pyrotechnical or dazzling. In a deft, crystalline fashion, Barber and American friends bassist Larry Grenadier, drummer Jeff Ballard (from Brad Mehldau's group), and saxophonist Mark Turner give account of their notions in a completely relaxed fashion, rarely showy, always flowing like natural elements, playing consistently beautiful music together. Calima's first track, "Piru," sets a romantic and gorgeous tone, with pretty repeat lines and chords, only occasional flourishes, and a wafting swing with Turner coming in late. "190 East," the guitarist in a trio setting, is at once thematic, somewhat cinematic, climactic but unhurried with slight harmonics and minimalism to build upon. In a duet with Ballard on "Richi," Barber's rolling fingerstyle playing shows his classical training mixed with folk roots. The closest parallels to Towner appear on "Desierto," as Turner's sax floats by like clouds in blue skies before resorting to swing, while "Lanzarote" is more contemporary and current. Speaking of up to date, the idea of playing hipper music is not beyond Barber, as the title track is in a funkier style with some edge, while the guitar/sax/drums format on "Virgianna" is closer to rock via Ballard's straight beats. The recording ends curiously with a 21-minute seemingly spontaneous composition, "Air," mostly an evocative solo guitar excursion, with bowed bass and a light tango rhythm supporting Turner, ultimately an indulgent and extended coda that loses momentum and most people's attention span. Overall, this is an attractive first effort from the extremely talented Diego Barber, a portent of things to come, and the beginnings of a bright career from one who has all the potential to be a truly original voice in modern music. ~ Michael G. Nastos, All Music Guide
Billboard
Billboard review




Phrases Reviev (Greek)


Phrases blog
Phrases Calima review




Jazz Beats Calima review. By James Lamperetta

Fly showcases its talents in a wholly different light as the group is joined by Spanish-born guitarist Diego Barber on his auspicious jazz debut “Calima.”

Born in the Canary Islands, but now splitting his time between Madrid and New York City, Barber has a degree in classical music and has won several renowned international competitions.

A wonderfully adept guitarist whose technical proficiency is matched by the beauty and joy that emanates from his playing, Barber is heard exclusively on acoustic guitar throughout the disc’s eight tunes.

Boasting a highly personal style which comes from his unique hybrid of classical, flamenco and jazz, Barber’s original tunes are compelling vehicles that showcase his artistry.

“190 East” finds him accompanied by just Ballard and Grenadier. Sliding effortlessly from finger-picked chords, embellished with delicate harmonic touches, to single note flourishes, he conjures up a vibe that is ethereal and intricate, yet intense and invigorating.

The disc’s other trio piece, “Virgianna,” bursts from the chute with a high-energy funk guitar/drum intro before Turner jumps aboard, locking in with the rhythm. Sax and guitar solo effectively. Ballard’s frenetic drumming bookends this high-energy workout with a pair of exclamation points.

The rock infused strut of “Catalpa” finds the quartet in full regale. Riding Ballard’s propulsive backbeat, Barber’s solo is a nimble mix of rhythm and lead guitar, while Turner swoops in with a statement that is equally visceral.

“Richi” is a duet with drums and a rhythmic tour-de-force that draws heavily upon the guitarist’s classical background.

Clocking in at almost 21 minutes, the opus “Air” closes the disc. Opening with an extended section of solo-guitar, Barber’s conservatory-honed chops are once again showcased. Building to a soulful epiphany that includes the supporting trio, the tune travels full cycle, with the guitarist putting on an introspective finishing touch.

“Calima” is generating a well-deserved buzz. Rarely does an ambitious date such as this succeed on every level. This is highly recommended listening.

Jazz Beats





Diego Barber contact & management

Contact Diego Barber at:
info@diegobarber.com

Diego Barber at Myspace:
www.myspace.com/diegobarbermusic

Management

Birgit Schmid-Salm
Executive director
bsalm@artistinternational.com

Aim - artist international management, inc.
P.O. Box 2146
Morristown, New Jersey 07962
Tel. 973 538 0302
Tel. 201 323 0006
Fax. 973 998 7107
www.artistsinternational.com

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