New videos have been uploaded! Enjoy and feel free to share! Thank you Juanma Trujillo for the editing and Scholes Street Studio for the recording!
Thanks to Annie Murnighan for the review on the August issue of The New York City Jazz Record!!
Super excited to announce my debut CD! You can listen, stream it or buy it here:
Plus you can get awesome merch with the fabulous designs of Flores Solano for the cover and the record label logo! Check him out here:
Juanma Trujillo and myself have created a record label!
Super happy to have gotten a review by Bruce Gallanter from the Downtown Music Gallery!
"LEONOR FALCON - Imaga Mondo (Falcon Gumba; Argentina) Featuring Lenor Falcon on violin & compositions, Juanma Trujillo on guitar & mandolin, Christoph Knoche on bass clarinet & alien voice (1 track) and Juan Pablo Carletti on drums. The creative scene in South America continues to evolve with a handful of new releases every few months. Ms. Falcon just came to visit us and left us with her new quartet disc. Although I hadn’t heard of Ms. Falcon or guitarist Juanma Trujillo, I do know of Christof Knoche and Juan Pablo Carletti from different sources. German clarinetist Christof Knoche once had a disc out on Omnitone Records and has played here at DMG twice in the past year, working with (current) Downtowners Kirk Knuffke and Thomas Heberer. Argentinian drummer, Juan Pable Carletti, has been living in Jersey City for a while now, working with Tony Malaby and Daniel Levin. So I didn’t know what to expect when Ms. Falcon left us with this disc.
If the the first piece, “Nymphs and Spaceman” is any indication, then we are in for a pleasant surprise. While Trujillo plays a calm, hypnotic line on the mandolin, Ms. Falcon’s violin(s) sails in bathed in eerie echoes, several layers ghost-like strings weaving their way around one another with one lead string wheezing or sighing at the center. A completely mesmerizing opening. For “Gnomes” has the violin and bass clarinet play intricate lines around one another, both glowing with calm vibe at the center. “Play More Bebop” sounds like a request that an old school jazz freak might say, hence the quartet do play a relaxed version of bop, without the roller-coaster like intensity of Bird & Diz & Co. “Cronopios” shows that the quartet play freely yet still remain focused and not too far out. My fave piece is called, “Humanoides” and it has the guitar playing some dark slightly bent chords while the violin and bass clarinet exchange lines. each taking strong solos. I dig the way guitarist Trujillo creates a brooding undertow while using a minimal of effects on his guitar. The bass clarinet and violin both get a chance to stretch out on the first half of “Striding” while the restrained yet distorted guitar builds to a slow yet menacing crescendo in the second half. What I find most interesting about this disc/quartet is that they seem to be in between any established genres like: jazz, rock or progressive although they do draw from all of the above. An impressive departure from the DMG norm. - Bruce Lee Gallanter, Downtown Music Gallery
CD $14 " http://www.downtownmusicgallery.com/newsletter_detail.php?newsID=412
Thank you Bruce!
And also very grateful to Troy Dostert from Allaboutjazz for a fantastic review!
"Violinist Leonor Falcón takes a leap into the realm of the fantastical with her debut record, Imaga Mondo—literally, "Imaginary World" in Esperanto. Having long inhabited disparate musical territories, including classical stints with the Sirius Quartet and other chamber ensembles as well as her work with jazz musicians like Akua Dixon and Karl Berger, she's well-positioned to try something outside the ordinary. On these nine tracks, she succeeds in creating music that is both immediate and engaging and, at the same time, just a bit odd and unsettling.
Falcón has an inviting tone on the violin, with a strong melodic sensibility that colors all her playing. But she's also got an ear for the uncanny, and on most of the music here there's a sneaking sense that something strange is happening; we're never permitted to get too comfortable. The best example of Falcón's concept is the opening cut, "Nymphs and Spacemen," where multiple overdubbed violin parts, including pizzicato phrases and ultra-long glissandos, allow her to create a disconcerting soundscape that is then joined to a winsome folk melody superimposed on it. The title of the piece perfectly captures the music's simultaneous evocation of lands both unearthly and mythological.
It helps that Falcón has chosen sympathetic partners for this project, as they're just as capable of straddling musical worlds and venturing out into the unknown. Drummer Juan Pablo Carletti, guitarist Juanma Trujillo and bass clarinetist Christof Knoche all get their opportunities to take some chances, whether on rock-inspired tracks like "Humanoides" and "Striding" where Trujillo gets out his effects pedals during his rangy guitar solos, or the freely-improvised "JP and Christof," featuring Knoche's ecstatic bursts over Carletti's constantly shifting rhythms. The closing cut," Chorale," is another instance of the musicians' ability to occupy that space between the usual and the unusual: it starts with Trujillo's pastoral ruminations on electric guitar before the other three join in, at which point Knoche's dark, haunting tones provide a hint of menace that Falcón and Trujillo build upon in finishing the record with a somewhat disquieting conclusion.
Despite the album's strengths, there are moments in which it seems as though Falcón wants to showcase the group's stylistic diversity rather than stay with the thematic terrain of the record. "Play More Bebop" is a fairly conventional try at that genre, but it barely gets off the ground at under three minutes, and the musicians don't seem to know what to do with it. "Parima" is another piece that doesn't really fit the record's concept: it's a jaunty Latin folk duet featuring Falcón and Trujillo, but it doesn't offer much beyond a pleasant interlude.
All told, Falcón's ambitious and idiosyncratic debut reveals that she has the potential to craft a unique musical approach. Hopefully she'll continue to develop it on her future releases." By TROY DOSTERT
August 23, 2017