from mastretta.com

Mastretta
By David Chiu

Mention contemporary Latin music to an American these days, and the likely response would be something about Ricky, Enrique, or Jennifer. But contemporary Latin music goes beyond photogenic stars that can swivel their hips and shake their rumps--aside from its usual lilting sound, it can also embrace the styles that we had grown accustomed to listening to, such as electronica, jazz, and classical.

One such Latin artist who embraces musical diverse influences is Nacho Mastretta, who hails from Barcelona, Spain. Mastretta is an avant garde musician whose instrumental music is distinctly Latin and evokes a mood on a cinematic level. It is no surprise then that he also composes music for films, and was nominated for a Goya (the Spanish equivalent to the Oscar) for a film score he has done.

Mastretta just recently released his US debut here simply called Mastretta. it is a compilation of his past works in Spain that were previously unreleased in the States. Tracks like "Latin Lover," "White Sheets, Tight Bed," and "Luna De Miel" sound typically Latin but reflects Mastretta's affinity for both sonic textures and traditional genres like the aforementioned jazz music.

Such grandiose musical ambitions that are evoked on the record might be a bit harder to reproduce onstage but Mastretta proved it can be done. At an instore record appearance at the Virgin Megastore in New York recently, Mastretta and his unit sounded like a band on fire: hot horns, some aggressive rhythm guitar, and polyphonic percussion. Mastretta proves himself a versatile musician, alternating between keyboards, clarinet, and saxophone.

Looking more like a player in an alternative rock band, this amiable musician took time out after his performance at the Megastore to talk about his music that coincide with the release of his new record in America.

1. You have recorded before in Spain, but this is your first record to be released in America? Why now?

It's very difficult for us in Spain to take the music out of our [effronteries] because we make instrumental music and we are on a very little independent label. We play all around Europe in festivals and we haven't been here before because it is very difficult to make the crossover. I think it's easy for the audience here in the States to listen to my music because it's instrumental and has some unique feeling.

2. The influences on Mastretta is all over the map.

We mix some influences from the European music, 20th century, French song. We love Edith Piaf and Duke Ellington.

3. What were you listening to growing up?

Most of the music my father listened. My mother is from Mexico, and my father traveled a lot to the States and the Caribbean. I know a lot of music from Cuba, Brazil, and America. I love the music from Louis Armstrong and Duke Ellington to the West Coast [like] Chet Baker.

4. In your youth, you used to be in a punk rock band. Do you miss playing rock and roll music?

My way of playing is the way of playing as a punk band. When we perform in live shows, we are energetic and we try not to try to have too much prejudice. I love the band attitude, good music, and melodies.

We are very far from rock and roll but my musicians have been playing rock and roll all of their lives. I think there are some style of rock and roll in our music today.

5. How do you compose your music?

When I write my songs, I write as a classical writer. So I write without any instrumentation. I write on paper. I'm not a good performer but I can write very well. I can translate from my head on to paper. I think the most important thing in my music is the way I play with timbre. The melodies, the harmonies, the rhythm are mixed with other things from the past. It has electronic and acoustic instruments, woodwinds, synthesizers, assorted percussion. I think the mixing of my timbre is my personality.

6. You were recently nominated for a Goya in your native Spain. How was that like?

It was the first film I scored. It was very good to me to make my first film. The director saw me perform live all on my own and he said I want you in my film. I made five more films. Sometimes I'm working with the screenplay but I try to see all the film when it's possible, and I make the music that go with the narration of the film.

7. Is it difficult to recreate your music onstage given that the music is very polyphonic and textured?

I'm not trying to reproducer the sound of the record when I am performing. My musicians are strong personalities and they know what my intentions are in my music. So I know they are trying to make the music with me. We try to never play the same song the same way--always play in different ways. Most of the songs don't have a start and don't have an end.

8. What do you hope that American audiences will get after hearing your music?

I think they must get their own impression but it must be good. I think they hear something that is very peculiar. It can be better...and I think it [developed] its own personality, and I believe in that.