{"id":52832,"date":"2020-11-04T19:30:25","date_gmt":"2020-11-04T18:30:25","guid":{"rendered":"https:\/\/www.tomajazz.com\/web\/?p=52832"},"modified":"2025-01-15T18:19:16","modified_gmt":"2025-01-15T17:19:16","slug":"pedro-iturralde-in-memoriam","status":"publish","type":"post","link":"https:\/\/tomajazz.com\/web\/pedro-iturralde-in-memoriam\/","title":{"rendered":"Pedro Iturralde In Memoriam"},"content":{"rendered":"

\"\"<\/center><\/p>\n

Si un \u00e1lbum marca un punto de inflexi\u00f3n en tu trayectoria,…, ese es Jazz Flamenco\u00a0<\/em>(Hispavox, 1967). \u00bfPodr\u00edas explicarnos la g\u00e9nesis de aquel trabajo y c\u00f3mo fuiste seleccionando repertorio y m\u00fasicos?<\/strong>
\nS\u00ed, \u00faltimamente se le da mucha importancia a lo del flamenco jazz, que yo nunca dije de hacer flamenco jazz. En todo caso, de hacer jazz flamenco. Porque Paco de Luc\u00eda hizo aquello que se llam\u00f3 flamenco jazz. Lo m\u00edo era jazz \u00abaflamencado\u00bb y se trata de elegir un \u00abstandard\u00bb americano conocido y, como introducci\u00f3n, toco un trozo de algo del flamenco que se parece. Entonces le llamo jazz flamenco.<\/p><\/blockquote>\n

Pedro Iturralde (1929-2020)<\/strong><\/p>\n

Entrevista de Jaime Bajo a Pedro Iturralde. Publicado en el n\u00famero 49 (Oto\u00f1o 2020) de M\u00e1sJazz Magazine<\/strong><\/a>.
\nFotograf\u00eda de Pedro Iturralde por Joan Cort\u00e8s. 30 de noviembre de 2014, 2\u00ba Jamboree Jazz Club Festival. Concierto del maestro acompa\u00f1ado por Mariano D\u00edaz (piano), Richie Ferrer (contrabajo), y Carlos Carli (bater\u00eda).<\/p>\n","protected":false},"excerpt":{"rendered":"

Desde Tomajazz, un peque\u00f1o homenaje a Pedro Iturralde con una cita extraida de una entrevista publicada en octubre de 2020 en la revista m\u00e1s JAZZ magazine. Contin\u00faa leyendo<\/a><\/span><\/p>\n","protected":false},"author":1,"featured_media":52833,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[15517,17853,24822,31927,1038],"tags":[1041,2086],"class_list":["entry","author-pachi","has-excerpt","post-52832","post","type-post","status-publish","format-standard","has-post-thumbnail","category-textos","category-joan-cortes","category-articulos","category-in-memoriam","category-contenidos","tag-joan-cortes","tag-pedro-iturralde"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/tomajazz.com\/web\/wp-content\/uploads\/2020\/11\/Ob_Pedro-Iturralde-\u00a9Joan-Cortes_30nov14_Jamboree.jpg","_links":{"self":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/52832","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/comments?post=52832"}],"version-history":[{"count":3,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/52832\/revisions"}],"predecessor-version":[{"id":56359,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/posts\/52832\/revisions\/56359"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media\/52833"}],"wp:attachment":[{"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/media?parent=52832"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/categories?post=52832"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tomajazz.com\/web\/wp-json\/wp\/v2\/tags?post=52832"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}