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dmcq experience
dmcq – free jazz guitar


“I believe I often think I play the paintings I paint and paint the music I play.” 

dmcq, guitar

ricky maard, bass guitar

bruce cameron, saxophone


dmcq is an Irish avant-garde guitarist and painter. As a guitarist, improviser and composer working in the free improvisational genre and has released numerous ambient experimental free form compositions as apollo59. A new album “tempesity”, a journey in minimalist electronica is currently in production. He is also part of the electronic collaboration, anunusualleopard, where he contributes no input mixing technique, sound effects and synthesizers. He often plays guitar through an array of electronic effects, so creating layered soundscapes which sear through improvisational jazz and ambient notation. He has worked with numerous improvisors in Malaga, Ireland and Berlin.

 Fused and influenced through his musical tapestries is his devotion to painting and collage. As an abstract artist, his works are often driven by the energy exhibited in the recordings by musicians such as Peter Brotzmann, Derek Bailey and Joe Morris, to name but a few. Music in the moment spontaneously sculpted through art in the moment. Between these creative outlets, somewhere a world is created.

He will perform as a duo with swedish synthesist and bassist Ricky Maard on the first evening and with the English saxophonist Bruce Cameron on the second evening. Both musicians have numerous years performing and recording in Scandanavia and the UK.

Jose Carra Trio

“His compositions are advanced and inspired me”   Aaron Goldberg, pianista

“José Carra es ahora mismo uno de los músicos más bien preparados, versátiles y creativos de su generacion”

Jose Carra, piano      Bori Albero, double bass       Dani  Dominguez,  drums


En su anterior disco “El Camino”, Jose Carra graba junto a la cantante Beatriz Pessoa, el saxofonista Enrique Oliver, el contrabajista Romeu Tristao, el batería Joao Lopes Pereira y el percusionista Carlos Cortés. Ocho composiciones originales conforman este disco co-producido por el ingeniero de sonido Antonio Romero bajo el sello Romero Music. Destacado como uno de los mejores discos de 2015 por la revista Distrito Jazz.

Desde 2010 a 2013, Carra ha tocado a trío con el contrabajista Dee Jay Foster y el batería Ramon Prats en importantes Festivales y clubes por toda España (Girona, Madrid, Bilbao, Barcelona, Alicante, Albacete, Sevilla, Málaga, Almería, Granada, etc.) y en el Festival Internacional de Jazz de Barquisimeto (Venezuela) además de colaborar con las cantantes americanas Roberta Gambarini y Deborah Carter en varias ocasiones. En octubre de 2012 aparece el primer disco del trío titulado “Ewig” con el cual realizan múltiples conciertos durante 2012 y 2013.

Además de este primer disco, Jose ha tocado y grabado con músicos de gran prestigio como Eric Alexander, Chris Cheek, Stanley Jordan, Roberta Gambarini, Deborah Carter, Gareth Lokrane, Jorge Pardo, Javier Colina, Perico Sambeat o Carles Benavent.

                                                         Carlos Pino Trio

Carlos Pino, guitar      Rafa Sibajas, double bass       Jose Luis Gomez, drums   

Carlos Pino

Born in El Rubio (Sevilla) in 1965, began to study the guitar, self-taught, at the age of fifteen. In 1987 establishes his residence in the Costa del Sol, where he will begin his career as part of groups of diverse musical styles, leading and co-laboring with formations in which private MARA Jazz and improvised music, and in which They are names of national and international jazz scene.

He has attended seminars and master-classes taught by Pat Metheny Jazz, Perico Sambeat, Jonathan Kreisberg and others.

He is a founding member of the trio Toonik, which highlights his work as composer and with whom he has recorded two albums.

He has participated in the Inter- nal Jazz Festival Malaga in its editions of 1997, 1999, 2000 and 2004 with different formations as well as in several cycles of Jazz at the University of Malaga, Jazz festi- them Toledo, Moron the Frontino tera (Sevilla), Punta Umbria (Huelva), Lucena (Córdoba), Ceuta, Melilla, Mijas, Usti nad Labem (Czech Republic) etc .; He has worked in radio and television (Canal Sur) and performed in clubs and halls of the Spanish territory.

Rafa Sibajas

A native of La Línea de la Concepción (Cádiz), is a musician, bassist and versatile and multi-talented producer. Throughout his career he has worked on many projects in various areas and styles ranging from the production of own records, to work composition, editing and production of music for theater shows, performances, films, television and advertising. As a bass player in the field of jazz, classical and Flamenco music, has worked with musicians like Kirk MacDonald, Julian Sanchez, Ernesto Aurignac, Enrique Oliver, Juan Galiardo, Fabio Miano, José Carra, Dani Dominguez and David Defries.

He has trained academically in the specialty of classical bass at the Conservatory of Music Victoria Eugenia de Granada. Parallel has studied jazz autodidact, attending seminars by Spain and taking classes with musicians of international renown as Dave Santoro (director of Berklee), Javier Colina and Reuben Rogers (bass player with many recordings with the most important jazz musicians the international scene today).

Jose Luis Gomez

Drummer José Luis Gómez, born in Algeciras, is, as an essential of Malaga and Andalusian jazz scene, who accompanied internationally renowned musicians like Jonathan Kreisberg, Scott Hamilton, Vince Benedetti, Gustav Lundgren, Liane Carroll, Gianni Gagliardi Fredrick Carlquist, or Perico Sambeat Mike Fletcher.He studied at the Conservatory of Malaga and the Berklee College of Music (Boston, MA, USA), enjoying a scholarship from the university.

He has performed hundreds of concerts with well – known names in music both Andalusia and national: Jose Carra, Juan Galiardo, Phil Wilkinson, David Lenker, Javier Galiana, Ernesto Aurignac, Enrique Oliver, Tete Leal, Antonio Gonzalez, Ramon Cardo, Julian Sanchez, Arturo Serra, Javier Navas, Albert Vila, Miquel Casany, Bori Albero, Guillermo Morente Deejay Foster among others …

He has played with groups such as the OFM, the Big Band Jazz Association of Malaga, the Big Band of CSM Malaga, Big Band S & F Clasijazz among other …

Cofounder of the Altra-Muz and Cello4qt groups who recently released an album with music by Bill Evans and Claude Bolling.

Jazz Weekend Escape In Spain April 2017

Carlos Pino Trio
Carlos Pino Trio

Club Jazz announces it’s first all-inclusive jazz weekend getaway April 28, 29 & 30 2017. For 3 days/2 nights enjoy a weekend getaway full of live jazz, listening parties, jazz screenings and more. 227 euro per person includes upscale accommodations in a 19th century traditional Andalusian villa, in Alozaina, just 45 mins outside of Malaga City,, sumptuous family style meals, unlimited coffee/tea, and, of course, the music. From bebop jazz to classic jazz standards. It is a weekend chock full of jazz  and fun for the jazz lover in you. Make your reservation now at Club Jazz










The Guardian UK Rates Ten Best Jazz Musicians

From the traditional to the spiritual and the really out-there, acclaimed performer Jamie Cullum picks his favourite jazz inspirations.


Charles Mingus 1922-79

Most people know Mingus as a pioneering bass player, but to me he’s the most raucous and inventive composer of his era. His music has the energy of a revolution and, indeed, soundtracked many revolutions during the 50s and 60s. I was 15, aware of what was in the charts and flitting between dance music, indie rock and pop, and his particular style of free-form spoke to me as a rejection of the mainstream. There’s nothing polite about it, but I responded to his style of dirty jazz tinged with violence in a positive way. It seemed to be the epitome of rebellion, yet educational.

John Coltrane 1926-67

By 19, I was learning the mathematics of jazz, which is hard for someone with no grasp of maths. Coltrane is the master of well-formulated, perfectly composed music. He also played a very spiritual style of jazz. It was almost religious. You could even say he channelled the divine through his sax. It was A Love Supreme from 1965 which I connected with. It took a while, for some reason getting into Coltrane felt like a slow process, but he taught me the basics, so it’s no surprise I got into him when I was taking a year out after school to decide what to do with my life. He was my epiphany.

Mary Lou Williams 1910-81

Mary Lou spanned the entire history of jazz. She started out playing in a swing band and moved every decade into a new arena of music, doing modal stuff in the 70s, and later playing avant garde. I discovered her on a jazz compilation I found in Oxfam. The song was “Zodiac Suite” and I was staggered that she managed to straddle both jazz and classical music. She was one of the few jazz musicians to be accepted by the classical world, and even played in Carnegie Hall with an orchestra. She was a fantastic composer, pianist and mentor and the most important woman in jazz.

Herbie Hancock 1940-

Herbie Hancock is one of the few jazz pianists who progressed with the times. From fusion funk through to electronic music using synthesizers and toys, he’s always been way ahead. It was Head Hunters, the record that fused funk and soul with pop, that I fell in love with. I grew up in the west country with little exposure to jazz and although I wasn’t rejecting pop, I knew there was more to music. Through Herbie, electro and drum’n’bass, I developed an understanding of improvisation. I aim to operate somewhere between Herbie and Ben Folds at all times.

Nat King Cole 1919-65

By my late teens I was really getting into the singers. Nat King Cole was a household name and I adored his voice but wasn’t into the big orchestral pieces. At a record shop this guy handed me a record of him doing Gershwin, Cole Porter, that style, with strings and a piano, and I realised this was the Cole I wanted to emulate. He was an immense talent in his own right as a jazz performer, not just with the big band stuff. I guess I was, by then, a music snob and geek and consciously rejecting obvious, accessible jazz. Listening to Cole’s alternative side made me think I was right to be a snob.

Miles Davis 1926-91

The Miles I know is Miles Davis in the late 60s, the Bitches Brew era. I’d heard of Miles via Herbie Hancock. I was 18, reading Jack Kerouac and beat writers who bang on about jazz all the time, and felt I needed to be challenged musically. That psychedelic inaccessible jazz works at an age when you are working stuff out for yourself. It was like a culture shock in my bedroom. I didn’t understand the music, I didn’t even like it that much , and yes, I knew there was heroin involved but I didn’t know in what way. I just knew I should be listening. It mattered that I’d heard it. And that combined experience of sound and literature felt very exotic.

Keith Jarrett 1945-

I was about 18 when I saw Jarrett play in the Barbican. I was fond of what he had done with Miles Davis in the 1970s so the fact that he was still alive, well, I had to see him play. He has the most phenomenal technique. I’d never heard that level of free form improv piano playing – he looked like a mischievous magician. It honestly felt like he could set fire to the piano if he wanted. Keith struck a chord for me as a performer in the way he commanded the whole audience. It was almost as if we weren’t there, yet he knew we were his. It was through Jarrett that I started to understand what it must be like to play jazz at that level to a crowd.

Kurt Elling 1967-

It was during a documentary about Ella Fitzgerald that I first heard Kurt’s voice. I was in the kitchen and I could hear the sound of a man almost chanting over music. He was performing vocalese, the art of performing words over jazz solos, and he was just singing about Ella. Kurt just had this swooning, Sinatra sound combined with an intellect for the words, it was very moving. He makes vocalese look so easy and sound so gentle, like a saxophone. He’s relatively unknown outside of the jazz world, but revered as a singer among musicians. They view him as an academic and intellectual authority on jazz as well as a performer.

Thelonious Monk 1917-82

The best way to describe Thelonious Monk would be to say that if Picasso’s work was musical, it would sound like Monk. The first time I heard it was in a record shop in Bristol while hunting for new sounds. I found his to be so angular, like tiny piano mazes, in which you lose yourself without realising. I was freaked out. It’s minimalist and child-like, but deceptively so, because underneath is a raw complexity which you only get after several listens. Since my peers were listening to pop, Monk was a private pleasure. Black culture in the middle of Wiltshire: that’s what I experienced behind closed doors.

Wynton Marsalis 1961-

Wynton is more about the poetry of jazz and the building blocks of music. He made me want to go to New York, which I did, and I watched him play four nights in a row. I didn’t always agree with his style but having saturated myself with the masters, it was good to return to something traditional. After seeing him, I decided actually to do the music, properly. He’s an excellent ambassador of jazz, a mentor for kids and a 21st-century Duke Ellington – nothing more, nothing less.

Afro Cuban Jazz Legends

Afro-Cuban jazz is an early form of Latin jazz that mixes Afro-Cuban rhythms with harmonies and musical timbre typical of Bebop. It was developed in the early 1940s by both Cuban musicians and Jazz musicians, with Dizzy Gillespie, Mario Bauza and Stan Kenton among some of the most notable contributors. The style was originally called “Cubop”. The original musical development largely took place in North America rather than Cuba itself, as Cuban musicians toured in New Orleans and other North American cities.