Victor Prieto
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        • VICTOR PRIETO TRIO (Tuesday through April 1) Victor Prieto, a fiendishly skilled accordionist, leads a trio with the bassist Carlo DeRosa and the drummer Allison Miller on Thursday the group welcomes a guest, Sam Newsome, on soprano saxophone. 11 p.m., Dizzy's Club Coca-Cola, Frederick P. Rose Hall, Jazz at Lincoln Center.


        • The New York Times By Chinen
        • Victor Prieto now makes a most compelling case for the accordion as a primary jazz instrument on Persistencia. Yet this is not just a showcase of just Prieto’s brilliance, but also a view of an extremely taut trio with two other fine musicians.

        • All About Jazz By Mark F. Turner
        • There are some jazz musicians who always get classified in the "beyond" categories in the magazine polls. They are usually musicians that are in such a unique area of music that there are few peers to make a single category for their respective instrumental talent and focus (i.e. musicians like Gregoire Maret, Dino Saluzzi, Steven Bernstein, etc.) Victor Prieto can easily be added to the list.


        • Jazz Improv Magazine By Dan Bilawsky
        • "Noteworthy Performances" Victor Prieto Trio at The Blue Note NY.


        • Jazz Improv Magazine
        • Prieto’s playing is stellar: virtuosic without seeming to be in a hurry, his melodic phrases materialize nonchalantly, commanding but never imposing, gaining momentum and urgency when inspiration strikes. The accordionist’s linear vocabulary is unusual, at times hard-bopping, yet never quite resolving as “expected.” His tone displays a horn-like quality—”breathing,” swelling, and fading with the motion of the bellows—while his accompaniment - "Prieto's creation, chord approach on both hands" - often detours adventurously in parallel and symmetric motions that flirt with quasi-tonality... resulting a harmonic textures unprecedented on this ax.

        • All About Jazz By Thomas H. Greenland
        • On Victor Prieto's debut CD, the accomplished accordionist from Spain has chosen to approach his instrument in a new way. In a recent performance at Dizzy's Club, Prieto performed eight of the songs of this CD. The trio was set up on stage with the member facing each other as three sides of a square, the forth side allowing the audience to enter into their musical conversation. Jumping from uptempo "Frevo" to the wisfull ballad "Muiñeira da Carmen" (where Cherico delivered an exquisite brushwork), the trio entertained a responsive audience, particularly during "Libertango", the set's - and CD's - highlight.


        • All About Jazz New York By Marcia Hillman
        • I was most impressed, however, by Prieto's original tunes, which account for six of the nine cuts on the album. In particular, “Mundos Celtas” displays much of the rhythmic ingenuity of Hermeto Pascoal (himself no mean accordionist). Equally impressive is the interplay among the three performers, who sound as though they have been performing together for decades.



        • All About Jazz By William Grim
        • Proprio l'interpretazione di quest'ultimo brano ci sembra la prova più convincente dell'intero disco perché esalta l'ottimo interplay tra i musicisti, con una rilettura tutt'altro che convenzionale e sezioni di grande respiro. Prieto sfrutta le trame armoniche del brano per costruire delle piccole storie nella storia, raggiungendo un risultato complessivo affascinante.

        • Jazz Italia Di Vincenzo Roggero
        • Prieto has raised the bar on what is possible on the accordion. His intensity and delight penetrate all barriers.

        • The New York Post
        • Para los que creían que la harmónica, el violín o el vibráfono se encontraban entre los instrumentos más inusuales con los que tocar jazz, el gallego (residente en Nueva York) Víctor Prieto demuestra las virguerías que se pueden hacer con un acordeón. Prieto es todo un virtuoso, pero realmente merece ser encuadrado en el grupo de jazzmen con lenguaje propio, en el grupo de músicos líricos capaces de transmitir sentimiento con cada nota de sus improvisaciones. Combinando ambas facetas, el de Santiago hace que su trabajo Persistencia sea mucho más que una simple anécdota tímbrica. las cualidades ya reseñadas merece la pena añadir la bendita insolencia de presentar la grabación en el siempre difícil formato de trío, con seis composiciones originales y tres versiones bien elegidas: el “Frevo” de Gismonti a modo de presentación, el “Libertango” de Piazzolla donde el solo de contrabajo con arco a cargo de Carlo DeRosa empasta a la perfección con el instrumento del líder y ni más ni menos que el “26-2” de John Coltrane, endiablada muestra de armonía moderna cuya interpretación por parte de Prieto deja boquiabierto al oyente.

        • Toma Jazz, Spain By Arturo Mora Rioja
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