The sound of revolution still echoes through the streets of colonial Latin America – at least that's what Keir GoGwilt is conjuring up with his bold new album 'The Zarabanda Variations'. This isn't just about classical music; it's a cultural collision course, bringing together the riotous energy of free jazz, the stately grandeur of baroque strings and the raw emotion of spoken-word poetry. It's an ambitious project that delves into the radical, lesser-known roots of the sarabande, a dance form that was once at the heart of colonial Spain.
GoGwilt's 10-piece ensemble is the perfect instrument for this bold reimagining – and they're not holding back. From the opening notes of 'Matachín', you can feel the tension building, as Alec Goldfarb's finger-picked jazz guitar weaves in and out of a swirling mix of strings and percussion. It's like nothing you've ever heard before – and that's exactly what GoGwilt is going for.
The album's standout tracks are all about contrasts: 'Otra Llorona' brings together yearning folk melodies from singer Mariana Flores Bucio with a Mexican-inspired rhythm that's impossible to resist. Meanwhile, 'Tonada Americana' combines the swaying rhythms of 17th-century Hispanic dances with bursts of frenetic violin playing that leave you breathless.
Not everyone will find it easy listening – GoGwilt's spoken-word interludes from poet Edgar Garcia can be conceptually dense. But what sets this project apart is its sheer scope and ambition. By reimagining the courtly dance through such a unique lens, GoGwilt has uncovered layers of history and musical potential that will keep composers and enthusiasts on their toes for years to come.