SCHERZO – Pablo Sanz

Cuarteto Europa, a new reference for the continental Jazz.

 Their members don’t know it but their actions are already having a direct impact on the European Jazz scene.

 Justice is self-explanatory as the group brings together four of the most powerful and representative jazzmen of that feeling about jazz which many of us recognize, the European Jazz. Crossing chamber and folk languages with the American Jazz heritage, always through their own contemporary sensitivities.


 MUSICA JAZZ-Alberto Bazzurro

(I T A L Y)

Baldo Martínez... Who conducts most of his activities at home, and it’s a pity that almost everything must be solved within the Spanish walls, being a musician of extreme interest, as this beautiful last CD reconfirms.

 In summary, two are the mayor winning elements of both group and album: the leader’s capability to write and organise and the timbral blend between violin and trombone.

 The result, as we mentioned, is noteworthy.

 TOMAJAZZ – Enrique Farelo

Free expression music, in form and substance, paused and well-tempered, based on the instrumental balance that searches and reaches the beauty without provocation nor apparent effort but naturally, with Baldo Martínez steering the wheel from the back of the quartet, making Dominique Pifarély and Samuel Blaser’s interactions shine and placing Ramón López as the accurate metronome.

 Nine chapters of an audible book with no established beginning or end, where the listener designs his own outline to sort the chapters according to your personal taste or convenience.


 DIARIO DE JEREZ – Salvador Catalán

-From free improvisation to chamber and folk European music- as from the speech, underlies the fundamentals of a relevant record, able to weave several plots in the same theme.

 Before falling into diffusion, the album turns out exemplary in the gathering and expansion spaces, fixing, at the same time, one of the jazz peaks in the domestic season.

 BIRITMOS – Cándido Querol

The music proposed by the Galician double-bass player is not intended for consumption but to listen to it. Even if you can let yourself involved by these compositions and do as if you had nothing to do with it, at the end, they get you and you have to take sides. That’s why it’s art, because it compels you to participate.

 Isla de piedra (Stone island)... It’s a long theme and halfway of it they can afford a beautiful passage in which the trombone stands out above and beyond his fellows. Afterwards, the double-bass dyes the Atlantic sunset with a solo that traps you without mercy.

 And to finish Locura otoñal (Autumn madness), what a wonderful composition! Are they my fantasies or in this frenetic rythm there is a wink to Piazzolla’s Otoño porteño?



NOISELF-Jesús Gonzalo 

Baldo Martínez is one of these musicians in the Spanish scene who has best succeeded in integrating the contemporary and the essences, not being kind neither tough with none of them, just leading the way. Meeting these three musicians facilitates the task –as intellectual projection first and as a creative one later– of materializing a desire of requirement and permanence on our own place in Europe.


Martínez's writing makes possible finding a connection space for this absolutely timely and necessary union with the contemporary drive, the nostalgic view and the strength of the concepts.


The record is full of unique and collective findings, of openings walked one step at a time, metaphors of the Camino de Santiago, with its energy and its longing as a communication path in Europe, already global. They are polyphonies from the past and the present, with a chamber format that owes nothing to neither genres, not to a border nor an identity either.


There is an emphatic and wounded message in this brilliant and nonconformist music, far from traditional style parameters within jazz. There is construction, personality and identity. And real European inclusive culture.


Sombra (Shadow) is a perfect piece to define each musicians’ form and the descriptive space. It clarifies Pifarély's sharp and hurtful lyricism, Blaser’s forcefulness and presence between substance and gas that disperse, López’s disorganised, latent and uncomfortable rhythm, Martínez’s rocky reinforcement of the ideas that provide encouragement.




The Jazz Magazine (January 2008) include in "Disque D'emoi" the l CD of Baldo Martínez,  “Projecto Miño”.

-PROJECTO MIÑO “the best CD 2008 of Spanish Jazz” for the Magazine CUADERNOS DE JAZZ from Spain.


 Pablo Sanz, EL Mundo(January 2005)

-"Projecto Miño is one of the most emotive, ambitious, exuberant and intelligent works that Spanish jazz has lived in a long time"
      -"However you look at it, the project only scores 'excellent' "

    -"The melodic beauty of this proposal is harmoniously understood through it's wide rhythmic flow, and converts into a monumental and unique creation through it's contact with vanguard and contemporary music"

  -"Baldo Martínez has achieved a major work, which should change the route of his already impeccable trajectory"


JAZZ TOKYO- Nobu Stow (October 2009)

It is a marvellous work that I would love that the readership of the Jazz could listen to Tokyo

Marvellous arrangements, it joins several different types from the music without failing as jazz, music mediterranista based on Galician folklore Hispanic - arabica, avant-gardist etc. Also a good balance between composition and improvisation.

….. Especially those who impress me are, apart from Bravely and Díaz that it already mentions, solidly and low flex of Martínez, the sound of the serpentón of the Japanese musician settled down in Spain - Chiaki Mawatari, and the voice of Maite Dono that expresses himself from the traditional thing up to the avant-garde. She reminds me to the big avant-garde Italian singer Demetrio Stratos, for his interpretation of many colors.



Chema García Babelía EL PAIS(December 2007)

-It is about the encounter between tradition and contemporary jazz, “muñeria” and improvisation at its highest expression. An encounter in which rigor prevails, with no lack of surprises.



Enrique Turpin, CUADERNOS DE JAZZ (January 2008)

-If something is to be emphasized, over collective effort and the bassist's fertile leadership, it is the wise expression of one of the most powerful and arcane voices of our peninsular tradition.  


Martí Farré JAÇ-(December 2007)

-One of the most ambitious projects in Iberian Jazz.

-An extremely detailed and colorist work, in which are highlighted the arrangements, the soloists and especially the Galician bassist's ability to make this complex machine work


Pachi Tapíz- RITMOS DEL MUNDO (January 2008)

-There are several factors that make this recording not only one of the best in Spanish Jazz in 2007, but in all of it’s history. Due to it’s orientation and artistic result it could fit perfectly in prestigious catalogues, such as those of the labels ACT or even ECM.


-Projecto Miño in Inntone Festival-


Published: June 25, 2011  ALL ABOUT JAZZ

Baldo Martinez's nine-piece Projecto Mino , from Galicia in North-

Western Spain, received one of the warmest welcomes of the festival for its extrovert material, mixing folk and jazz. Martinez is a hard-working bassist and composer, and his project attracts high quality improvisers.

The unusual instruments in the band—serpent and hurdy-gurdy—were not just diversions. The players could really improvise, and Martinez put them through their paces. Maite Dono fronted the band, possessing an appealing, light voice, and the high level of musicianship typical of thisband.