In their first self-titled album Majara, the pieces – all of them original – are meant to take the listener on a timeless journey, free from labels of genre but greedy of references to cultured folk music.
The tracks draw their strength from primordial timbres and instrumental acoustics together with the musicians’ energy and sensitivity.
The quartet’s first work manifesto proves to be the encounter and the mingling of very different musical cultures (jazz, Mediterranean and folk music), in an attempt to overcome the traditional definitions and categorisations of style and genre.
In the ancient beliefs of Southern Italy the term majara referred to an old woman, to whom magical and supernatural powers were attributed.
Though she draws her strength from the knowledge of nature and from her closeness with some “mystical animals” such as black cats, toads and pixies, the majara is not to be intended as a proper witch. Most of all, she was a good psychologist who knew how to infuse her patients with her own will power as well as healing ailments through the use of creativity together with ancestral “folk wisdom”.
Just like the majara , the Lucanian double bassist’s quartet filters their Mediterranean resonances to taint them with classical western music and some good contemporary jazz, diluting everything down with their own compositional creativity.
The folk vibes of pandeiro, mandola and guitar match with the classical style of clarinet and double bass to enrich themselves even more thanks to the sounds of different cultures: from the mediterranean to Brazil, along with melodies of Arab-Andalusian inspiration and odd rhythms from Persia, all blended together in an avant-jazz atmosphere.