Une expression est souvent employée pour les grands musiciens, ils font « parler » leur instrument. Cette sorte de maxime s’adapte sans problème au cas de Pablo Cueco. Percussionniste fou qui fait parler son zarb, on pourrait même dire chanter, discourir, comme s’il lançait des incantations afin d’envoûter son auditoire, et lui rappeler que la beauté n’est pas l’apanage des instruments mélodiques.
"Vient de paraître" 28 - march 2007
"Advice for land register employees and others who work customs at the frontiers of genres : in the strict, narrow sense, this is neither "jazz" nor "world music" nor "electronica"... and it's a little bit of each of these because it involves percussions, rhythms, various traditions, improvisation and "electro-acoustic tranformations in real time." Perhaps it would be appropriate to enlarge more generously the notion of "contemporary music" until it takes on its literal sense... as for the audio material itself, it is produced by a couple of percussionists with unrestrained imagination, virtuoso manipulators of the zarb (a drum of Persian origin), berimbao (a sort of musical Brazilian semicircle), cajon (box Peruvian slaves turned into a drum), slate keyboards and metallic percussions whose work is in its turn deformed or destroyed phagocytosis according to five trios made up of the lead couple and an electro-acoustic guest musician (Nicolas Vérin, Etienne Bultingaire, Thibault Walter, Christian Sebille, Thierry Balasse). From whence an infinite series of deforming/informing mirror plays and acoustic mirages that seem to invent an equal number of gateways and thus round trips between more or less mythic jungles and technological paroxysms."
Philippe CARLES
Redaction director of "Jazz Magazine"
