By José Gandue @Gandour Photos by Joaquín Gonzalez Ávila
Sometimes the best music of the moment emerges from the most unexpected corners of the planet. And in this case, that happens in Belén de Escobar, a town of just fifty thousand inhabitants, located 45 kilometers from Buenos Aires, where Gastón Salazar, better known in the artistic world as Gas-Lab. He, in his country retreat, where, already off the record, He confesses that he allows himself to become increasingly reclusive., It is where he has his studio and where he creates some of the best moments of neo-soul, contemporary jazz and hip hop that we have been able to hear in recent years on this side of the world. Gas Lab, who was quite prolific during the previous decade, in the company of musicians such as the American Traum Diggs, the Dominican Hache St, the Colombian Lianna, and other prominent vocalists, has opened 2020 by releasing a more intimate instrumental album than ever before, called Blue Room. This album is a brilliant combination of pianos, elegant samples, and guest musician contributions, some of whom are members of the Brazofuerte Orchestra, Blue Room, a regular fixture on the Buenos Aires jazz scene, is an exquisite, beautifully relaxing work with a clean and meticulous sound mix that, despite its electronic elements, It looks like it's from another era, from the late forties and fifties., those in which, for example, Miles Davis It was part of the label Prestige, and presented Round Midnight at the Newport Jazz Festival. Yes, this album. It pays homage to those times of cool jazz and the spirit of the mid-20th century in North America. And this recording has arrived at a time of great upheaval and confusion, perhaps to calm the atmosphere and make us reflect. It also gives us an excuse to finally speak with the artist, whom we've been wanting to talk to for some time.
After listening to your previous discography, we come to Blue Room and find something more "calm" and instrumental, how would you describe this moment in your career?
I would describe it as another part of the journey. More mature. Always trying to reinvent myself and stay true to my style, which is also a journey I'm still on.
How would you describe your style?
Personal. That's what I've always longed for as an artist. First, to have my own style; and second, for listeners to recognize it when they hear it.
And if someone had the opportunity to talk to you before hearing what you do, what would you tell them about it?
For me, the important thing is to feel and convey emotions. That music stirs something within. That I try to be simple and creative at the same time.
I get the impression that in the music industry you're just as, or even more, known for your production work than for your own musical projects. Could that be true?
Absolutely. We could apply the famous phrase "unity is strength." Without a doubt, working with Traum Diggs, Bocafloja, Lianna, Hache ST, Velcro, Mustafa Yoda, and many other artists, as well as record labels, has helped me reach more people.
When producing, what do you hope will happen with the artist you are working with at that moment?
There has to be lyrical substance; a message. And of course, there has to be musical and human chemistry.
Let's go back to Blue Room, What was the production process like for this album?
My creative process is usually similar: I sit down with my main instruments (piano, electric bass, and sampler) and start throwing ideas around. Then one thing leads to another, and the music begins to flow. Sometimes I arrive with an idea already in mind and try to bring it to life.
This time you decided to make it instrumental, was there a particular reason for that?
Instrumental music is more my thing. My thing, as they say in Colombia. It's more personal.
Let's do an exercise: Imagine the ideal music of the future. Let's travel to the same place where you are, but ten, fifteen, twenty years ahead. What does the world sound like at that moment?
I can say with complete certainty that for me, the ideal music (for any moment) has to have a lot groove, a lot swing; And emotional richness from the harmonic/melodic perspective. If I think about the future, I don't want to generalize because there are some great new things; but in general, I imagine colder music, which is somewhat the direction that life and music are taking in these recent times of a more virtual and digital existence.
Finally, what's next for you in the short and medium term?
Personally, I want to continue taking care of my family and my homeland, and continue growing as a person. Musically, I want to keep studying, improving, refining my style, and of course, enjoying the music.