J. Fox + Juanfe Pérez

J. Fox

Juan Manuel Urriza (drums), Fredi Pelaez (keyboard, piano), Oskar Lakunza (saxophone), Xabier Barrenetxea (electric bass)

A ground-breaking Jazz quartet whose core inspiration is drawn from the sophisticated and dynamic style of the legendary Yellowjackets, Spyro Gira and The Rippingtons. Their name is derived from the initials of the four talented artists who make up the group: Juanma Urriza (drums), a master of rhythm and subtlety; Fredi Peláez (keyboards) whose harmonies, with their captivating richness of sound, speak for themselves; Oskar Lakunza (saxophone), whose melodic and expressive sound informs the entire sound of the group; and Xavier Barrenetxea (bass) with his rhythmic and melodic bass that brings depth to the whole. The group stand out for their fusion of contemporary Jazz with elements of funk, Latin music and innovative grooves, which all make for a singular chemistry that transcends genres and appeals to all types of audiences. J. Fox promise a new and refreshing musical experience, oozing technical mastery, which will appeal as much to Jazz lovers as to those keen to embrace new sound horizons.

Juanfe Pérez: Prohibido el toque

Juanfe Pérez (bass), Kike Terrón (percussion), David Sancho (keyboard), Alicia Morales (vocals)

This is the first project the multi-faceted Juanfe Pérez will lead himself, after working, prior to this, with artists of the stature of Olga Pericet, Rosario La Tremendita and Farruquito. With the bass as the central element around which the entire stage performance revolves, this live show, dubbed Prohibido el Toque (2022), stands out for its energy and the degree of complicity among the musicians. From delicate, psychedelic soundscapes in which the most traditional folk singing is blended together and renewed within an atmosphere that is all freshness and newness, to the most explosive and energetic musical climaxes conceivable. A show in which the bass is undoubtedly at the forefront of everything, and which also incorporates the traditional palos of flamenco, while, in the process, also sketching out an imaginary root, new cannons of the toque flamenco, as though consciously seeking out those “toques barberos” of the mid-nineteenth century that so shaped the identity of the guitar.