santiago restrepo

Nace en Medellin el 26 de Marzo de 1992 .A los 14 años comienza a tocar batería bajo la dirección de Carlos García y más tarde de Juan Fernando Montoya en la Universidad Eafit.

Santiago ha tenido la oportunidad de tocar con músicos en Conciertos, Clases maestras y Jams Sessions tales como: Joel Frahm, Samuel Torres, Brandon Bernstein, Stan Killian ,Byron Sánchez, John McNeil, Mike Fahie, Winard Harper, Mike Del Ferro, Joost Swart , Antonio Arnedo ,entre otros.

A finales de 2014 Lanza su primer Disco de Jazz "Indefensión" con Sam Farley en el piano y Eduardo Gonzalez en el contrabajo.

Ha realizado estudios con el reconocido baterista Ari Hoenig , ha participado en festivales de Jazz en Medellín y tocado en diversos clubs de Jazz en la ciudad de Nueva York.

Born in Medellin on March 26, 1992 .A age 14 began playing drums under the direction of Carlos Garcia and later Juan Fernando Montoya at Eafit University.

Santiago has had the opportunity to play with musicians in concerts, master classes and Jams Sessions such as: Joel Frahm, Samuel Torres, Brandon Bernstein, Stan Killian, Byron Sanchez, John McNeil, Mike Fahie, Winard Harper, Mike Del Ferro, Joost Swart Antonio Arnedo, among others.

At the end of 2014 he released his first album of Jazz "Indefensión" with Sam Farley on piano and Eduardo Gonzalez on bass.

He has studied with renowned drummer Ari Hoenig, he has participated in jazz festivals in Medellin and played in various jazz clubs in New York City.


Santiago Restrepo Trio

I am so crazy, friends, as the drum So much so that I am not saying as the contrabass, While the piano plays by typing a secret. Gabriel Celaya

The art of music is a mystery. Appeals more to the question that striking responses (those supported by the artifice of the 'spectacle' ). When the ears - that connection with the waves that radiate throughout the body - have the nobility of the piano, the incantation of the battery or the greenery of the contrabass, refers to the modern trio that has become a shining place in the history of jazz, being the German label ECM record house that more exposed in the variety of styles and trends. From the few known trios of Ellington until the famous ‘jarretiano’ style, this format attracts by its exercise of intimacy, both for musicians and listeners.

But, which privacy installation implodes? which or that overflows? Santiago Restrepo Trio has more of the former than the latter (saving surprise jewelry compositive). Its first production recording of "powerlessness", tells us that the sight fully jazzy horizon (in your sense more orthodox) This could very well be an extensive history divided into eight chapters, but that he has resolved appoint by topics. Six of them from their own authorship and two distributed between the pianist and bassist, these musicians contain the flavor of the typical anglo-saxon trio: beautiful on your invoice but excessively content itself; allusion to the same contours of nuance and texture (hard to let go of them), forgetting the legacy of John Cage: "We must aspire to a free music memory" and the perception that at times is vaporous and others in a light expressiveness, loquacious, charming.

But interestingly, it is these topics where it follows the praise and the merit both compositional as interpretative of this trio led by Santiago Restrepo in drums, Sam Farley at the piano and Eduardo Gonzalez in the contrabass. The truth: it is hard to believe and understand that this high quality jazz belongs to a 'youngster' large-scale as is Santiago.

We know that a musical work is adjectival with greater effort when it is discovered that his essence (the sum of topics) seduces. Here we are faced with a high lineage compositional part of drummer who knows the psychic states of this format with a clear tilt to its version gringa. In general lines, highlights the subtlely cozy, discretion, both in the rhythm section as in the phrasing of the piano, and also brings a melodism diaphanous and esquivamente linear; ballads ‘evansianas’ ranchlands of gesture in gesture in the soundness of the trio.

The cymbals give lightness to the themes treated, the vocalization of the contrabass is an impressionism that shapes, twists and gives color to the general climate of the songs (in some subjects this loudness is appreciates opaque, nebula) is absence of delirium or imagination in terms of sound? Being sincere, it matters little because here there is synthesis of jazz trio. How to open heart? Each of the listeners will appreciate it in its own way. But there are two moments that stand out for me by its decision to venture out of the mold stylistic:

In "Imaginyeccion" the piano is more recursive, there is greater intensity in the richness of the rhythm, that argues, wonderfully the speech of the keyboard. The battery deployed a single whose resonance of cymbals allows cover the rhythmia drums in an attempt to abstraction of exquisite shyness. For their part, "Desrealizacion" spirit is volcanic, centripetal force. Piano and double bass are focused on a camaraderie of great rhythmic contagion. Santiago shown playful with their resources, support of genuine imagination by the nature of these issues, I believe that the musical personality of Santiago is open to the thought of contemporary Erkki-Sven Tüür well: "The music should raise issues with which the people does not like to face".

Fortifying that know that the jazz capital of the Antiochian shows a different face to the 'candelarios' or that cocktail/ambient of Uzuga and his colleagues . I feel proud to say that I prefer the colors and the intensity of this trio emerged in the city of Medellin (Colombia) to the half-heartedness and lack of expressiveness of the famed trio of Stefano Bollani, to cite just one example. In those musketeers there are artistic stature and strength of unbending musical intimacy.

Gustavo Bustamante Mesa September 15 2014

Twitter: @jazzero

Eric Wyatt

"SANTIAGO IS A VERY TALENTED DRUMMER WHO I MET THRU PERFORMING AT A CONCERT I HAD PYAZIN AT SMALLS JAZZ CLUB IN NY. He told me my band an my music inspired him . I felt very honered that my music connected with this young drummer. He seemed very serious about drums an had many questions about jazz. He also told me he wanted to make a cd with his band of musicians from Columbia. An i say to to him i AM PROUD OF YOU, for being honest an finally sending me your first cd to hear an i am impressed that such a young man plays drums with sensitivity. I AM NOT SURPRIZED because during our conversations he always talked to me about love, an i knew then he has promise as an artist. You must have love in your heart to play any instrument , so congratulations Santi , you are on your way to great things as you keep developing on your instrument , an i am glad to have inspired you an stay inspired young man, Maybe you will get a chance to make music with me Your friend always ERIC WYATT."

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