{"id":565,"date":"2025-09-25T11:15:29","date_gmt":"2025-09-25T09:15:29","guid":{"rendered":"https:\/\/andrescoll.es\/?page_id=565"},"modified":"2026-02-28T15:56:43","modified_gmt":"2026-02-28T14:56:43","slug":"my-story-andres-coll","status":"publish","type":"page","link":"https:\/\/andrescoll.es\/es\/my-story-andres-coll\/","title":{"rendered":"Mi historia Andr\u00e9s Coll"},"content":{"rendered":"
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desde el principio<\/span> <\/span><\/h2>\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\t\t\t\t
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Me un\u00ed al grupo de folk de Ibiza cuando ten\u00eda 9-10 a\u00f1os m\u00e1s o menos. No por ning\u00fan tipo de motivaci\u00f3n acad\u00e9mica\/conocimiento; hab\u00eda una fiesta folk en una antigua casa de campo, e inmediatamente supe que quer\u00eda unirme al grupo. Las fiestas folcl\u00f3ricas, los ensayos, los bailes, los viajes... eran muy divertidos. Me fij\u00e9 en c\u00f3mo nos comport\u00e1bamos y, sin duda, ten\u00edamos una actitud folk. <\/span><\/p>\n

Los m\u00e1s peque\u00f1os \u00e9ramos traviesos en el buen sentido; gritando, cantando y dando palmas por ciudades espa\u00f1olas, aeropuertos,... tirando almohadas por las ventanas de los colegios en los que dorm\u00edamos, tirando las literas al suelo y cabreando a cualquier figura autoritaria que quisiera establecer alg\u00fan tipo de liderazgo sobre nosotros. <\/span><\/p>\n

Los festivales de folk tuvieron cierta influencia en m\u00ed. Estuvimos de gira por zonas espa\u00f1olas, (Valencia, Pa\u00eds Vasco, un pueblo de M\u00e1laga, Mallorca, Galicia,..) vi actuar a otros grupos de folk y eso me influy\u00f3 positivamente. Ver a las gallegas con las panderetas, al grupo folk anfitri\u00f3n que nos hac\u00eda giras por su zona, conocer a las chicas de la zona,.. El folk no est\u00e1 muerto ni es una tradici\u00f3n representada. Comunic\u00e1bamos cosas reales bailando, nos divert\u00edamos de verdad tocando los instrumentos, jodiendo el ritmo y parti\u00e9ndonos de risa de principio a fin.<\/span><\/p>\n

Cuando tocaba en la banda sinf\u00f3nica local de Ibiza empec\u00e9 a improvisar sobre ella. La secci\u00f3n de percusi\u00f3n era una diversi\u00f3n total entre amigos, tocando o sin tocar. No importaba lo que tocara la banda, yo siempre a\u00f1ad\u00eda algo a la m\u00fasica, que nunca era demasiado ni demasiado poco, s\u00f3lo lo necesario para superar la roboticidad de las partituras de percusi\u00f3n, para dar vida a la m\u00fasica. Los directores nunca se preocupaban por ello, o era bueno y no le daban importancia o la improvisaci\u00f3n estaba tan en su sitio que no se daban cuenta. Incluso nos comunic\u00e1bamos entre nosotros cuando improvis\u00e1bamos, surg\u00edan muchos ruidos y motivos nuevos mientras lo hac\u00edamos. As\u00ed cre\u00e1bamos atm\u00f3sferas, como misteriosas claves de madera en una espeluznante selva amaz\u00f3nica. Era como una banda sonora de cine en tiempo real y eso me inici\u00f3 y me form\u00f3 definitivamente en la improvisaci\u00f3n con buen gusto, en el desarrollo de un buen o\u00eddo, en la improvisaci\u00f3n en grupo,... lo hac\u00edamos dos d\u00edas a la semana (ensayos) y un concierto al mes, desde que ten\u00eda 14 a\u00f1os hasta ahora. <\/span><\/p>\n

<\/span><\/span>Desde peque\u00f1o escuchaba a Santana en el coche de mi padre, aparte de otros artistas similares. Ten\u00eda la idea de formar un grupo, tocar m\u00fasica, divertirme, pero no sab\u00eda qu\u00e9 pod\u00eda tocar. Por aquel entonces tocaba percusi\u00f3n (bater\u00eda, tambor de mano, percusi\u00f3n cl\u00e1sica) y tocaba el vibr\u00e1fono\/marimba en el combo de jazz juvenil de la escuela de m\u00fasica, pero no conoc\u00eda a ning\u00fan m\u00fasico o m\u00fasica de mazos, no sab\u00eda que exist\u00eda, as\u00ed que no investigu\u00e9 sobre ello, adem\u00e1s, nadie me ense\u00f1\u00f3 m\u00fasica de mazos aparte del repertorio cl\u00e1sico. <\/span><\/p>\n

As\u00ed que estaba buscando qu\u00e9 tocar. \u00bfBater\u00eda, tambores de mano? Bueno, quer\u00eda hacer algo con la m\u00fasica, las armon\u00edas, melod\u00edas,... entonces, estaba buscando en la discograf\u00eda de Roy Ayers y descubr\u00ed que tocaba el vibr\u00e1fono, y que sus primeros discos eran en el estilo cool jazz de la costa oeste. Cuando Roy entr\u00f3 en el solo descubr\u00ed todo un mundo nuevo, no sab\u00eda que se pod\u00eda hacer eso con un vibr\u00e1fono, e inmediatamente supe que los mazos eran el instrumento que quer\u00eda tocar para la m\u00fasica que quer\u00eda hacer. <\/span><\/p>\n

Luego vino un tiempo de investigaci\u00f3n, practicando un poco, no demasiado serio, ya que estaba terminando el instituto, entrando en la universidad,.. en fin, esta parte de la historia es una chorrada hist\u00f3rica.<\/span><\/p>\n

La primera vez que toqu\u00e9 con Joachim K\u00fchn, nunca antes hab\u00eda tocado libre. Evidentemente, llevaba alg\u00fan tiempo practicando libre solo en casa, pero no con alguien. La primera grabaci\u00f3n con bater\u00eda ya quemaba por el o\u00eddo que hab\u00eda desarrollado a lo largo del tiempo. La segunda grabaci\u00f3n con el vibr\u00e1fono y la marimba fue a\u00fan m\u00e1s ardiente. Luego me motiv\u00f3 a componer mierdas personales. Antes compon\u00eda tonter\u00edas f\u00e1ciles, cosas muy superficiales nada personales. Desde hace tiempo quer\u00eda hacer algo con la m\u00fasica y el folclore, ya que conoc\u00eda ambas cosas. Muchos m\u00fasicos de Ibiza quer\u00edan hacer algo as\u00ed, probablemente por alg\u00fan tipo de condicionamiento psico-social\/responsabilidad con la cultura local, pero no conoc\u00edan ni viv\u00edan el folk, yo era el \u00fanico que pod\u00eda hacerlo, ning\u00fan otro tipo de folk hac\u00eda m\u00fasica en serio y ning\u00fan otro tipo de m\u00fasica hac\u00eda folk en serio. <\/span><\/p>\n

Cuando empec\u00e9 a componer esas cosas, las melod\u00edas, las armon\u00edas, los ritmos, me parec\u00edan familiares. Todo proced\u00eda del folk, de una m\u00fasica universal primigenia que conservaban las fronteras naturales de la isla. Era como desvelar algo que estaba ah\u00ed desde siempre. Por lo tanto, la m\u00fasica de mi proyecto es aut\u00e9ntica y sentida aut\u00e9ntica por la gente; no es forzada, viene de dentro, ya es folk y vanguardista.<\/span><\/p>\n

Se lo dije a Joachim: Voy a crear un nuevo tipo de m\u00fasica que refleje el mediterr\u00e1neo (estilo de vida, vida popular, paisajes,..). cuando buscas en google m\u00fasica mediterr\u00e1nea aparecen este tipo de piezas desenfadadas de guitarra italiana, o gente de fusi\u00f3n darbuka libanesa. Evidentemente, esa no es mi experiencia del mediterr\u00e1neo, as\u00ed que lo que ten\u00eda que componer era mi visi\u00f3n del mismo. <\/span><\/p>\n

Ahora, estoy encontrando nuevas correlaciones entre el folk de Ibiza y el de otras partes del mundo, es incluso m\u00e1gico. Las casta\u00f1uelas y los tambores ibicencos hacen el mismo ritmo que el karkabou gnawa de Marruecos, Argelia y T\u00fanez, como descubrimos Majid y yo. Las armon\u00edas y melod\u00edas del folclore ibicenco y las armon\u00edas celtas\/cauc\u00e1sicas\/de la Europa continental\/Bela Bartok son muy parecidas, aparte del orientalismo que tiene el folclore de Bartok\/Ruman\u00eda. Descubr\u00ed que todo lo que me sonaba estaba conectado. No hab\u00eda lugar a condicionamientos mentales para que me gustaran las cosas: primero me gustaban, luego descubr\u00eda qu\u00e9 eran y c\u00f3mo se relacionaban con el folk ibicenco.<\/span><\/p>\n

Estoy feliz de haber formado mi banda actual. Cada miembro es un pilar que da sentido a la m\u00fasica que hacemos. Majid tocando el guembri viene de la m\u00fasica norteafricana y del folclore gnawa, lo que a\u00f1ade a la m\u00fasica este elemento de trance-danza. Mateusz es el siguiente pilar del folclore de Europa continental, de Polonia, Ruman\u00eda, Hungr\u00eda... y es un violinista tremendo. Ambas m\u00fasicas est\u00e1n relacionadas con el folklore ibicenco, del que vengo. Y Ram\u00f3n es una bestia a la bater\u00eda, es la definici\u00f3n de vanguardia-fusi\u00f3n folk. <\/span><\/p>\n

Para mi, vanguardismo+musica folk es la clave para hacer que la gente se abra, liberarlos de lo conocido, y ponerlos en lo desconocido, pero ese no es mi trabajo principal, la gente normalmente tiende a descubrir esto por si misma, o bien, no lo descubren realmente. S\u00f3lo soy un tipo normal, no un gur\u00fa o l\u00edder espiritual que le dice a la gente lo que tiene que hacer, s\u00f3lo soy un tipo normal que hace las cosas como quiere, porque no querr\u00eda hacerlas de otra manera, as\u00ed que si vanguardismo es lo que hago, hago vanguardismo. No quiero hacer cosas que perpet\u00faen o puedan perpetuar las normas de la sociedad.<\/span><\/p>\n

La combinaci\u00f3n de folk y vanguardismo es lo que realmente es la m\u00fasica folk. Un grupo de m\u00fasica anarquista en el que los miembros respetan las ideas de los dem\u00e1s y juegan en torno a ellas, en el que puedes saltar y contar tus ideas con respecto a los dem\u00e1s. Apenas hay un jefe que establezca un cierto patr\u00f3n, un cierto tipo de groove. El groove debe cambiar seg\u00fan los sentimientos y la electricidad interior de la gente. En el folk+vanguardismo puedes llegar a lo desconocido estando en uni\u00f3n con la gente. Ah\u00ed es donde ocurre el descubrimiento, y esa es la forma perfecta de civilizaci\u00f3n, porque puedes descubrir cosas (como nuevos ritmos, nuevos sonidos, nuevas texturas,..) por ti mismo, pero en uni\u00f3n con otras personas en un ambiente libre y respetuoso, eso es lo que deber\u00eda ser la civilizaci\u00f3n.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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from the beginning I joined the ibiza folk group when I was 9-10 years old more-less. Not by some kind of academic\/knowledge motivations; there was a folk party going on in an old country house, and immediately I knew I wanted to join the group. The folk parties, the rehearsals, the dances, the trips,.. were so fun. I look to how we behaved and we had definitely a folk attitude.  We the youngest ones were naughty in a good way; screaming, singing and clapping around Spanish cities, airports,.. throwing pillows out of the school windows we slept in, putting bunk beds down and pissing off any authoritarian figure that wanted to establish some kind of leadership upon us.  Folk festivals had some influence upon me. We were touring around Spanish areas, (Valencia, Basque country, a Malaga village, Mallorca, Galicia,..) I saw other folk groups perform and that had a positive influence on me. Watching the Galician ladies with the tambourines, the hosting folk group that made us tours around their area, getting to know the girls from the area,.. Folk is not dead nor it is a performed tradition. We were communicating real things while dancing, we had real fun while playing the instruments, fucking up the rhythm and laughing our asses off from the beginning to the end. When I was playing at the local Ibiza symphonic band I started improvising over it. The percussion section was total fun between friends, either playing or not. No matter what the band played, I always added something to the music, which was never too much and never too little, just what was needed to surpass the robotic-ness of the percussion scores, to bring the music to life. The directors never cared about it, either it was good so they didn\u2019t care about it or the improvisation was so in place that they didn\u2019t notice it. We were even communicating between us when improvising, a lot of new noises and motifs came up while doing it. We were creating atmospheras just by doing that, like some kind of mysterious wooden claves as in a spooky amazonic jungle. It was like real-time movie scoring and that definitely started me and trained me into good-taste improvising, developing a good ear, in group improvisation,.. we did that two days a week (rehearsals) and one concert a month, since i was 14 years old until now.  Since little I was listening to Santana in my father\u2019s car, apart from similar artists. I had the idea to form a group, play music, have fun, but I didn\u2019t know what could i play. At the time I was playing percussion (drums, hand drums, classical percussion) and I played vibraphone\/marimba at the music school\u2019s youth jazz combo, but I didn\u2019t know any mallet player musician or music, I didn\u2019t know it was a thing, so I didn\u2019t research about it, also, no one showed me any mallet music apart from the classical repertoire.  So I was looking what to play. Drums, hand drums? Well, I wanted to do something with the music, the harmonies, melodies,.. then, i was looking up Roy Ayers discography and discovered that he was a vibraphone player, and his very first albums were in the west coast cool jazz style. When roy entered the solo I discovered a whole new world, I didn\u2019t know you could do that with a vibraphone, and immediately i knew the mallets were the instrument I wanted to play for the music I wanted to do.  Then came some time of researching, practicing a bit, not too serious, as I was ending high school, entering university,.. anyways, this part of the story is just historical bullshit. The first time I played with Joachim K\u00fchn, I had never played free before. Obviously I had some time practicing free alone at home, but not with someone. The first recording with drums was already burning because of the ear I had developed along time. The second recording with the vibraphone and marimba was even more burning. Then he motivated me to compose personal shit. I composed easy bullshit before, very superficial things nothing personal. From long time ago I wanted to do something with the music and the folklore, as I knew both. A lot of musicians from Ibiza wanted to do something like that, probably by some kind of psyche-social conditioning\/responsibility to the local culture, but they didn\u2019t know or live the folk, I was the one that could do that, no other folk guy did music seriously and no other music guy did folk seriously.  When I started composing those things, the melodies, the harmonies, the rhythms, seemed to be familiar. It was all coming from the folk, from a primigeneous universal music that was preserved by the natural frontiers of the island. It was like unveiling something that was there all the time. Therefore, the music of my project is authentic and felt authentic by the people; it is not forced, it is coming from the inside, it is already folk and vanguardist. I told Joachim: I will create a new kind of music that reflects the mediterranean (lifestyle, folk life, landscapes,..). when you google mediterranean music these kind of italian guitar easygoing pieces appear, or lebanese darbuka fusion people appear. That is obviously not my experience of the mediterranean, so what I was to compose was my vision of it.  Now, I\u2019m finding new correlations between Ibiza folk and folk from other parts of the world, it is even magical. The Ibiza castanets and drums do the same rhythm as the Gnawa karkabou from Morocco, Algeria and Tunisia, as discovered by Majid and me. The harmonies and melodies from the Ibiza folklore and Celtic\/Caucasian\/Continental Europe\/Bela Bartok harmonies are very similar, apart from the orientalismus that Bartok\/Romanian folk have. I discovered everything that rang a bell on me was connected. There was no room for mental conditioning to like the things: first I liked them, then I discovered what<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"site-sidebar-layout":"no-sidebar","site-content-layout":"","ast-site-content-layout":"full-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"disabled","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-565","page","type-page","status-publish","hentry"],"yoast_head":"\nMy story Andr\u00e9s Coll - ANDRES COLL<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/andrescoll.es\/es\/my-story-andres-coll\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"My story Andr\u00e9s Coll - ANDRES COLL\" \/>\n<meta property=\"og:description\" content=\"from the beginning I joined the ibiza folk group when I was 9-10 years old more-less. Not by some kind of academic\/knowledge motivations; there was a folk party going on in an old country house, and immediately I knew I wanted to join the group. The folk parties, the rehearsals, the dances, the trips,.. were so fun. I look to how we behaved and we had definitely a folk attitude.  We the youngest ones were naughty in a good way; screaming, singing and clapping around Spanish cities, airports,.. throwing pillows out of the school windows we slept in, putting bunk beds down and pissing off any authoritarian figure that wanted to establish some kind of leadership upon us.  Folk festivals had some influence upon me. We were touring around Spanish areas, (Valencia, Basque country, a Malaga village, Mallorca, Galicia,..) I saw other folk groups perform and that had a positive influence on me. Watching the Galician ladies with the tambourines, the hosting folk group that made us tours around their area, getting to know the girls from the area,.. Folk is not dead nor it is a performed tradition. We were communicating real things while dancing, we had real fun while playing the instruments, fucking up the rhythm and laughing our asses off from the beginning to the end. When I was playing at the local Ibiza symphonic band I started improvising over it. The percussion section was total fun between friends, either playing or not. No matter what the band played, I always added something to the music, which was never too much and never too little, just what was needed to surpass the robotic-ness of the percussion scores, to bring the music to life. The directors never cared about it, either it was good so they didn\u2019t care about it or the improvisation was so in place that they didn\u2019t notice it. We were even communicating between us when improvising, a lot of new noises and motifs came up while doing it. We were creating atmospheras just by doing that, like some kind of mysterious wooden claves as in a spooky amazonic jungle. It was like real-time movie scoring and that definitely started me and trained me into good-taste improvising, developing a good ear, in group improvisation,.. we did that two days a week (rehearsals) and one concert a month, since i was 14 years old until now.  Since little I was listening to Santana in my father\u2019s car, apart from similar artists. I had the idea to form a group, play music, have fun, but I didn\u2019t know what could i play. At the time I was playing percussion (drums, hand drums, classical percussion) and I played vibraphone\/marimba at the music school\u2019s youth jazz combo, but I didn\u2019t know any mallet player musician or music, I didn\u2019t know it was a thing, so I didn\u2019t research about it, also, no one showed me any mallet music apart from the classical repertoire.  So I was looking what to play. Drums, hand drums? Well, I wanted to do something with the music, the harmonies, melodies,.. then, i was looking up Roy Ayers discography and discovered that he was a vibraphone player, and his very first albums were in the west coast cool jazz style. When roy entered the solo I discovered a whole new world, I didn\u2019t know you could do that with a vibraphone, and immediately i knew the mallets were the instrument I wanted to play for the music I wanted to do.  Then came some time of researching, practicing a bit, not too serious, as I was ending high school, entering university,.. anyways, this part of the story is just historical bullshit. The first time I played with Joachim K\u00fchn, I had never played free before. Obviously I had some time practicing free alone at home, but not with someone. The first recording with drums was already burning because of the ear I had developed along time. The second recording with the vibraphone and marimba was even more burning. Then he motivated me to compose personal shit. I composed easy bullshit before, very superficial things nothing personal. From long time ago I wanted to do something with the music and the folklore, as I knew both. A lot of musicians from Ibiza wanted to do something like that, probably by some kind of psyche-social conditioning\/responsibility to the local culture, but they didn\u2019t know or live the folk, I was the one that could do that, no other folk guy did music seriously and no other music guy did folk seriously.  When I started composing those things, the melodies, the harmonies, the rhythms, seemed to be familiar. It was all coming from the folk, from a primigeneous universal music that was preserved by the natural frontiers of the island. It was like unveiling something that was there all the time. Therefore, the music of my project is authentic and felt authentic by the people; it is not forced, it is coming from the inside, it is already folk and vanguardist. I told Joachim: I will create a new kind of music that reflects the mediterranean (lifestyle, folk life, landscapes,..). when you google mediterranean music these kind of italian guitar easygoing pieces appear, or lebanese darbuka fusion people appear. That is obviously not my experience of the mediterranean, so what I was to compose was my vision of it.  Now, I\u2019m finding new correlations between Ibiza folk and folk from other parts of the world, it is even magical. The Ibiza castanets and drums do the same rhythm as the Gnawa karkabou from Morocco, Algeria and Tunisia, as discovered by Majid and me. The harmonies and melodies from the Ibiza folklore and Celtic\/Caucasian\/Continental Europe\/Bela Bartok harmonies are very similar, apart from the orientalismus that Bartok\/Romanian folk have. I discovered everything that rang a bell on me was connected. 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Folk is not dead nor it is a performed tradition. We were communicating real things while dancing, we had real fun while playing the instruments, fucking up the rhythm and laughing our asses off from the beginning to the end. When I was playing at the local Ibiza symphonic band I started improvising over it. The percussion section was total fun between friends, either playing or not. No matter what the band played, I always added something to the music, which was never too much and never too little, just what was needed to surpass the robotic-ness of the percussion scores, to bring the music to life. The directors never cared about it, either it was good so they didn\u2019t care about it or the improvisation was so in place that they didn\u2019t notice it. We were even communicating between us when improvising, a lot of new noises and motifs came up while doing it. We were creating atmospheras just by doing that, like some kind of mysterious wooden claves as in a spooky amazonic jungle. It was like real-time movie scoring and that definitely started me and trained me into good-taste improvising, developing a good ear, in group improvisation,.. we did that two days a week (rehearsals) and one concert a month, since i was 14 years old until now.  Since little I was listening to Santana in my father\u2019s car, apart from similar artists. I had the idea to form a group, play music, have fun, but I didn\u2019t know what could i play. At the time I was playing percussion (drums, hand drums, classical percussion) and I played vibraphone\/marimba at the music school\u2019s youth jazz combo, but I didn\u2019t know any mallet player musician or music, I didn\u2019t know it was a thing, so I didn\u2019t research about it, also, no one showed me any mallet music apart from the classical repertoire.  So I was looking what to play. Drums, hand drums? Well, I wanted to do something with the music, the harmonies, melodies,.. then, i was looking up Roy Ayers discography and discovered that he was a vibraphone player, and his very first albums were in the west coast cool jazz style. When roy entered the solo I discovered a whole new world, I didn\u2019t know you could do that with a vibraphone, and immediately i knew the mallets were the instrument I wanted to play for the music I wanted to do.  Then came some time of researching, practicing a bit, not too serious, as I was ending high school, entering university,.. anyways, this part of the story is just historical bullshit. The first time I played with Joachim K\u00fchn, I had never played free before. Obviously I had some time practicing free alone at home, but not with someone. The first recording with drums was already burning because of the ear I had developed along time. The second recording with the vibraphone and marimba was even more burning. Then he motivated me to compose personal shit. I composed easy bullshit before, very superficial things nothing personal. From long time ago I wanted to do something with the music and the folklore, as I knew both. A lot of musicians from Ibiza wanted to do something like that, probably by some kind of psyche-social conditioning\/responsibility to the local culture, but they didn\u2019t know or live the folk, I was the one that could do that, no other folk guy did music seriously and no other music guy did folk seriously.  When I started composing those things, the melodies, the harmonies, the rhythms, seemed to be familiar. It was all coming from the folk, from a primigeneous universal music that was preserved by the natural frontiers of the island. It was like unveiling something that was there all the time. Therefore, the music of my project is authentic and felt authentic by the people; it is not forced, it is coming from the inside, it is already folk and vanguardist. I told Joachim: I will create a new kind of music that reflects the mediterranean (lifestyle, folk life, landscapes,..). when you google mediterranean music these kind of italian guitar easygoing pieces appear, or lebanese darbuka fusion people appear. That is obviously not my experience of the mediterranean, so what I was to compose was my vision of it.  Now, I\u2019m finding new correlations between Ibiza folk and folk from other parts of the world, it is even magical. The Ibiza castanets and drums do the same rhythm as the Gnawa karkabou from Morocco, Algeria and Tunisia, as discovered by Majid and me. The harmonies and melodies from the Ibiza folklore and Celtic\/Caucasian\/Continental Europe\/Bela Bartok harmonies are very similar, apart from the orientalismus that Bartok\/Romanian folk have. I discovered everything that rang a bell on me was connected. 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