L.I.T. [lost_in_translation]

Tolo Servera Music

Around 2012 I was going through a weird time of personal insight.
I found myself confronted by my own self and by some kind of existential crisis.
I was on a quest for a solution to get me out of the hole which I found myself in.
This being the case, I decided to channel all that maelstrom of feelings into the composition of new music, instead of
Around 2012 I was going through a weird time of personal insight.
I found myself confronted by my own self and by some kind of existential crisis.
I was on a quest for a solution to get me out of the hole which I found myself in.
This being the case, I decided to channel all that maelstrom of feelings into the composition of new music, instead of going out in the streets and burning rubbish containers, which, however anarchistic and liberating that may seem, is also dangerous and illegal.
I got to work and started to record all kinds of ideas that popped up in my head with no specific direction in mind. Like I said, it was all about lightening the burden, so musically it was a kind of “anything goes”.
At first, to be honest, my goal was to compose tunes based on simple chords, nothing overambitious; maybe lay down some groovy percussion loops and just jam along with the hope of coming up with some interesting melodies.
Despite my intentions however, this line of work did not last long and the music unavoidably led me in other directions; to quote Brandford Marsalis; “Music tells you”.
Those ideas that were emerging, (plus some others that I rescued from the bowels of my Mac), developed a life of their own and started to evolve in unexpected, surprising and sometimes scary ways.
One thing was clear in my mind though; as far as was possible, I wanted to have musician friends to perform on this project, just as I had done more than 20 years ago with Israel Sandoval on our infamous instrumental CD, “Volumen I”.

After a few months I had 10 almost finished pieces of music (the ones you’ll find here) plus 4 or 5 sketches which did not finally make it to the final stage; partly because I wasn’t totally convinced by them and also because I was running out of energy and time.
It seemed that all that emotional mess came out of pressure, like water from a torrent after the spring thaw, and I felt pleasantly drained and at ease. This musical bleeding, though copious, soon subsided and the truth of it is that it was a stroke of luck, because I must say, it was an intense and exhausting time.

But going back to the pieces that were left in the drawer at the end, I really had wanted all of the following dear friends and musicians to take part in it:
Joan Bibiloni, Toni Pastor, Toni Cuenca (father and son), Carlos Lambertini, Roberto Uke, Ricardo Gómez, Manolo Barrado, Unai Iker, Toni Martínez, Arthur Hensen, Miquel Figuerola, Toni Noguera and Toby Taylor.
Throughout the production, at one point or another, I either had them on the phone, bothering them with my musical obsession, or I would call them up straight to the studio to record.
Unfortunately, these recordings will not see the light of day this time, for the aforementioned reasons of lack of time and energy. I hereby offer my apologies, my appreciation for their devoted time and effort, and my most sincere and heartfelt admiration for their art.

 At this point you may be thinking:
"Did he say 2012? ... What a trip that has been!!"
As I said before, most of these recordings took place over much of 2012 and all these friends and artists started to show up at the studio to record their parts, months and sometimes years apart.
By 2013 the studio agenda was quite full of external productions and has been so almost up to 2019; add summer seasons with concerts almost every day and here we are, in 2021.
It has taken nine years to bring you a collection of works of which I am deeply proud, immensely grateful and honored by the magnificent contributions made by so many friends, and, to a great degree, for the relief of the pressure (in the good sense of the word) that one experiences when one finally lets a creature take flight - one that you have seen born, which you have taken care of, have been angry with, has almost made you throw the towel in, and with which you have lived together for so long.
I didn't compose this music in order to please anyone in particular, or to follow any fashion or style, or even to expect anything in return. It’s enough for me to have spent the time doing what really satisfies me and to share those creative moments with the people who I admire and love; if, on top of that, I make anyone beyond this circle feel something as a listener, then I shall count myself doubly rewarded.
That said, I would like to make a special mention of my guitar and harmony teacher, Gabriel Rosales; a great human being and a big musical & spiritual guide.
I attended classes with him from the age of 19 to 23 and I couldn’t be thankful enough for all the things I learned from this gentleman. I contacted him around 2014 to propose a collaboration on this project; we postponed the recording for personal reasons and then, in 2015, the devastating news of his death struck the hearts of everyone who knew him.
One of the themes that didn’t make it was one that I had prepared for him; I haven’t had the courage to release it without his guitar playing and Gabriel and his song will remain forever in my heart.

And finally, I’d like to draw your attention to the first song I composed for this project called "You know how well you are" in which, some time later, I had the pleasure of featuring Mr. Malcolm "Molly" Duncan.
This gentleman has been, is ,and will be, a musical reference for me, a “gentleman” from head to toe and one of my best friends for almost thirty years of my life. We shared concerts, recordings, a CD (Hornography) composed and produced by the two of us, and we had more dinners, lunches, social gatherings and fun moments than I care to remember. He passed on at the end of 2019 ,unable to listen to this finished work and without my being able to say goodbye to him properly. He has left, to all of us who enjoyed his company and friendship, a hole in our hearts as big as his soul and music ever were.
So, with this said, I humbly dedicate this work to Molly with all my love and affection, and I hope that wherever he may be, he will let out one of those "Yahaaaaa, mate!" that I still miss so much today.

Before moving on to the "technical" part, I would like to explain why the titles of the tunes are in English.
For years now, with a dear friend of mine (who you will see appear in the credits), we have been playing a language game that consists of translating Mallorcan sayings into English, literally word for word. Apart from this game being just another way of having a laugh, I thought that these stark “translations” could work as titles for music tracks on an album.

So now you know where these weird titles come from and no matter how cool they may sound phonetically, they "don't mean s**t" to English-speaking natives, which makes them all the more amusing ;)

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Allà per l’any 2012 i passant per una estranya etapa de introspecció personal, me vaig trobar enfrontat a mi mateix, a una sort de crisi existencial i a sa recerca
d’una solució per ensortir-me des pou en es que me trobava enclotat.
Aleshores, vaig decidir canalitzar tot aquell caramull de sentiments cap a la composició de nova música en lloc de sortir al carrer a cremar contenidors de fems, cosa que podria haver estat més anàrquica i alliberadora, però també perillosa i il·legal ;)
Així que vaig posar fill a s’agulla i vaig començar a gravar totes ses idees que me venguessin al cap sense cap tipus de direcció concreta; com he dit, es tractava d’alleugerar plomada, així que musicalment era un “tot val”.
Per ésser sincer, en un principi sa meva intenció era composar temes al voltant de progressions d’acords senzilles i sense pretensions; deixar anar un patró de percussió en bucle i anar improvisant melodies a sobre.
Malgrat ses meves intencions, aquesta línia de feina va durar poc i sa música me va dur per un altre costat perquè com deia en Branford Marsalis, ”music tells you”.
Així que aquelles idees que anaven sorgint (més alguna altra que vaig recuperar de ses butzes des Mac) anaren agafant vida pròpia i començaren a créixer en direccions inesperades, sorprenents i, fins i tot, esgarrifadores.
Una cosa sí tenia clara i era que volia contar en la mida de lo possible amb col·laboracions d’amics músics, tal com férem fa més de vint anys a “Volumen I”, disc instrumental creat a mitges amb es meu estimat Israel Sandoval.

En qüestió d'uns mesos vaig tenir pràcticament acabades 10 peces (que són ses que trobareu aquí) i 4 o 5 esbossos que a la fi no han trobat el seu lloc en aquesta obra, ja sia perquè no n’estava convençut del tot o, com ara vos explicaré, per manca de energia i temps.
Sembla que tot aquell “rebombori” emocional va sortir a pressió com aigua per un torrent després del desglaç de primavera i me vaig quedar eixut i ben a ple.
Aquesta hemorràgia musical, si bé copiosa, va minvar aviat i sa veritat és que tanta sort, perquè he de dir que va esser una època intensa i esgotadora.
Tornant a les peces que al final quedaren al caixó, feia contes que hi participassin tots aquests estimats amics i músics:
Joan Bibiloni, Toni Pastor, Toni Cuenca (pare i fill), Carlos Lambertini, Roberto Uke, Ricardo Gómez, Manolo Barrado, Unai Iker, Toni Martínez, Arthur Hensen, Miquel Figuerola, Toni Noguera i Toby Taylor.
A tots ells, a un moment o l’altre de sa producció o bé els vaig tenir al telèfon encalentint-los es cap amb la meva curolla musical o directament els vaig fer venir a s’estudi a gravar :)
Malauradament, aquestes gravacions no veuran la llum en aquesta ocasió per les raons abans anomenades de manca de temps i energia.
Vagin per davant les meves disculpes, el meu agraïment per la feina feta, el temps dedicat i la meva més sincera i sentida admiració pel seu art.

En aquestes altures a lo millor estau pensant:
“Ha dit 2012?... Si que s’ho ha pensat, l’amo en Tolo!!”
Com deia abans, es gros de sa gravació d’aquests temes va ocórrer durant gran part del 2012 i varen començar a aparèixer per s’estudi tots aquests amics i artistes per a gravar ses seves parts amb mesos i anys de diferència.
Cap al 2013 l’agenda de s’estudi estava bastant plena de produccions externes i així ha estat fins pràcticament el 2019; això sumat a temporades d’estiu amb concerts pràcticament a diari i, fet i fet, aquí ens hem plantat, al 2021.
Prop de nou anys d’espera (que no vostra, si no meva) per fer-vos arribar un treball del que estic profundament orgullós, immensament agraït i honrat de les magnífiques aportacions de tants d’amics i, en gran part, de l’alleugeriment del pes (en el bon sentit de la paraula) que un experimenta quan deixa prendre el vol a una criatura que has vist néixer, has cuidat, amb qui t’has enfadat, has estat a punt de deixar anar i amb la que has conviscut tant de temps.
No he composat aquesta música amb l’objectiu d’agradar a ningú en especial, ni de seguir cap moda o estil, ni tant sols esper res a canvi.
És suficient haver passat un temps fent el que realment me satisfà i compartint moments de creació amb gent que admir i estim; si a més a més aconseguesc que a qualsevol persona més enllà d’aquest cercle aquesta obra li desperti qualque sentiment, ja estaré més que satisfet.
Dit tot això, vull fer especial menció en es meu mestre de guitarra i harmonia, grandíssim esser humà i guia músico-espiritual, Gabriel Rosales.
Vaig assistir a classes amb ell des dels 19 fins als 23 anys i no és pagat amb res tot el que vaig a aprendre amb aquest senyor.
Me vaig posar en contacte amb ell al voltant de 2014 per a proposar-li una col·laboració en aquest projecte; vam anar posposant la gravació per qüestions personals fins que entrat el 2015 la notícia de la seva mort ens va envestir a tots els que el coneguérem.
Un dels temes que no han entrat era un que tenia preparat per a ell; no vaig tenir eima de gravar-ho sense que ell hi posàs la seva guitarra i ha quedat en el record i per sempre en el meu cor.

I ja per acabar, dir que es primer tema que vaig composar per aquest projecte va esser “You Know How Well You Are” en el qual, temps després, hi va gravar en
Malcolm “Molly” Duncan.
Aquest senyor ha estat, és i serà per a mi un referent musical, un “gentleman” de cap a peus i un des meus millors amics durant quasi trenta anys de sa meva vida.
Compartirem concerts, gravacions, un CD (Hornography) composat i produït pels dos i més sopars, dinars, tertúlies i moments des que em puc recordar.
Va morir a finals del 2019 sense que pogués sentir aquesta obra acabada i sense que me pogués despedir d’ell.
Ens ha deixat a tots els que vàrem disfrutar de la seva companyia i amistat un forat a l’ànima tan gran com ho era el seu cor i la seva música.
Per tant, li vull dedicar amb tot afecte i humilitat aquest treball i esper que, sigui on sigui, ho rebi amb un d’aquells “Yahaaaaa, mate!” que encara avui enyor tant.

Abans de passar a la part “tècnica”, m’agradaria explicar es perquè des títols des temes i perquè en anglès.
Ja fa anys que amb un estimadíssim amic meu (en Jaume Gelabert, el qual veureu aparèixer en es crèdits) jugam a un joc lingüístic que consisteix en traduir literalment dites mallorquines a s’anglés.
Apart de ser una manera com qualsevol altre de passar es temps, vaig pensar que aquestes “traduccions” podrien funcionar com a títols de temes musicals.

Així que ara sabreu d’on surten aquests títols tan estranys que fonèticament sonen molt bé però que per als natius de llengua anglesa “don’t mean s**t” ;)
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