Bio
Born in Barcelona in 1965, he started studying musical language and harmony with his grandfather (Josep Baiget), classical guitar with several teachers (Jordi Belza, Mariano Capella, Guillem Pérez-Quer, William Waters, Danielle Kassner), contemporary music (Joan Munné, Xavier Prats) and flamenco (Manuel Castilla). However, it was by exploring on his own that he developed a personal musical language focused on improvisation.
Nguyên Lê says that a musician should be himself at the most when he plays. That is what I strive for, humbly assuming that I am nothing more than that, but not less either.
Nguyên Lê says that a musician should be himself at the most when he plays. That is what I strive for, humbly assuming that I am nothing more than that, but not less either.
I devotedly submit myself to the ritual of the concert, hoping to experience a state of liberation through music that, according to Keith Jarret, not even the greatest musicians achieve for more than a few brief moments at a time.
What I play is jazz, always from an open and integrative conception of what jazz can mean. In words by Bill Frisell, a way of connecting with and transforming what surrounds us. But also progressive music, meant as open music "without rules or limits". And, moreover, contemporary: always new music, created in the present to be continuously transformed in the future.
