"I deeply admire the music of Ernesto Aurignac. His sound and compositional technique exhibit incredible creativity, virtuosity, sensitivity, and truth."
"Ernesto Aurignac possesses the necessary qualities to be a great composer. He has imagination, boldness, courage, extensive theoretical knowledge, aesthetic versatility, and a strong work ethic. My experience working with him has been excellent, and I foresee a bright present & future for him in the world of composition."
Ernesto Music's its very personal and particular. When it goes more into jazz, you can hear a huge influence of Charlie Parker, but also from Stravinsky, and other contemporary musics composers and he also has a personal sound, a way of linking different sections of the piece, that's very interesting and particular. So that I really thing that he is going to this personal sound, with a symphonic development that I truly like."
"The universe and the planet Pluto are the inspirations for this new, label-free sound. An artistic project whose creations are free from musical conventions and the artistic canons that govern them."
"Classical, Latin, or Flamenco music blended over an orchestral jazz palette that connects the great works of masters like Duke Ellington or Gil Evans with the profiles of contemporary jazz exemplified by figures such as Maria Schneider (...) The journey is rich and lush in substance, form, and nuances: 11 compositions by Aurignac himself that unveil the exquisite penmanship of an author driven by a productive spirituality (...) "UNO" thus fulfills its integrating vocation, a plural mosaic, while pointing with both hands to an Aurignac who claims his place in the forefront of national jazz (...)"
"One of the most sublimely assembled jazz orchestra's of the 21st Century... Joyful."
"The alto saxophonist from Malaga achieves with "Plutón" a simply sublime maturity in his writing, with luminous arrangements and soundscapes of a thousand colors. (...) Today, undoubtedly, our jazz has in Aurignac one of its most influential and leading authors and creators, decisive in shaping the music that lies ahead."
"His music is unique, personal, and highly recognizable. His concerts are intense, powerful, vital, always ready for continuous surprises and celebrations in reciprocal communication with the audience—moments that are both unique and magical. His discography faithfully reflects his aspirations and dreams, projects where he accommodates the greatness of his music."
"In this digital world, where new music navigates between the commercial and the purely artificial, the music of Ernesto Aurignac stands out as one of the most interesting languages of the moment. In his music, we can immerse ourselves in countless influences that, far from seeking an affected effect, converge in a genuine way, constructing what will undoubtedly be one of the languages of the future.
Ernesto Aurignac's music possesses its own energy and sensitivity, where the sincere fusion of impressionism, romanticism, expressionism, jazz, avant-garde music, and numerous other influences allows the creator's passion to transport us to the myriad universes imagined by a genius who speaks his own language, yet we all are capable of accompanying him.
Ernesto's music is like his own persona: authentic, honest, frenetic, and thrilling. A visionary straddling the new and the eternal. A genius born to share his passion for music in his own voice."
"Ernesto Aurignac never ceases to amaze me with every composition, phrase, or simple chord he writes. The mere act of hearing a chord creates an intrinsic need in me to want to keep listening more and more. His highly personal aesthetic, introspective language, and inexhaustible imagination make him one of the composers who has astonished me the most in recent years."
"I am convinced that there are things that cannot be learned. They can be practiced, strengthened, imparted, but if they are not inherent, they will hardly flourish so ideally and perfectly. I don't know where the greyhound gets its racing spirit, but it's true that Ernesto Aurignac must have a series of musical conceptions imprinted in his DNA that flow, undoubtedly, with rigorous exercise and training, with overwhelming coherence and brilliance. He reminds me of those we call greats in jazz, many of whom can be heard referenced in his discourse, in his way of weaving the sonic fabric, although he always ends up surprising us..."
"U Circle Breakers, composed of 18 musicians, generates a unique and unmistakable sound that captivates listeners, showcasing a distinctive voice and an attitude thought to be lost in the world of music. The 22 compositions by Ernesto Aurignac embody this unusual phenomenon, contributing a distinctive sound and a language that draws from numerous influences: from a deep assimilation of Western classical tradition to the most rooted flamenco and the wildest jazz. With the goal of breaking free from musical conventions and the canons that govern them, the work spontaneously arose from the imagination of the ensemble members, in a constant musical quest driven to strip meaning from style or genre in musical terms. The work was expressly written for this ensemble, highlighting the eclecticism of its members. Aurignac himself described the band and the project as a "Futurist Orchestra. An artistic project free from musical conventions and artistic canons. Unique and original music. An indescribable journey."
The saxophonist and composer bared his soul, metaphorically speaking, to the attending audience, presenting his unprecedented project: "Na es eterno" (Nothing is eternal). Drawing inspiration from the flamenco singer Camarón de la Isla, Ernesto, alongside an eleven-member ensemble, embarked on diverse musical ideas and journeys. From classical styles to compositions influenced by cubop, featuring frenetic saxophone and trumpet solos, the musician from Malaga shared with us a musical ecstasy lasting an hour and twenty-three minutes. The composer never ceases to amaze us, despite his magnificent previous works: "Uno" (2014), "Annunakis" (2015), "MAP Mezquita" (2016), and "Plutón" (2020).
Hailing from Malaga, Ernesto studied classical saxophone at the Conservatorio Superior de Málaga. After completing his classical saxophonist career, he delved further into his instrument, approaching a more jazz-influenced and improvisational style, eventually moving to Barcelona. However, his primary learning in this mode would be self-taught. The concert began with a brief introduction from the Andalusian artist. With his carefree personality coupled with his characteristic passion and sensitivity, he offered us a reflection: "Everything ends, everything decomposes." This idea, as the protagonist of his new project, is what nourishes it and names it: "Na es eterno" (Nothing is eternal).
Although there was a reasonable resemblance, in terms of inspiration from Spanish folk roots, to the album released in 1960 by Miles Davis, "Sketches of Spain," it took a vast departure from it in content. In "Na es eterno," we find a wide variety of influences, not only flamenco and jazz, as in Miles' case, but also classical and Latin. Percussion instruments played a significant role in the work, giving way to the rupture between moments of calm and frenzy.
With degradation and death as the foundation, inspired by Camarón's lyrics, there was a combination of experimental jazz with a more classical style, featuring atonal and experimental characteristics similar to Stravinsky in "The Firebird." Details of Spanish folklore and culture emerged, such as flamenco singing or the distinctive sound of a knife sharpener's cry. Balads were also explored, where percussion and winds took center stage, allowing for improvisation. The ensemble received thunderous applause from the audience, lasting no less than three minutes, for this new work. Interpreting such diverse styles, Ernesto becomes a composer of great significance, both nationally and internationally. His studies in both classical and jazz styles, combined with his Spanish roots, make him an essentially genuine artist, always advocating for his innovative ideas. That night, he proposed, "Hopefully, we can bring this project to the Auditorio Nacional," taking another step forward in his career, and we, once again, enjoyed this marvelous musical display.