Apel-les Carod: Abismes i Flors

Even if they do not consciously look for them, musicians tend to find role models, someone who inspires and motivates them. Inspiring others was probably not foremost in violinist Apel-les Carod's thinking when, in 2015, he became the first graduate in jazz violin from the Escola Superior de Música de Catalunya. But just as Paco de Lucia inspired legions to take up flamenco guitar, Carod could, in a more modest way, impact the smaller world of Spanish jazz, should he get the wider exposure his talent deserves.

In the years either side of graduating, Carod was twice runner up in the Zbigniew Seifert International Jazz Violin Competition, in Poland, where he competed against dozens of the world's best young jazz violinists. His debut album as leader certainly delivers on that promise.

Eight originals, penned by the leader, occupy a nebulous terrain where jazz, folk and classical influences coexist—not in some clever, conceptual hybrid, but as naturally as the colors of an autumnal mosaic. Carod studied classical music between the ages of eight and fifteen, and this grounding makes itself felt in his precision and elegant articulation—a good example of this is his wonderful pizzicato on the pretty "Abismes y flors." There is, however, a warmth in Carod's delivery that perhaps owes more to the emotional currency of folk music. The same applies to the violinist's melodic sensibility, for these are tunes of rich lyricism and clear narrative arc.

Yet for all his technical prowess, Carod is no show pony. There are some fine improvisational passages, notably on the title track and "Mar de Nit," but his brand of seduction is to leave one wanting more. Take the tantalizingly brief "Irati," where Carod conveys more emotionally in a series of short phrases and a delightful, economic solo than many instrumentalists do in bar upon bar of earnest soloing.

Each tune's defining melody is delivered in unison by Carod and pianist Max Villavecchia. The pianist's role feels ornamental at times, with his baroque-esque solo on "Se m'importa el riu" and a more impassioned turn on "Mar de Nit," both signaling a little loosening of the reins. Still, his melodic counterpoint, mantra- like, left-hand motifs and jangling embellishments are an ever-present factor. It would be hard indeed to imagine Carod's music without the pianist's imprint. Manel Fortia's tastefully spare double bass, and drummer Josep Cordobés's greater animation, combine in a ying and yang of contrasting tensions.

Greater four-way freedom might have made for a more exciting offering, but not necessarily a better one. Though largely through-composed and leader-led tunes, they are also quite beautiful in essence and in execution—crowned by Carod's exquisite playing.

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