I have developed a solo speech with the acoustic bass guitar. The repertoire incorporates own compositions and jazz standards.

In 2005 I went to NY to give a concert with Maria del Mar Bonet and Miguel Poveda, and I found my first acoustic bass in a guitar store. He was very battered but I believed in him right away. Everything changed then. I wasn't very happy with the electric bass stuff and I couldn't get enough of the double bass stuff. And he had always played the guitar. I needed something else and that instrument fit the bill.
And since that time in my daily activity there is playing/improvising/composing with this instrument. And it is in this kitchen where all these projects were born:

Akixí (2009), La Nit (2012), Inabastable (2014) and So Tender.

Akixí (2009)'s second title was "Bass Solo Opera Prima". And it was already a compilation of pure improvisations and compositions, all with the bass guitar. The modus operandi was to start the recorder and play (repertoire) or improvise or compose. At that time I called it "diving into the subconscious." And the main objective was to connect with emotions, perhaps the music could later transmit something and someone, upon listening to it, could experience their own connections. I don't know if it was too fanciful but this way of doing things helped me go deeper with introspection, which is the title of the first piece.

La Nit (2012) is the compilation of music that I composed for a play coordinated by Pep Tosar: "Un dia d'aquests". They had to be original compositions. At that time (2012) I had already been doing solo bass sessions for years in some hermitages in Lugo (Santa María de Valonga, Airexa, Meira, Penamazada) and this work was a fantastic excuse to concretize all those improvisations into pieces (with beginning and end ).

At this point, my speech was full of improvisations, my own pieces and some other people's pieces. I also spent a lot of time playing jazz standards but for fun (they were in no way connected to my subconscious...)

Inabastable (2014) are the improvisations or, practically, we can call real-time compositions, made the days after dad died. Holy music. Many artists would be in a psychiatric hospital if it weren't for that. I wrote a diary of the experience and perhaps someone will find it useful.

Some time later, with more flight hours, I dared to give concerts in which part of the repertoire were my own pieces and part were jazz standards. But the experience was not very satisfactory (for me). In my own compositions I could connect deeply and what I was telling had a transcendental meaning and, if it worked, they were great moments. If I now inserted a blues or a standard, he seemed to wake up from the dream and the magic would disappear. It was a challenge to manage this.

That's why So Tender. I had the option of not playing standards. But the trick was precisely finding a way to do it with the same depth as one's own compositions. What I thought was that it was necessary to play those songs as if they were my compositions. Each piece he played should have a connection with some emotion or set of emotions, just like the compositions. And, to get to the bottom of the matter, no own composition in that work. Putting together the repertoire was not immediate, of course, but very rewarding.

And, currently, I am able to perform solo concerts, and the repertoire can be only my own compositions, only jazz standards, or a mixture. I am also available to add a conference/masterclass for any type of music student and/or audience (spanish or catalan).