He plays the guitar at a young age, but soon becomes interested in the world of the wind instruments. Many artists and styles are his musical inspirations. Playing in “haunts” of the city is his first job. Diego Carrasco and Jean Luc Vallet, Manuel Soler and Vlady Bas are some of the references and masters that he has made to his surroundings. His first recording as a professional with Las Grecas is an anecdote. Dolores is recorded with Pedro Ruy Blas and other musicians from the Madrid scene. One of these LPs features Paco de Lucia. He will continue to work with Paco de Lucia over many years in numerous recordings and on worldwide tours. Camaron also met him at that time, and he recorded in La “Leyenda del Tiempo”. Since then, more than 20 albums have been released and countless trips all over the globe to share his vision of Hispanic music tradition. His list of collaborators includes musicians from many backgrounds. From “solo flute” through his latest symphonic project, flamenco groups and bands, to name a few, he is truly an all-terrain musician. from http://jorgepardo.com “All my life I lived on the razor’s edge of the controversy between whether I am a jazz musician or not. My music is often viewed as an attack on the purity and integrity of the genre by many people. It is a second destination for jazz after New York. I have been encouraged to return to Paris by the generosity of people who are willing to reward someone like me. Pardo’s life is a continuous back-and-forth between jazz, where he excelled in his early years, and Flamingo which became a part the group Paco de Lucia. “Everyone knows that I started playing jazz, and I still play jazz, but life has taken my in other directions, and now a portion of my blood is flamenco. This is the kind I love, and it is an award like this that makes it official. From Chick Corea to Paco de Lucia, Jorge Pardo’s world is vast. It includes small shops and theaters where you can listen to expounding with ease. I am a street rat. I have traveled to five continents and I don’t care if Chick is at Carnegie Hall in New York or playing the flute at a beach bar. Jorge’s first steps with Dolores (the group that revolutionized the jazz scene in the mid seventies) are just a memory of a few compositions. Jorge is happy to be able to call himself a street rat. Jorge has traveled across five continents and is comfortable wherever he is. Jorge also enjoys playing the flute at sand bars in Almeria and accompanying Chick at Carnegie Hall in New York. Even though the projects are not always lucrative, Best European Jazz Musician is editing Puerta del Sol. He gained his experience in Peru telluric along with a group from that country. Also, he staged his Footprints this July under the Etnosur festival (Alcala la Real Jaen). “The economic problems are not new. A jazz musician is living in constant crisis. Yesterday, as I was arriving here, I thought about all the geniuses that landed in Paris in late fifties because it was very difficult for them to find work. People like Bud Powell or Dexter Gordon. The truth is that the situation has not changed much. “We have never stopped being marginal performers.” From The Pais.es
