Jonatan Piña Duluc/El Trío

EL TRIO –
Las Manos
Breaking the artful serenity, Dominican trinity inject wild idiosyncrasy into prog idiom.

One of the defining features of Latin American rock is its fierceness, the quality that rarely informs art branches of the genre, but this Santiago ensemble with a telling name alchemically marry it all. Their third album thrives on the heavy thrum which, from “Desconectar” on, runs from sparse to tightly coiled, as Jonatan Piña Duluc’s guitar supports his voice with weighty riffs and exquisite strum before taking a flight at unexpected angles. The best example of it is the highly memorable “Reir pa no Llorar”, yet the ensemble truly shine on “Canterbule (Pt. 3)”, a veritable, brass and keyboards included, appropriation of the Canterbury jazz/folk formula.

The rhythm section of Kilvin Peña and Johandy Ureña spices the heady brew but boils it down when it comes to pop samba-sensibilities of the elegant “Buenas Noches”, the acoustic lace of “Fuentes” or the matters of the heart, like in “Tanto Amor”. It gets too eclectic in “Uanabi”, where SABBATH-esque stomp swaps places with a gracious dancing before the two threads twine in a madful twirl yet, once the first intense impression of the album is washed away, the sharp edges create a wondrous edifice to marvel at. Don’t fear the reaper, then.

***4/5


EL TRIO –
Las Manos
Breaking the artful serenity, Dominican trinity inject wild idiosyncrasy into prog idiom.

One of the defining features of Latin American rock is its fierceness, the quality that rarely informs art branches of the genre, but this Santiago ensemble with a telling name alchemically marry it all. Their third album thrives on the heavy thrum which, from “Desconectar” on, runs from sparse to tightly coiled, as Jonatan Piña Duluc’s guitar supports his voice with weighty riffs and exquisite strum before taking a flight at unexpected angles. The best example of it is the highly memorable “Reir pa no Llorar”, yet the ensemble truly shine on “Canterbule (Pt. 3)”, a veritable, brass and keyboards included, appropriation of the Canterbury jazz/folk formula.

The rhythm section of Kilvin Peña and Johandy Ureña spices the heady brew but boils it down when it comes to pop samba-sensibilities of the elegant “Buenas Noches”, the acoustic lace of “Fuentes” or the matters of the heart, like in “Tanto Amor”. It gets too eclectic in “Uanabi”, where SABBATH-esque stomp swaps places with a gracious dancing before the two threads twine in a madful twirl yet, once the first intense impression of the album is washed away, the sharp edges create a wondrous edifice to marvel at. Don’t fear the reaper, then.

***4/5
EL TRIO –
Las Manos
Breaking the artful serenity, Dominican trinity inject wild idiosyncrasy into prog idiom.

One of the defining features of Latin American rock is its fierceness, the quality that rarely informs art branches of the genre, but this Santiago ensemble with a telling name alchemically marry it all. Their third album thrives on the heavy thrum which, from “Desconectar” on, runs from sparse to tightly coiled, as Jonatan Piña Duluc’s guitar supports his voice with weighty riffs and exquisite strum before taking a flight at unexpected angles. The best example of it is the highly memorable “Reir pa no Llorar”, yet the ensemble truly shine on “Canterbule (Pt. 3)”, a veritable, brass and keyboards included, appropriation of the Canterbury jazz/folk formula.

The rhythm section of Kilvin Peña and Johandy Ureña spices the heady brew but boils it down when it comes to pop samba-sensibilities of the elegant “Buenas Noches”, the acoustic lace of “Fuentes” or the matters of the heart, like in “Tanto Amor”. It gets too eclectic in “Uanabi”, where SABBATH-esque stomp swaps places with a gracious dancing before the two threads twine in a madful twirl yet, once the first intense impression of the album is washed away, the sharp edges create a wondrous edifice to marvel at. Don’t fear the reaper, then.

***4/5
December 5, 2014 - DME

Saturday Night Live: El Trio - I couldn’t like this jazz/rock fusion group any more if I tried…
El Trio just released a DVD chronicling a December 2013 performance at the Hangover Bar in Santiago, Dominican Republic. This DVD shows El Trio’s raw talent (*), emotion, and 100% sincerity. These guys really put it out there, and it most certainly works for me.
El Trio has been generous enough to make some of their music available (including the audio for this DVD) at no cost to you. I’d seriously suggest taking advantage of their offer to learn more about the quality progressive music that’s being created in this corner of the world without much fanfare. https://eltrio.bandcamp.com/album/le-a-el-trio-en-vivo-free-audio-album-from-dvd
(*) ProgTracks Note: Please don’t misunderstand me. By “raw talent” I mean powerful, natural and impressive. - Progressive Tracks

Review by ProgShine
COLLABORATOR Errors & Omissions Team

4 stars

El Trio (as the name in Spanish tells us) is a Prog/Jazz Rock trio from a place that probably many of you have never heard of: Dominican Republic.
A little bit of geography now: Dominican Republic is located in Central America next to Haiti and Puerto Rico.

El Trio is formed by Jonatan Pi'a Duluc (vocals, guitars and saxophones), Kilrin Pe'a (bass) and Johandy Ure'a (drums). But on Las Manos (2013), their third album, they also had many other musicians helping them to shape their sophisticated sound with percussions, acoustic guitars, flute and backing vocals.

First of all, Las Manos (2013) has a delicious Latin approach, and the lyrics in Spanish just made the album better and different than the everyday English Prog bands. Second, the album is almost completely Jazz Rock with Latin Jazz influences.

Right on track one 'Desconectar' (one of my favorites) you can feel their unique blend of styles. Latin Rock united with Jazz Rock and everything packed with astonishing musicianship. On Las Manos (2013) Jonatan wrote with many different styles without sounding too force, thanks to the band's clever arrangements. 'Tanto Amor', 'Buenas Noches' and 'Ojo Artificial' just confirm what I have just said. All different comoared to each other but with the band's sound on them. On top of everything, Jonatan's voice is absolutely great! But, for me, it's no surprise to see such an 'unknown' band with that high quality. They've been playing together for over 10 years. This only tells me that you can never get anything for granted just because you were born in England, USA or whatever else. You just have to be REALLY good!

And when you think you had heard everything the band could offer they bring on 'Canci'n Sin Nombre'. A weird and wonderful mix of Latin unconventional beats with Fusion. Can you imagine that? 'Canterbule Pt. III' reminds me a bit of Caravan and Soft Machine and I think that was exactly the intention here.

'Reir Pa No Llorar' is another Latin influenced song but with a twist, heavy riffs and a catchy melody. 'No Somo Indio' (We're Not Indians) sounds like a statement to me. Very often the world tends to see South American and Spanish speaking countries in the wrong way. Being a Brazilian myself I completely understand that. El Trio is trying to let the world know the truth with a very heavy track.

Closing the album we follow with the heavy track (but mixed with some Jazz) 'Uanabi' and the ballad 'Fuentes'. This last one would do great in any Rock Radio in the world (at least the ones that were not bought by record labels).

Las Manos (2013) is a great surprise to my ears! El Trio was able to record a great album with excellent musicianship, great production and astonishing and inspired compositions. And what's best, with a great and wide variety of influences and yet having unity. Open your mind (and ears) to the great sounds, doesn't matter from where they come from!

Highly recommended!

(Originally posted on progshine.net) - Prog Archives

How To Mix Genres: “El Trio”
By: Parris Alethea

I am sitting at my 9-5 listening to music. It almost sounds like there is a concert coming from the office. My colleague asks “What is that?” I tell him it’s El Trio. It’s not quite rock, not quite grunge, not quite jazz. The band’s lead singer, songwriter and multi-talented, multi-instrument playing founder, Jonatan Pina, labels the band as “Rock Fusion”.

The band’s native land is that of the Dominican Republic. Jonatan, a teacher by day, moonlighting as a closet musical guru, has been singing and songwriting for over 15 years. He auditioned different musicians and finally gained solace in Kilvin Pena on bass and Johandy Urena on drums. The threesome is currently on the brink of their third album and an upcoming summer tour in the next couple of weeks.

The band frequents bars and musical festivals in Santiago, Dominican Republic–where they have become a staple in Latin sounds with jazz and rock influences. When asking Pina of his mentoring musical inspiration, he excitedly speaks of the late Luis Dias. He doesn’t want to talk about his music, but he speaks of times when he was fortunate enough to meet his musical idol and share a drink. “I didn’t want to waste the moment just talking about one thing,” he muses.

My curiosity began to wander to how accessible El Trio would be to an American going on vacation. Unfortunately native bands do not frequent resorts. However, Pina says that there are exchange students that come to study in the Dominican Republic, as well as a few tourists who sneak away from the resort. Although there are no immediate plans for an English Crossover album, Pina has definite plans to have one in the future. He is currently in the works of sharing a track with New York native underground rapper Hache S.T.I who will also be on the Dominican Republic-wide tour. They are also currently collaborating on an EP with Hache.

The band’s other musical influences include Hendrix, King Crimson, Sound Garden, Fito Paez, as well as many other 70’s rock bands. The band’s successes are rooted in the passion for music in their leader as well as the willingness to grow and induce different sounds in their music by the rest of the group. With tracks such as Solo en Cancion and La Verdad, I am pretty sure that anyone in your vicinity who hears the sounds of El Trio will inquire as well. Their music can currently be found on iTunes.

Whether its rock, jazz, latin rock, latin-jazz-grunge-rock, or “rock fusion” El Trio stands in a genre by themselves.
- Soniceclectic

El Trio
La Blanca y la Gris
2009 release

El Trio is from the Dominican Republic, and this is their second release. The music is tight, the vocals aggressive (sung in native tongue), and the elements cross between fusion, funk and prog.

The record opens with “Solo en cancion”, a funky, hard edged rocker. There’s a strong rhythmic interplay, a fine opening track. The instrumental break is a true highlight, it’s very well written and kicks ass.

Not sure about the second track, “Dos grandes”. It starts out similar to latter period Red Hot Chili Peppers, and the instrumental breaks are easily the best feature…but the vocals seem at odds with the music. They don’t mesh well.

There’s a little of everything in track 3, “Sangre del Corazon”. I hear, swing, lounge, jazz, hard rock, and a hint of old Chicago. As expected, it yields mixed results. The lead is excellent.

Back to da funk with “Vicio”. A very fun song, with some definite hard rock hints.

El Trio slows things down on “Del deseierto”. Congas and assorted percussion are prevalent here. Also some nice sax work, with more hints to Chicago. This is the one of the more mature and progressive tracks on the record. Another pleasant feature is the vocals, which are less in your face, and mix well with the music.

“Cancion de los muertos” continues the percussion as the main feature. I’m reminded of the great 70’s band If on this one. Augmenting the percussion is some good, driving bass lines. The guitar leads are once again excellent. The ending is unexpectedly subtle, and a nice touch.

“La verdad” has a slow, angry guitar tone. This would be a great number for Jack Bruce to try out. The music smolders, and is a very enjoyable tune. Yet another nice break and lead, one of my favorites on the record.

“Cancion de Paloma” is very Latin, and jazzy.

Now we’re back to the heavy funk with “No e como ante”, another winner of a track. Contains the best instrumental break on the record.

Talk about a curveball…”Juan quiere venderla” is pure thrash, with of all things, heavy metal saxophone. Not something you want to play to get in the mood, unless you’re in the mood for some fightin’.

“La necia” at 8 minutes is the longest track. It’s like the earlier number “Del deseierto” in that it smolders with good sax work.

“Jessica saca la lengua” closes out la Gris with a slow, singalong tune. A nice feature is the slide guitar, gives the song and in turn the record a feeling of moving back to Earth.

Overall, I enjoy the effort. The vocals, while strong, are often are a bit louder than needed. They have a lounge quality like Morrisey, although vocalist Jonas’s voice is much stronger. I’m sure there are those that will not take to them because they are not sung in English. I for one would rather hear the native language…it sounds more natural.

The music is what shines here. It’s commendable to hear a variety of styles, without sounding like you’re forcing things and trying to do too much.

- Rick (and roll) Dashiell - Prog Ears

Nota de prensa




El Trío lanza producción de rock/fusión



La banda de rock/fusión santiaguense El Trío lanza su primera producción en estudio titulada "Siempre que hay un corazón...". En doce temas el grupo toma su versión de la más cuidada tradición de la canción de autor y la hace pasar por varios filtros, varios estilos que van presentándose y mezclándose sobre un fondo que a todos los rockeros nos es familiar. Este fondo es el del más contundente sonido de rock clásico, cultivado y añejado en las décadas de mayor gloria para el rock. Un sonido de power-trío, aunque expandido a través de la orquestación, las capas de sonido y las superposiciones que permite el uso del estudio musical como instrumento. Encontramos rasgos de Jazz, Música Progresiva, Música Dominicana y más, en este disco que cuenta con la participación de varios músicos invitados, los cuales junto a Pablo Peña(batería), Kilvin Peña(bajo) y Jonás(guitarra y voz) han logrado tejer una obra musical con diversas influencias. En ella confluyen culturas, tiempos y estéticas diferentes, unidas gracias a la fuerza indiscutible de la forma canción. La grabación del disco tuvo lugar en Tijera Records, Santiago y fué producida por Jonatan Piña Duluc e Iván Batista, mezclada por Batista y masterizada en los estudios Soundlab en New Jersey. Actualmente la banda se encuentra promocionando su nuevo álbum y lanzando su primer sencillo: "Te quiero para..." que ya cuenta con un video musical dirigido por Renato Brea. El Trío es manejado por Ralph Joseph para Just More Records, contacto: 809 883 5616.
- Republica alternativa

Nota de prensa




El Trío lanza producción de rock/fusión



La banda de rock/fusión santiaguense El Trío lanza su primera producción en estudio titulada "Siempre que hay un corazón...". En doce temas el grupo toma su versión de la más cuidada tradición de la canción de autor y la hace pasar por varios filtros, varios estilos que van presentándose y mezclándose sobre un fondo que a todos los rockeros nos es familiar. Este fondo es el del más contundente sonido de rock clásico, cultivado y añejado en las décadas de mayor gloria para el rock. Un sonido de power-trío, aunque expandido a través de la orquestación, las capas de sonido y las superposiciones que permite el uso del estudio musical como instrumento. Encontramos rasgos de Jazz, Música Progresiva, Música Dominicana y más, en este disco que cuenta con la participación de varios músicos invitados, los cuales junto a Pablo Peña(batería), Kilvin Peña(bajo) y Jonás(guitarra y voz) han logrado tejer una obra musical con diversas influencias. En ella confluyen culturas, tiempos y estéticas diferentes, unidas gracias a la fuerza indiscutible de la forma canción. La grabación del disco tuvo lugar en Tijera Records, Santiago y fué producida por Jonatan Piña Duluc e Iván Batista, mezclada por Batista y masterizada en los estudios Soundlab en New Jersey. Actualmente la banda se encuentra promocionando su nuevo álbum y lanzando su primer sencillo: "Te quiero para..." que ya cuenta con un video musical dirigido por Renato Brea. El Trío es manejado por Ralph Joseph para Just More Records, contacto: 809 883 5616.
- Republica alternativa

El Trio - 2008 - "Siempre Que Hay Un Corazon"



TRACK LIST:

1. Cancion de los Callos 3.49
2. Crisalida 4.52
3. Como Un Mensaje 4.16
4. Te Quiero Para 4.30
5. Otro Muerto 4.31
6. A Medio Vivir 5.12
7. Elastica 5.15
8. Punto Aparte 4.01
9. Mas Elastica 1.10
10. Vaina De Aqui 6.17
11. Va a Llover 10.05
12. Cancion De Lulu 4.26

LINEUP:

Jonas – vocals; guitar; keyboards; saxophone
Kilvin Pena – bass; backing vocals
Pablo Pena – drums; backing vocals
With:
Eliezer Ramirez – bongos
Patricio Bonilla – trombone (4, 7)
Jorge Luis Mateo – trumpet (4, 7)
Miguel Andres Tejada – organ (3)
Willy Cruz – French horn (7)
Ivanova Casimiro – violin (7)
Raymond Felix – cello (7)
Johandy Urena – drums (5)
Ivan Batista – backing vocals (11)

Prolusion. As its name says, EL TRIO is a three-piece hailing from the Dominican Republic. “Siempre Que Hay Un Corazon” is their debut album, recorded between 2005 and 2007. They were put together by singer, songwriter and multi-instrumentalist Jonatan Pina Duluc (aka Jonas), who also wrote all the songs on the album. The band is currently working on their second album, though no release date has been announced yet.

Analysis. Not much is known about El Trio, one of the very few rock outfits to have come out of the Dominican Republic – better known as a popular vacation resort, as well as for two equally popular varieties of Latin dance music, merengue and bachata. On account of the lack of a scene favourable to rock in their home country, the band have been struggling to gain acceptance since their inception, which has led to their dropping off the radar after the release of “Siempre Que Hay Un Corazon” in 2007. This is indeed a pity, because El Trio’s debut album shows they have all the makings of a true class act. Although “Siempre Que Hay Un Corazon” cannot be called a real progressive rock album (at least in its most conventional acception), there are enough moments throughout to kindle the interest of anyone but the most blinkered prog fan. The band’s sound, though rooted in the ‘power trio’ tradition, comes across as tasteful and understated rather than muscle-bound. Their use of the holy trinity of classic rock instruments – bass, drums and guitar – owes as much to jazz/fusion and Latin music as to the rock/blues tradition, and mainman Jonas’ laid-back, almost conversational singing style is more suggestive of singer-songwriters than of powerhouse rock vocalists. Instead of belting out the songs, he delivers the Spanish lyrics in an oddly endearing, uplifting way, and, even in those instances when the song has a bit more ‘bite’, he hardly ever conveys a rough or aggressive feel. The basic instrumentation of the band is supplemented by the occasional appearance of strings, horns, and ethnic percussion instruments. The twelve songs on offer range from sophisticated, jazzy numbers with a strong Latin flavour to the 10-minute psych/prog jam of Va a Llover, with some groovy funk-rock pieces in between. An outstanding example of the first category is Como Un Mensaje, a supremely elegant song with an almost Brazilian vibe which could nicely fit into Steely Dan’s repertoire. The funkier numbers, on the other hand, can be somewhat reminiscent of groundbreaking New York band Living Colour, though without the latter’s aggressive, punky edge. Otro Muerto, possibly the rockiest song on the album, features a great, soulful vocal performance by Jonas, with plenty of exotic percussion and horns to add energy and interest. In a similar vein, but with a more marked progressive slant, is the jagged, bass-driven Vaina De Aqui, while the aforementioned Va a Llover, the album’s undisputed highlight, surprises the listener with its loose, improvisational structure, bookended by unusually gruff vocals (possibly Jonas’ only departure from his generally smooth, relaxed style). The somewhat dissonant, avant-garde feel of the sax and guitar parts, as well as the inventive drum patterns, can bring King Crimson to mind, or even free jazz. If I had to level one criticism at “Siempre Que Hay Un Corazon”, I would say that its length (it clocks in at almost one hour) means an inevitable amount of filler. In spite of the overall high quality of the music and songwriting, I cannot help thinking that the album would have benefited from a somewhat shorter running time. These are minor quibbles, though, and do not in any way detract from the worth of this very interesting effort.

Conclusion. “Siempre Que Hay Un Corazon” will certainly appeal to people who, besides progressive and classic rock, find Latin music coupled with stylish jazz-fusion appealing. On the other hands, those looking for a full-fledged prog album, with all the conventional trappings of the genre, are in for a disappointment. In any case, this is a solid debut from a gifted band, one that hopefully will soon resurface on the music scene.

RB=Raffaella Berry: Sept - Pgrogressor

El Trio - 2008 - "Siempre Que Hay Un Corazon"



TRACK LIST:

1. Cancion de los Callos 3.49
2. Crisalida 4.52
3. Como Un Mensaje 4.16
4. Te Quiero Para 4.30
5. Otro Muerto 4.31
6. A Medio Vivir 5.12
7. Elastica 5.15
8. Punto Aparte 4.01
9. Mas Elastica 1.10
10. Vaina De Aqui 6.17
11. Va a Llover 10.05
12. Cancion De Lulu 4.26

LINEUP:

Jonas – vocals; guitar; keyboards; saxophone
Kilvin Pena – bass; backing vocals
Pablo Pena – drums; backing vocals
With:
Eliezer Ramirez – bongos
Patricio Bonilla – trombone (4, 7)
Jorge Luis Mateo – trumpet (4, 7)
Miguel Andres Tejada – organ (3)
Willy Cruz – French horn (7)
Ivanova Casimiro – violin (7)
Raymond Felix – cello (7)
Johandy Urena – drums (5)
Ivan Batista – backing vocals (11)

Prolusion. As its name says, EL TRIO is a three-piece hailing from the Dominican Republic. “Siempre Que Hay Un Corazon” is their debut album, recorded between 2005 and 2007. They were put together by singer, songwriter and multi-instrumentalist Jonatan Pina Duluc (aka Jonas), who also wrote all the songs on the album. The band is currently working on their second album, though no release date has been announced yet.

Analysis. Not much is known about El Trio, one of the very few rock outfits to have come out of the Dominican Republic – better known as a popular vacation resort, as well as for two equally popular varieties of Latin dance music, merengue and bachata. On account of the lack of a scene favourable to rock in their home country, the band have been struggling to gain acceptance since their inception, which has led to their dropping off the radar after the release of “Siempre Que Hay Un Corazon” in 2007. This is indeed a pity, because El Trio’s debut album shows they have all the makings of a true class act. Although “Siempre Que Hay Un Corazon” cannot be called a real progressive rock album (at least in its most conventional acception), there are enough moments throughout to kindle the interest of anyone but the most blinkered prog fan. The band’s sound, though rooted in the ‘power trio’ tradition, comes across as tasteful and understated rather than muscle-bound. Their use of the holy trinity of classic rock instruments – bass, drums and guitar – owes as much to jazz/fusion and Latin music as to the rock/blues tradition, and mainman Jonas’ laid-back, almost conversational singing style is more suggestive of singer-songwriters than of powerhouse rock vocalists. Instead of belting out the songs, he delivers the Spanish lyrics in an oddly endearing, uplifting way, and, even in those instances when the song has a bit more ‘bite’, he hardly ever conveys a rough or aggressive feel. The basic instrumentation of the band is supplemented by the occasional appearance of strings, horns, and ethnic percussion instruments. The twelve songs on offer range from sophisticated, jazzy numbers with a strong Latin flavour to the 10-minute psych/prog jam of Va a Llover, with some groovy funk-rock pieces in between. An outstanding example of the first category is Como Un Mensaje, a supremely elegant song with an almost Brazilian vibe which could nicely fit into Steely Dan’s repertoire. The funkier numbers, on the other hand, can be somewhat reminiscent of groundbreaking New York band Living Colour, though without the latter’s aggressive, punky edge. Otro Muerto, possibly the rockiest song on the album, features a great, soulful vocal performance by Jonas, with plenty of exotic percussion and horns to add energy and interest. In a similar vein, but with a more marked progressive slant, is the jagged, bass-driven Vaina De Aqui, while the aforementioned Va a Llover, the album’s undisputed highlight, surprises the listener with its loose, improvisational structure, bookended by unusually gruff vocals (possibly Jonas’ only departure from his generally smooth, relaxed style). The somewhat dissonant, avant-garde feel of the sax and guitar parts, as well as the inventive drum patterns, can bring King Crimson to mind, or even free jazz. If I had to level one criticism at “Siempre Que Hay Un Corazon”, I would say that its length (it clocks in at almost one hour) means an inevitable amount of filler. In spite of the overall high quality of the music and songwriting, I cannot help thinking that the album would have benefited from a somewhat shorter running time. These are minor quibbles, though, and do not in any way detract from the worth of this very interesting effort.

Conclusion. “Siempre Que Hay Un Corazon” will certainly appeal to people who, besides progressive and classic rock, find Latin music coupled with stylish jazz-fusion appealing. On the other hands, those looking for a full-fledged prog album, with all the conventional trappings of the genre, are in for a disappointment. In any case, this is a solid debut from a gifted band, one that hopefully will soon resurface on the music scene.

RB=Raffaella Berry: Sept - Pgrogressor

Member: BrianG (Profile) (All Album Reviews by BrianG)
Date: 7/26/2008
Format: CD (Album)

Siempre que hay un Corazon... (Whenever there is a Heart) is the first album from this very talented, very versatile rock-fusion band from the Dominican Republic. Tracks range from straightforward Rock en Espagnol like "Cancion De Los Callos" or "Cancion De Lulu", to psychedelic jams like "Va A Llover..." to Latin cool jazz like "Como Un Mensaje". The jazz guitar playing reminds me strongly of a modernized George Benson - that clean jazz sound. A horn section fell into place on several tracks, but never lead to a dance number. The Spanish lyrics were sung with emotion and production would lead one to believe it was recorded and mixed in a world class studio.

Lead by the composer, singer-songwriter, and multi-instrumentalist Jonatan Piña Duluc (Jonás) who was awarded the Premio Nacional de Música 2007, the band has high quality standards and really care about the compositions and arrangements. Rounding out the trio are Kilvin Pena on bass and Johandy Urena on drums.

Bands such as El Trio are redefining the standards of Rock en Espagnol today. While bands such as Los de Abajo, Sidestepper, and Bloque has forwarded Latin rock, and bands such as Cast and Cabezas de Cera have pushed progressive rock to a difficult to reach market saturated with rhythmic entrenched formulaic music. El Trio's Dominican-Latin fusion should be supported and encouraged to grow.

- Progressive ears

Member: BrianG (Profile) (All Album Reviews by BrianG)
Date: 7/26/2008
Format: CD (Album)

Siempre que hay un Corazon... (Whenever there is a Heart) is the first album from this very talented, very versatile rock-fusion band from the Dominican Republic. Tracks range from straightforward Rock en Espagnol like "Cancion De Los Callos" or "Cancion De Lulu", to psychedelic jams like "Va A Llover..." to Latin cool jazz like "Como Un Mensaje". The jazz guitar playing reminds me strongly of a modernized George Benson - that clean jazz sound. A horn section fell into place on several tracks, but never lead to a dance number. The Spanish lyrics were sung with emotion and production would lead one to believe it was recorded and mixed in a world class studio.

Lead by the composer, singer-songwriter, and multi-instrumentalist Jonatan Piña Duluc (Jonás) who was awarded the Premio Nacional de Música 2007, the band has high quality standards and really care about the compositions and arrangements. Rounding out the trio are Kilvin Pena on bass and Johandy Urena on drums.

Bands such as El Trio are redefining the standards of Rock en Espagnol today. While bands such as Los de Abajo, Sidestepper, and Bloque has forwarded Latin rock, and bands such as Cast and Cabezas de Cera have pushed progressive rock to a difficult to reach market saturated with rhythmic entrenched formulaic music. El Trio's Dominican-Latin fusion should be supported and encouraged to grow.

- Progressive ears

Artist: El Trio
Album: La Blanca y la Gris


This CD is a must Have! An unusual combination of styles, from punk to metal and from art rock to jazz fusion, this album will leave you wanting more. From the melodic indie rock “Jessica” to the aggressive punk/metal beat of “Juan,” this production is of utmost quality. The harmonies and rhythms are always interesting, the intonation is pristine, the ensemble tight, and the solos exploratory and exquisite. A particular strength of this production is its unique blend of styles: punk, old and avant-garde rock, Latin, and metal, all co-existing and blending with earthy lyrics that are socially relevant and profound. It may sound, for example, as if Miles Davis, Radiohead, and Led Zeppelin, met for a jam session. Jonathan Piña Duluc is one of the best and most versatile musicians from the Dominican Republic. His many composition awards as well as this production are testimonies of that. He is fully at ease with contemporary Western Art music, hip-hop, funk, rock, and fusion, and his music also shows a thorough knowledge of Dominican life as many of his lyrics reflect the social reality of living in the Dominican Republic. I strongly recommend this recording. It will keep you listening for a long time!

Angelina Tallaj, ethnomusicologist, The City University of New York. October 2009
  - Angelina Tallaj

Artist: El Trio
Album: La Blanca y la Gris


This CD is a must Have! An unusual combination of styles, from punk to metal and from art rock to jazz fusion, this album will leave you wanting more. From the melodic indie rock “Jessica” to the aggressive punk/metal beat of “Juan,” this production is of utmost quality. The harmonies and rhythms are always interesting, the intonation is pristine, the ensemble tight, and the solos exploratory and exquisite. A particular strength of this production is its unique blend of styles: punk, old and avant-garde rock, Latin, and metal, all co-existing and blending with earthy lyrics that are socially relevant and profound. It may sound, for example, as if Miles Davis, Radiohead, and Led Zeppelin, met for a jam session. Jonathan Piña Duluc is one of the best and most versatile musicians from the Dominican Republic. His many composition awards as well as this production are testimonies of that. He is fully at ease with contemporary Western Art music, hip-hop, funk, rock, and fusion, and his music also shows a thorough knowledge of Dominican life as many of his lyrics reflect the social reality of living in the Dominican Republic. I strongly recommend this recording. It will keep you listening for a long time!

Angelina Tallaj, ethnomusicologist, The City University of New York. October 2009
  - Angelina Tallaj

El Trio - 2009 - "La Blanca y la Gris"

(65:39, 'El Trio')
******


TRACK LIST:

1. Solo en Cancion 4:51
2. Dos Grandes 5:12
3. Sangre del Corazon 4:29
4. Vicio 4:52
5. Del Desierto 7:03
6. Cancion de los Muertos 5:36
7. La Verdad 6:43
8. Cancion de Paloma 5:56
9. No e Como Ante 5:16
10. Juan Quiere Venderla 2:41
11. La Necia 8:14
12. Jessica Saca la Lengua 4:46


LINEUP:

Jonatan Pina Duluc – vocals; guitars; keyboards; sax
Kilvin pena – bass
Johandy Urena – drums
Eliezer Ramirez – percussion
Woth:
Ivan Batista – backing vocals
Dionisio De Moya – guitars (12)
Patricio Bonilla – trombone (9)
Gabriel Martinez – trumpet (9)

Prolusion. EL TRIO hails from the Dominican Republic, where it was formed in 2005 – mainly as the creative vehicle of composer and multi-instrumentalist Jonatan Pina Duluc. The band issued its debut effort “Siempre Que Hay Un Corazon" in 2008, and in November 2009 its sophomore production "La Blanca y la Gris" appeared. Like their first CD this latest effort was self-released by the band.

Analysis. El Trio describes its musical exploits as Latin fusion, but also cites Cream and Jimi Hendrix as additional influences. Their cultural roots as inhabitants of the Dominican Republic do shine through rather distinctly, after all. Personally I'd subscribe to the notion that their escapades deserve better than to be confined within the Latin fusion description they use themselves, even if it is a distinct part of the style they are exploring. Latin rhythms are a cultural trait that is frequently used throughout this disc, while drums and guitars both provide ample documentation for the fusion part of El Trio's repertoire. Sax and trumpets underline this part of the musical territories explored on this disc rather nicely as well. The Latin and the fusion elements are easily discovered and maintain a constant presence throughout, and it is easy to see why the bands members refer to themselves as purveyors of Latin fusion. But just as constant an element on this disc is the use of psychedelic guitar textures, first and foremost in the shape of lazy, laidback echoing guitar licks. I found myself thinking about this act as a creator of psychedelic fusion more than anything else while listening to this effort. Traces of additional styles also pop up on occasion throughout: Easygoing West Coast inspired passages, as highlighted on final track Jessica Saca la Lengua, and heavier guitar-dominated inserts with a closer resemblance to the art rock universe can also be mentioned. Meanwhile, a composition like Juan Quiere Venderla takes a left turn and heads into a curious realm blending psychedelia and punk. Most compositions are fairly elaborate affairs, with shifts in sound and style as well as subtle but clever utilization of disharmonies and dissonances on select occasions. The level of sophistication appears to be well above average too; the compositions come across as carefully crafted and constructed affairs as detailed in plan as execution. The end result is an album of generally high quality, exploring musical territories that often verge on the original and mostly avoid entering realms frequently visited by other artists.

Conclusion. If Latin rhythms and good quality fusion sounds like a good blend to your ears, and laidback psychedelic textures seem like a charming addition to such a venture, then El Trio have made an album that should find its way into your collection with ease. Their only drawback is language, as Spanish lyrics aren't enjoyed by all and sundry, but those who don't mind crossing linguistic barriers or just don't have a preference in that department are in for an interesting ride with "La Blanca y la Gris".

OMB=Olav M Bjornsen: June 20, 2010
The Rating Room

Related Links:

El Trio - Progressor

El Trio - 2009 - "La Blanca y la Gris"

(65:39, 'El Trio')
******


TRACK LIST:

1. Solo en Cancion 4:51
2. Dos Grandes 5:12
3. Sangre del Corazon 4:29
4. Vicio 4:52
5. Del Desierto 7:03
6. Cancion de los Muertos 5:36
7. La Verdad 6:43
8. Cancion de Paloma 5:56
9. No e Como Ante 5:16
10. Juan Quiere Venderla 2:41
11. La Necia 8:14
12. Jessica Saca la Lengua 4:46


LINEUP:

Jonatan Pina Duluc – vocals; guitars; keyboards; sax
Kilvin pena – bass
Johandy Urena – drums
Eliezer Ramirez – percussion
Woth:
Ivan Batista – backing vocals
Dionisio De Moya – guitars (12)
Patricio Bonilla – trombone (9)
Gabriel Martinez – trumpet (9)

Prolusion. EL TRIO hails from the Dominican Republic, where it was formed in 2005 – mainly as the creative vehicle of composer and multi-instrumentalist Jonatan Pina Duluc. The band issued its debut effort “Siempre Que Hay Un Corazon" in 2008, and in November 2009 its sophomore production "La Blanca y la Gris" appeared. Like their first CD this latest effort was self-released by the band.

Analysis. El Trio describes its musical exploits as Latin fusion, but also cites Cream and Jimi Hendrix as additional influences. Their cultural roots as inhabitants of the Dominican Republic do shine through rather distinctly, after all. Personally I'd subscribe to the notion that their escapades deserve better than to be confined within the Latin fusion description they use themselves, even if it is a distinct part of the style they are exploring. Latin rhythms are a cultural trait that is frequently used throughout this disc, while drums and guitars both provide ample documentation for the fusion part of El Trio's repertoire. Sax and trumpets underline this part of the musical territories explored on this disc rather nicely as well. The Latin and the fusion elements are easily discovered and maintain a constant presence throughout, and it is easy to see why the bands members refer to themselves as purveyors of Latin fusion. But just as constant an element on this disc is the use of psychedelic guitar textures, first and foremost in the shape of lazy, laidback echoing guitar licks. I found myself thinking about this act as a creator of psychedelic fusion more than anything else while listening to this effort. Traces of additional styles also pop up on occasion throughout: Easygoing West Coast inspired passages, as highlighted on final track Jessica Saca la Lengua, and heavier guitar-dominated inserts with a closer resemblance to the art rock universe can also be mentioned. Meanwhile, a composition like Juan Quiere Venderla takes a left turn and heads into a curious realm blending psychedelia and punk. Most compositions are fairly elaborate affairs, with shifts in sound and style as well as subtle but clever utilization of disharmonies and dissonances on select occasions. The level of sophistication appears to be well above average too; the compositions come across as carefully crafted and constructed affairs as detailed in plan as execution. The end result is an album of generally high quality, exploring musical territories that often verge on the original and mostly avoid entering realms frequently visited by other artists.

Conclusion. If Latin rhythms and good quality fusion sounds like a good blend to your ears, and laidback psychedelic textures seem like a charming addition to such a venture, then El Trio have made an album that should find its way into your collection with ease. Their only drawback is language, as Spanish lyrics aren't enjoyed by all and sundry, but those who don't mind crossing linguistic barriers or just don't have a preference in that department are in for an interesting ride with "La Blanca y la Gris".

OMB=Olav M Bjornsen: June 20, 2010
The Rating Room

Related Links:

El Trio - Progressor

Jonatan Piña Duluc, música y creatividad
EL GUITARRISTA Y SAXOFONISTA HA GANADO TRES VECES CONSECUTIVAS EL PREMIO NACIONAL DE MÚSICA Daniela Cruz Gil

daniela.cruz@listindiario.com
Santiago

Ya una vez lo había dicho. Es una tarea titánica resumir los logros y ocupaciones de este verdadero multifacético artista, cuya formación académica es integral y fascinante. El se define a sí mismo como “compositor y multinstrumentalista, autor de la música de El Trío y fundador de la banda.” Esta es solo una de sus ocupaciones. También se dedica a la enseñanza musical, el jazz, la producción de canciones y álbumes para otras bandas en el estudio Tijera Records.

Jonatan Piña Duluc es santiaguero y aquí reside. Desde esta urbe monumental ha desarrollado su carrera y su vida, dedicada íntegramente a la música. Por eso, además de la satisfacción emocional y profesional que producen los premios, Piña Duluc admite que éstos ayudan a “aliviar la carga económica que implica llevar una vida dedicada a la creación musical, algo que no siempre es rentable y que demanda mucho tiempo y dinero”. El dinero recogido en galardones ha sido mucho. Jonatan ha ganado el Premio Nacional de Música en cuatro ocasiones en las categorías de Música de Cámara, Sinfónica-coral y Música bailable. Este año 2010, la Suite para piano le hizo acreedor del galardón de Música de cámara.

¿Su motivación? Es simple. “Uno está en este mundo para desarrollar sus potencialidades y para aportar algo a la colectividad”, advierte el habitual de los Lunes de jazz del Bar Moisés Zouain en el Gran Teatro del Cibao. “Los premios me han ayudado a desarrollarme porque me planifico anualmente para presentar trabajos buenos en el certamen, eso me proporciona metas y objetivos.”

Agenda laboral
Su principal proyecto es El Trío. La banda que fundó y para la que compone, ocupa la mayor parte de su agenda. El la define como “banda dominicana de rock-fusión formada por mí (guitarra y voz), Johandy Ureña (batería) y Kilvin Peña (bajo)”. De su estilo dice que es “un rock con influencias del jazz y la música progresiva y nuestras raíces musicales dominicanas. Le damos gran importancia a la canción rock como centro de nuestra propuesta, a la improvisación y el mezclar nuestra herencia musical con músicas extranjeras.”

Con ellos, ya tienen dos discos de estudio: “Siempre que hay un Corazón...” y “La blanca y la gris”, ambos presentados localmente de forma independiente. El primero ya está disponible en Internet, el segundo lo estará próximamente. Ambos discos se distinguen de cualquier sonido convencional, destacan por su originalidad sonora y lírica. Y son fruto del ingenio del mismo músico que un día me dijo que “los géneros musicales son más un asunto de mercado que de arte”. Aunque el mercado le interesa.

Por expandir ese mercado, estará presentando sus composiciones de jazz en Santo Domingo, en un concierto el 20 de agosto, en el Hotel Dominican Fiesta. Otro de sus planes es la segunda instalación del concierto semi-acústico llamado “El Trío Onpló” en Froguitos, Santiago.
- Listín Diario

Jonatan Piña Duluc, música y creatividad
EL GUITARRISTA Y SAXOFONISTA HA GANADO TRES VECES CONSECUTIVAS EL PREMIO NACIONAL DE MÚSICA Daniela Cruz Gil

daniela.cruz@listindiario.com
Santiago

Ya una vez lo había dicho. Es una tarea titánica resumir los logros y ocupaciones de este verdadero multifacético artista, cuya formación académica es integral y fascinante. El se define a sí mismo como “compositor y multinstrumentalista, autor de la música de El Trío y fundador de la banda.” Esta es solo una de sus ocupaciones. También se dedica a la enseñanza musical, el jazz, la producción de canciones y álbumes para otras bandas en el estudio Tijera Records.

Jonatan Piña Duluc es santiaguero y aquí reside. Desde esta urbe monumental ha desarrollado su carrera y su vida, dedicada íntegramente a la música. Por eso, además de la satisfacción emocional y profesional que producen los premios, Piña Duluc admite que éstos ayudan a “aliviar la carga económica que implica llevar una vida dedicada a la creación musical, algo que no siempre es rentable y que demanda mucho tiempo y dinero”. El dinero recogido en galardones ha sido mucho. Jonatan ha ganado el Premio Nacional de Música en cuatro ocasiones en las categorías de Música de Cámara, Sinfónica-coral y Música bailable. Este año 2010, la Suite para piano le hizo acreedor del galardón de Música de cámara.

¿Su motivación? Es simple. “Uno está en este mundo para desarrollar sus potencialidades y para aportar algo a la colectividad”, advierte el habitual de los Lunes de jazz del Bar Moisés Zouain en el Gran Teatro del Cibao. “Los premios me han ayudado a desarrollarme porque me planifico anualmente para presentar trabajos buenos en el certamen, eso me proporciona metas y objetivos.”

Agenda laboral
Su principal proyecto es El Trío. La banda que fundó y para la que compone, ocupa la mayor parte de su agenda. El la define como “banda dominicana de rock-fusión formada por mí (guitarra y voz), Johandy Ureña (batería) y Kilvin Peña (bajo)”. De su estilo dice que es “un rock con influencias del jazz y la música progresiva y nuestras raíces musicales dominicanas. Le damos gran importancia a la canción rock como centro de nuestra propuesta, a la improvisación y el mezclar nuestra herencia musical con músicas extranjeras.”

Con ellos, ya tienen dos discos de estudio: “Siempre que hay un Corazón...” y “La blanca y la gris”, ambos presentados localmente de forma independiente. El primero ya está disponible en Internet, el segundo lo estará próximamente. Ambos discos se distinguen de cualquier sonido convencional, destacan por su originalidad sonora y lírica. Y son fruto del ingenio del mismo músico que un día me dijo que “los géneros musicales son más un asunto de mercado que de arte”. Aunque el mercado le interesa.

Por expandir ese mercado, estará presentando sus composiciones de jazz en Santo Domingo, en un concierto el 20 de agosto, en el Hotel Dominican Fiesta. Otro de sus planes es la segunda instalación del concierto semi-acústico llamado “El Trío Onpló” en Froguitos, Santiago.
- Listín Diario

Por: Max “Drlacxos” Cueto

Hace unos días llegó a mis manos el nuevo trabajo del El Trío; no hablamos de una nueva producción musical, sino de un DVD. Esta vez Jonatan (Jonás), Kilvin y Johandy llevan a la pantalla un concierto realizado por la agrupación dominicana en un bar de Santiago de donde son oriundos. “Leña!!!” celebra los 10 años de la banda de una manera diferente dentro de la escena local, con la grabación de un concierto en Hangover Bar el pasado 20 de Diciembre del 2013.

El Trío es una de esas bandas que han creado una posición dentro del gusto de la música de la isla, aunque aún hay mucho por conquistar estamos frente a una banda que tiene un sello marcado en cada una de sus canciones, producciones y presentaciones. Con el pasar de los años han sabido crear un producto original partiendo del rock, del jazz, y las fusiones sin alejarse de su línea.

Para los que nunca han podido presenciarlos en vivo (como este servidor), “Leña!!!” es la mejor opción. Contando con un sonido impecable gracias al trabajo de Iván Batista, Tijera Records y Sage Studio, y una imagen nítida llevada a cabo por Elnidolab, fueron capaces de traducir la energía de El Trío en este sencillo concierto.

Dando un recorrido por sus tres producciones, creando un tracklist bastante interesante desde Canción Sin Nombre, Tanto Amor, No somos Indios y Ojo Artificial (de su mas reciente producción Las Manos), pasando por las clásicas como Siempre hay un Corazón, La Blanca y La Gris, La Verdad, Crisálida, Canción de Lulú, Vicio, Te quiero para, Dos Grandes, y otras más.

Personalmente lo recomiendo, es necesario que la gente tenga y atesore estos archivos audiovisuales de la escena local, perfecto para disfrutarlo en casa un viernes en la noche con algunas copas de vino incluidas. “Leña!!!” está disponible en físico en cada concierto de El Trío, pero como parte de esta edición facilitaron los audios para descargar de manera gratuita: Leña​!​!​! El Trio en vivo (Free audio album from DVD) - La Casetera

Por: Adriana Alicia/ Max Drlacxos Cueto

Pocas bandas reúnen las cualidades requeridas para mantenerse a flote en el turbulento mar del rock dominicano; por otro lado, El Trio se presenta sobrecalificado y por si acaso traen su salvavidas. Conocida como la realeza del rock-fusión en Santiago, la banda incluye elementos del jazz, música autóctona y progresiva, además de contar con la educación musical, experiencia y trayectoria digna de ser reconocida no solo en el resto del país, sino en el continente.

La primera vez que escuché a El Trio no podía sacar de mi mente el sarcasmo, la ironía y el humor negro de la canción “Te Quiero Para…”. La misma pertenece al primer álbum de la banda, “Siempre hay un corazón”, lanzado en el 2007, seguido por “La Blanca y la Gris” en el 2009. Detrás de El Trío existe la mente maestra de Jonathan Pina Duluc, mejor conocido como Jonás, un experimentado compositor y multinstrumentalista de Santiago, Republica Dominicana.

Encasillar su música es una tarea difícil. No tienen género, a cualquiera se le enfrentan, van desde el punk al jazz, desde el metal al merengue, ligeros brillos pop, y bastantes matices de los sonidos autóctonos dominicanos. Los ritmos afroantillanos son su fuerte, pero el rock es su linea principal.

Tuvimos que esperar casi 4 años para “Las Manos”, su 3er álbum, y creemos que valió la pena. Las Manos no es el seguimiento de una trilogía, aunque bien pudiera serlo; tampoco es un álbum conceptual… o a lo mejor sí. Dos manos formado por diez dedos donde ninguno es igual, eso mismo pasa con esta producción. Tenemos diez canciones diferentes, donde cada una es importante, cada una tiene su función, donde Jonás, Kilvin y Johandy logran adentrarse a los nuevos tiempos sin caer en tendencias efímeras ni recurrir a clichés de moda.



Desconectar es la canción que abre Las Manos, tambien el primer sencillo que da a conocer El Trío. Escuchamos un tema sólido de rock, que pudiéramos encasillar dentro de lo progresivo, con guitarras fuertes, baterías que cambian de rumbo de la canción, por momentos tornándose hacia el jazz y otros ritmos afrocaribeños. Facilmente nos recuerda a la banda estadounidense Screaming Headless Torsos, una de sus influencias más notables. En las líricas nos encontramos con la modernidad de los tiempos de la informática, el problema de la socialización virtual hoy en día. Pasamos a un tema más personal y menos moderno con Tanto Amor, el tipo de canciones melancólicas que nos hace evaluarnos sentimentalmente, donde Jonás nos calma el furor de la entrada de Las Manos, para darnos un rock tranquilo, nostálgico y sin muchos cambios.

Tanto amor sin un lugar donde morir… tanto amor sin un lugar donde vivir…

Con Buenas Noches, El Trío empieza a sorprender con un merenguito de lo mas tranquilo, una ejecución casi clásica, sin olvidarse de guitarras y baterías. En este tema se integran las trompetas de Juan Gabriel Martinez, el trombón de Patricio Bonilla y a Eliezer Ramirez en la tambora y güira. Muy pocas bandas pueden cambiar de genero en la misma producción sin salir de la base central de la producción, y por eso Buenas Noches es una muestra mas que se puede enlazar géneros sin desfigurarlos musicalmente. Ojo Artificial y Canción sin Nombre regresan el rock y al llegar a la mitad de Las Manos tenemos una obra pegajosa mas no vacía, los ritmos autoctonos se notan en el toque de la bateria. Al mismo tiempo, Jonás aprovecha la oportunidad de mostrar su talento con la guitarra. ¿Quién dijo que los solos de guitarra eran predecibles y monótonos?



Llegamos a la parte fuerte del álbum, la segunda mitad es mucho más experimental, una delicia para los amantes de las fusiones y las sorpresas. Antes de indagar sobre Canterbule pt. III les advertimos que es una trampa: lo que pudo ser una simple canción con toques de jazz y de rock se convierte en un track épico, lleno de magia. Solo hay que esperar un minuto para ver lo grande que es El Trio. Por momentos nos dan clases de jazz llevándonos a lo más clásico pasando por una línea evolutiva combinada con sonidos de guitarras y saxofones y una flauta a cargo de Jeffrey Casimiro. Reir Pa’ No Llorar arranca al ritmo del merengue para luego sumergirse en un híbrido entre el rock pesado, guitarras y doble bombo (doble pedal) hacen de esta una de las canciones más fuertes dentro de la fusión en esta producción, con un tremendo trabajo en la bateria a cargo de Johandy, experto en el genero rock pesado/metal. También tiene letras que tocan levemente lo social y la postura del conformismo que posee el pueblo dominicano a una situación eterna donde ya reímos por costumbre más que por felicidad.



Para seguir con los ánimos rebeldes entra No Somo Indio, una protesta contra el pueblo mismo, a esa postura de negación en contra de nuestra raza negra heredada. En las letras usa como referencia la cédula de identidad en donde en la casilla de raza/color de piel prefieren usar la palabra Indio antes que Negro. Para continuar la euforia, está Uanabi (entiéndase Wanna Be) y nos topamos con una canción con fuertes influencias Grunge y Punk, con tonos a veces calmados, otras veces mas enérgicos. Los uanabis hoy en día son conocidos como posers, esos personajes que están en todas, que son cool, y muchas veces pretenden ser lo que no son; esta es otra de las favoritas, llena de poder, sarcasmo, contenido social, y un manejo de ritmos increíble.



Y entra Fuentes, para calmar los animos y cerrar el disco. Fuentes es una canción suave y a la vez un punto clave dentro de esta producción, musicalmente simple pero de letras complejas. Una gran metáfora melancólica, representando la incertidumbre de no saber lo que en realidad se quiere y el conformismo que muchas veces invade a cualquiera.

Qué pasa…con los que se quedan…con los que se van… Añorar tu tierra desde otro mar O aprender a odiar la cárcel que es tu hogar.

De esta manera finaliza Las Manos, un álbum lleno de emociones, declarando que el rock local no está en decadencia porque aún existen bandas que le apuestan a su sonido y a su idioma para dar como resultado un trabajo interesante y de gran calidad. Pueden cooperar con el trabajo del El Trío desde su Bandcamp, donde tambien pueden escuchar el álbum completo. - La Casetera

review by: Marc
El Trio is certainly the first band from the Dominican Republic I have ever reviewed (and perhaps even listened to).

On Las Manos they offer the listener a varied palette of mostly "Guitar - Bass - Drums - Vocals" songs featuring a good number of interesting musical segments. Some songs I consider to be pretty much straight Hard Rock. For those, references to a band like Living Colour can be heard. Other songs are more Southern Rock in genre. Free Jazz and hints of Carabbean music are also present, to some extent, in a number of pieces.

Las Manos is good and eclectic collection of songs. They all feature crunchy guitars, crisp drumming, energetic bass playing and virile singing (in Spanish). This CD I would certainly enjoy while driving around in a convertible car on a sunny day, or sipping a beer on the patio.

No nonsense original and always interesting music, very professionnally done by talented musicians. Good stuff!! - Prognosis

El Trio: Las Manos
Las Manos is the third album from El Trio, following their 2009 release La Blanca y La Gris. The band is made up of Kilvin Peña, on bass; Johandy Ureña, plays drums; and Jonatan Piña Duluc, plays guitar and performs lead vocals.

El Trio is a Santiago, Dominican Republic, genre-bending meld of influences. They have enough talent to bridge the wide gaps between classic rock, jazz, prog, Latin troubadour and Afro-Dominican folk. Las Manos provides all of that great music in 10 well – written and performed tracks of music.
If you like deep chunky bass, heavy lead electric guitar, power drums and Spanish lyrics delivered with power this is your best bet.
There are no bad tracks on this disc. It is full of power electric rockers like "Desconectar", which is a good mix of Rush/Led Zeppelin, with plenty of lead electric shredding. "Tanto Amor" is another track full of vibrant lead electric and solid bass and drums. "Buenas Noches" is a fun song full of more of a bouncy beat. "No Somo Indio" is full of good humor and "Fuentes" is a slow rocking bluesy guitar track full of Santana – like soul.
Well recommended excursion from your normal tastes. This Dominican band can rock…and prog…and well just about play any kind of music.
Track Listing:
1.Desconectar (4:52)
2.Tanto Amor (3:29)
3.Buenas Noches (3:21)
4.Ojo Artificial (5:00)
5.Cancion sin Nombre (4:42)
6.Canterbule (Pt.3) (5:01)
7.Reir pa no Llorar (5:07)
8.No Somo Indio (4:32)
9.Uanabi (4:54)
10.Fuentes (5:37)
Added: September 14th 2013
Reviewer: Mark Johnson
Score:
Related Link: eltrio.bandcamp.com/album/las-manos
Hits: 1078
Language: english - Sea of Tranquility

El Trio is a surprising band from the city of Santiago, Dominican Republic. It is formed by three core musicians. Jonatan Piña Duluc (vocals, guitars, saxophones, keyboards) is a multi-instrumentalist and composer versed in a wide range of styles: pop, hard rock, hip hop, jazz, contemporary-classical, traditional Latin, troubadour, and Dominican folk. His talent was reckoned in his home country when he won two National Musical Prizes in 2007 and 2009. Completing the line-up are the equally talented musicians Kilvin Peña (bass) and Johandy Ureña (drums). El Trio is struggling to fortify the dimmed Dominican rock scene, and is trying to promote the “Dominican-Fusion” style worldwide by forming a fan base that may support the band in the international scene. They are inspired by “Luis Dias” - the legendary Dominican musician who created the “Dominican-Fusion” style, which merges the “American Rock, Jazz and Blues” with 40 different ethnic rhythms from the Dominican Republic and Haiti (including the “Merengue” and “Bachata”). El Trío‘s released a debut album in 2008 (“Siempre Que Hay Un Corazon”). The second album, “La Blanca y La Gris” (2009), is an independent production, and contains 12 tracks. The songs are in Spanish, and lyrics reflect the social and political problems of modern life in the Dominican Republic. The compositions make use of Dominican traditional rhythms (provided by guest musician Eliezer Ramirez) and feature some jazzy improvisation, as it is proper of the Dominican-Fusion style. Their influences, besides “Luis Dias”, are “The Hendrix Experience”, “Living Colour”, “King Crimson”, “Zappa”, “Soundgarden”, ”Draco Rosa” (Puerto Rico), “Soda Stereo” (Argentina) and “Fito Paez”. Other bands of the Latin-Rock segment may be also cited: “Santana”, “V-8”, “Bloque”, “El Reloj”, “Tren Loco”, “Crucis”, “Santana”, “Maná”, “Tryo” (Chile), “The Mars Volta”, “Jorge Ben Jor”, and “Steely Dan”. Nevertheless, El Trio is owner of a distinguishing sonority. Duluc’s voice is strong and marking, and he is very skilled with his guitar. Ureña‘s drumming is technical, original and creative. The two are glued by the impeccable groovy bass of Kilvin Peña. The Dominican rhythms are provided by guest musician Eliezer Ramirez, and wind instruments – commonly present in Latin music - are provided by Duluc’s sax or by guest musicians Patricio Bonilla (trombone) and Gabriel Martinez (trumpet). Along the tracks of “La Blanca y la Gris”, El Trio displays its mastery in blending Rock, Jazz, Latin and Dominican Rhythms in their own way. The opening track - “Solo en Canción“ - is an vigorous Jazz-Rock that sounds much like a blend of “Zappa” and “Santana”. The marking tradition of the Dominican music is heard on the following tracks – ”Dos Grandes“ and “Vicio“, inviting the listener to a dance. In between there is “Sangre del Corazón“ – on which a cool jazzy mood is crowned by an expressive guitar solo. From this point on, the record features a sequence of best songs. Beginning with “Del Desierto“ (on which Latin percussion marks a progressive trip-mood); the listener is taken by the groovy swing of “Canción de los Muertos“ (a strange blend of “Hendrix”, “Santana”, and “King Crimson”) on which the chorus resembles a “religious” chanting. Things get heavier on “La Verdad“, that reminds me of Argentinean bands “V-8”, “Bloque”, “El Reloj”, and “Tren Loco”. The Dominican-Fusion comes back on two Pop-Rock songs influenced by “Soda Stereo”, “Fito Paez”, “Santana”, and “Steely Dan”: “Canción de Paloma“ (marked by a sticky chorus) and “No e Como Ante“ (with “Hendrix”-like guitars and raging vocals of Duluc). The last part of the album was reserved for the most experimental songs “Juan Quiere Venderla“ (a Latin Thrash-Metal with Punk-like vocals) and “La Necia“ (a blend of “Zappa”, “King Crimson”, “The Mars Volta” and “Jorge Ben Jor”, with highlights for the saxophone). The closing track is a real hit - the beautiful ballad “Jessica Saca la Lengua“, which features a soulful performance of Dionisio de Moya on blues guitar. Although El Trio cannot be strictly classified as Progressive Rock, it is a much good band to be overlooked; hence their presence at this site is more than deserved. El Trio is the ideal band for those open-minded Music fans that appreciate the Rock-Latin Fusion, or that are looking for something fresh and authentic. Highly recommended. Band members and collaborators involved in El Trio are: Jonatan Piña Duluc (Jonás) – Vocals, Guitars, Saxophones, Keyboards, Compositions, Production; Kilvin Peña – Bass; Johandy Ureña – Drums. Guest musicians: Eliezer Ramirez – Conga, Tambora, Güira, Maracas; Iván Batista – Backing Vocals; Patricio Bonilla /Gabriel Martinez – Trombone/Trumpet on “No e Como Ante”; Dionisio De Moya – Blues Guitar on “Jessica Saca la Lengua”... (Comments by Marcelo Trotta) - Progressive Rock and Progressive Metal