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Mela, who has played with luminaries ranging from Lovano to Gary Bartz to McCoy Tyner, was the first “seasoned” musician to hire Trujillo regularly, helping the guitarist to reach new levels of excellence. Trujillo has played with the drummer Francisco Mela in a trio for the past two years, and they just released their first album. “I believe that you get a much better sense of what you need to work on from a real-life application.” For this project, he invited two others to record with him, whom he thinks of as “master musicians” that would challenge him to rise to the occasion. “I’ve found that I improve much more from this process than from working on music in the abstract,” says Trujillo. One of the ways he moves ever forward is to create projects for himself recordings or gigs that create a deadline for him to prepare the music. He has come to understand he can have a different trajectory from his peers and those he admires, saying, “I make an effort to concentrate on working on my music, and find whatever ways I have available to make it happen,” doing so while canceling out the “noise” surrounding concerns about one’s “career success” that becomes ever more deafening, to the point when you can no longer hear the music. Trujillo has lived in New York for what is now approaching eight years, and as it is with any artist in the big city, it can be a challenge to both survive and realize your creative goals. Yet taken as a whole, they surely combine to focus a lens into the artist’s sensibilities, his musical mind, and yes, his heart. The guitarist/composer thus decided to name this collection for what it is: a Collage. The six pieces here are not overlong, nor do they encompass within themselves some grander epic they are more like a collection of short films or just pictures, even snapshots. “It’s a typical jazz listening journey, one person takes you to the other and before you know it you’ve listened to a lot of music,” he says.Īll those influences have melted into a singular, personal voice that emanates from Trujillo’s guitar, receiving a well-deserved spotlight on this latest recording of his. That drummer opened him up to an entirely new world of improvisers and composers, from the now-canonical sounds of Jarrett, Haden, Redman, and Ornette to the next generation of innovators like Geri Allen, Frisell, Lovano, Zorn, Tim Berne, and Joey Baron, with Frisell being the bridge to yet another generation that Trujillo still listens to: Tony Malaby, Jakob Bro, Steve Cardenas, Mat Maneri, etc.

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After learning how to play drums and guitar, enhanced by university-grade music lessons, Trujillo made it to the United States to take bonafide college classes as a music major, where he added another jazz hero to his list: Paul Motian. There was a healthy mix of classical music, classic rock, salsa, and of course jazz, starting with the big three of Miles, Coltrane and Bird. Trujillo’s heart started beating more quickly at an early age, listening to the many records his father, an amateur guitarist and bassist, had collected at their home in Caracas, Venezuela.

“I don’t know how that stuff translates into my music making,” he says, “but it makes me think about aesthetics and pacing, and it makes my life better.” Perhaps a link can be found in the undeniable dramatic elements in his music: clear expressions of mood and tone, a focused narrative threading its way to the inexorable conclusions of his solos and compositions, and something crucial to any good filmmaker or musician–a beating heart for beauty and meaning that transcends our challenges. He cites the films of David Lynch, Paul Thomas Anderson, Akira Kurosawa, Agnès Varda, and Ingmar Bergman to name just a few of the directors he especially admires. Juan Manuel Trujillo is a big fan of classic cinema.

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