Chacal Ensamble - Free Jazz Improvisation 
Alfonso Muñoz (Malfon)-  Alto Saxophone
Ernesto Martinez (Pelos) - Tenor Saxophone
Alain Cano - Double Bass
Itzam Cano - Cello
César Chew (Chacal del Tamborazo) Drums

Pizza Jazz, México, D.F.
April 5, 2015

Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s. Though the music of free jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop, and modal jazz that had developed in the 1940s and 1950s. Free jazz musicians attempted to alter, extend, or break down jazz convention, often by discarding fixed chord changes or tempos. While usually considered avant-garde, free jazz has also been described as an attempt to return jazz to its primitive, often religious, roots and emphasis on collective improvisation.

As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, or played unusual instruments. Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by small groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi.

Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. Some of bassist Charles Mingus's work was also important in establishing free jazz. Of particular note are his early Atlantic albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. Although today "free jazz" is the generally used term, many other terms were used to describe the loosely defined movement, including "avant-garde", "energy music" and "The New Thing". During its early and mid-60s heyday, much free jazz was released by established labels such as Prestige, Blue Note, and Impulse, as well as independents such as ESP Disk and BYG Actuel.

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".

http://en.wikipedia.org/wiki/Free_jazz

Chacal Ensamble - Free Jazz Improvisation

Free Improvisation - Remi Álvarez, Itzam Cano and César Chew 

Remi Álvarez - Sax 
Itzam Cano - Double Bass
César Chew -  Drums

Enanos Café Galeria 
March 11, 2016
Cuautitlan Izcalli, México

Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.

Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.

http://en.wikipedia.org/wiki/Free_imp...

Free Improvisation - Remi Álvarez, Itzam Cano and Chacal del Tamborazo

Free Improvisation - Misha Marks ,Itzam Cano and César Chew 

Misha Marks -  Corno and Latarra
Itzam Cano - Double Bass
César Chew -  Drums

Enanos Café Galeria 
March 13, 2015
Cuautitlan Izcalli, México

Musical improvisation (also known as musical extemporization) is the creative activity of immediate ("in the moment") musical composition, which combines performance with communication of emotions and instrumental technique as well as spontaneous response to other musicians.] Thus, musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and indeed many other kinds of music. One definition is a "performance given extempore without planning or preparation." Another definition is to "play or sing (music) extemporaneously, especially by inventing variations on a melody or creating new melodies in accordance with a set progression of chords."

http://en.wikipedia.org/wiki/Musical_...

Free Improvisation - Misha Marks ,Itzam Cano and Chacal del Tamborazo

Free Improvisation - Marco Eneidi, Itzam Cano and César Chew.

Marco Eneidi -  Alto Sax 
Itzam Cano - Double Bass
César Chew -  Drums

Enanos Café Galeria 
June 5, 2015
Cuautitlan Izcalli, México

Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.

Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.

http://en.wikipedia.org/wiki/Free_imp...

Free Improvisation - Marco Eneidi, Itzam Cano and Chacal del Tamborazo

Chacal Ensamble - Free Improvisation -  Pigalle Bar, Guadalajara, Mèxico

Chacal Ensamble:

Alfonso Muñoz (Don Malfòn)  -  Saxophone
Juan Castañon - Guitar
Itzam Cano - Double Bass
César Chew (Chacal del Tamborazo) -  Drums
Pigalle Bar, Guadalajara, Mèxico
20 Junio 2015


Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s as musicians attempted to alter, extend, or break down jazz convention, often by discarding fixed chord changes or tempos. Though the music of free jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop, and modal jazz that had developed in the 1940s and 1950s. Often described as avant-garde, free jazz has also been described as an attempt to return jazz to its primitive, often religious, roots and emphasis on collective improvisation.

As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, or played unusual instruments. Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by small groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi.

Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. Some of bassist Charles Mingus's work was also important in establishing free jazz. Of particular note are his early Atlantic albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. Although today "free jazz" is the generally used term, many other terms were used to describe the loosely defined movement, including "avant-garde", "energy music" and "The New Thing". During its early and mid-60s heyday, much free jazz was released by established labels such as Prestige, Blue Note, and Impulse, as well as independents such as ESP Disk and BYG Actuel.

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode".

https://en.wikipedia.org/wiki/Free_jazz

Chacal Ensamble - Free Improvisation - Pigalle, Guadalajara, Mèxico

Free Jazz Improvisation - Ernesto Mtz Adriano and Chacal del Tamborazo

Ernesto Mtz Adriano - Sax
César Chew (Chacal del Tamborazo) -  Drums

Enanos Café Galeria 
May 13, 2016
Cuautitlan Izcalli, México

Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.

Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.

http://en.wikipedia.org/wiki/Free_imp...

Free Jazz Improvisation - Ernesto Mtz Adriano and Chacal Del Tamborazo

BeforetheRobots - Free Improvisation - Michał Kiedrowski and Chacal del Tamborazo

BeforetheRobots is a Mexican-Polish project appeared totally spontaneous, united two different cultures, Airline: 9.888,09 km and visions of two original musicians: Polish violin  player Michał Kiedrowski and Mexican drummer and percussionist Cesar Chew Aguilera.

September 15, 2016.

Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.

Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.

http://en.wikipedia.org/wiki/Free_imp...

Polish Mexican Project - BeforetheRobots - Free Impro - Michał Kiedrowski & Chacal del Tamborazo

BeforetheRobots - Free Improvisation 2 - Michał Kiedrowski and Chacal del Tamborazo

BeforetheRobots is a Mexican-Polish project appeared totally spontaneous, united two different cultures, Airline: 9.888,09 km and visions of two original musicians: Polish violin  player Michał Kiedrowski and Mexican drummer and percussionist Cesar Chew Aguilera.

Alesia Lund Paz painter (Cucaracha)

September 11, 2016.

Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.

Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.

http://en.wikipedia.org/wiki/Free_imp...

Polish Mexican Project - BeforetheRobots - Free Impro 2  - Michał Kiedrowski & Chacal del Tamborazo


Jacob Wick - Trumpet 
Arturo Baez - Double Bass
César Chew -  Drums

Enanos Café Galeria 
August 27, 2016
Cuautitlan Izcalli, México

Free improvisation or free music is improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right.

Free improvisation, as a genre of music, developed in the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and modern classical musics. None of its primary exponents can be said to be famous amongst the general public; however, in experimental circles, a number of free musicians are well known, including saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann and John Zorn, drummer Christian Lillinger, trombonist George Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith and the improvising groups The Art Ensemble of Chicago and AMM.

http://en.wikipedia.org/wiki/Free_imp...

Free improvisation -  Jacob Wick, Arturo Baez and Chacal del Tamborazo

Free Improvisation in Kawiarnia Naukowa, Krakow, Poland

Paulina Owczarek -  Sax
El Pricto -  Sax
Michał Kiedrowski -  Violin
Chacal del Tamborazo -  Drums

Kawiarnia Naukowa, Krakow, Poland
June 26, 2016

Free jazz is an approach to jazz music that was first developed in the 1950s and 1960s as musicians attempted to alter, extend, or break down jazz convention, often by discarding fixed chord changes or tempos. Though the music of free jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop, and modal jazz that had developed in the 1940s and 1950s. Often described as avant-garde, free jazz has also been described as an attempt to return jazz to its primitive, often religious, roots and emphasis on collective improvisation.

As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, or played unusual instruments. Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by small groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi.

Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri and Sun Ra. Coleman pioneered many techniques typical of free jazz, most notably his rejection of pre-written chord changes, believing instead that freely improvised melodic lines should serve as the basis for harmonic progression in his compositions. Some of bassist Charles Mingus's work was also important in establishing free jazz. Of particular note are his early Atlantic albums, such as The Clown, Tijuana Moods, and most notably Pithecanthropus Erectus, the title song of which contained one section that was freely improvised in a style unrelated to the song's melody or chordal structure. Although today "free jazz" is the generally used term, many other terms were used to describe the loosely defined movement, including "avant-garde", "energy music" and "The New Thing". During its early and mid-1960s heyday, much free jazz was released by established labels such as Prestige, Blue Note, and Impulse, as well as independents such as ESP Disk and BYG Actuel.

Keith Johnson of AllMusic describes a "Modern Creative" genre, in which "musicians may incorporate free playing into structured modes -- or play just about anything."[1] Johnson includes John Zorn, Henry Kaiser, Eugene Chadbourne, Tim Berne, Bill Frisell, Steve Lacy, Cecil Taylor, Ornette Coleman, and Ray Anderson in this genre, which continues "the tradition of the '50s to '60s free-jazz mode"

https://en.wikipedia.org/wiki/Free_jazz

Free Improvisation In Kawiarnia Naukowa - Krakow, Poland

Chacal del Tamborazo is an artistic name of César Abraham Chew Aguilera. He is an accomplished percussionist with more than 25 years playing and practicing. His favorite genres are jazz, free jazz and contemporary Music. Originally from Mexico City, he currently resides in Vancouver, Canada.

​His current projects are: 

contemporary theater project Concrete and Metal directed by Angelo Moroni (Canada)
music and dance project Voyage through the Underworld organized together with Angelo Moroni (Canada)
Cha'ak'ab Kanorhati  with Anastasia Masloboeva (Russia)
Before the Robots with Michał Kiedrowski (Poland)
Chacal Ensamble
Nahual with Alex Catona (Canada)

Chacal del Tamborazo has shared scenarios with more than 200 musicians: Marco Eneidi (USA), Remi Álvarez (Mexico), Herbin Baptiste (France), Germain Bringas (Mexico), Blair Latham (New Zealand), Milo Tamez (Mexico), Paulina Owczarek (Poland), Misha Marks (New Zealand), Alfonso Muñoz Don Malfon (Spain), Itzam Cano (Mexico), Anastasia Masloboeva (Russia), Arturo Báez (Mexico), Rafał Mazur (Poland) , Jacob Wick (USA), Michał Dymny (Poland),  Joshua Zubot (Canada) Alex Catona (Rumania) Ray Dickaty (England) John Cornell (USA) Thiébault Imm (France) Lisa Mezzacappa (USA ) Ted Crosby (Canada) James Meger (Canada) and Juan Castañón (Mexico) among others.

He also participated in several sound projects like Colectivo Ojo del Eco and Eco-Danza performed with saxophonist Blair Latham and dancer Lucero Trejo; Tambores Pintores, directed by Milo Tamez and 15 TAMBORES under the direction of Julio Estrada.

Between 2010 and 2017 he worked as a drummer  and artistic director of Enanos Café Galería, which is considered one of the most important sites for creative music in State of Mexico.

In 2014 he started his own projects -  Chacal Ensemble, Kloszart Project, Cha'ak'ab Kanorhati Nahual and Before the Robots.

Chacal del Tamborazo - Experimental Music

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