Mataró Cultural talks to the Mataro musician Gerard Nieto. A lifetime at the piano

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In the interview, Nieto will tell us how he started in the music world at the age of five. Later, he studied classical piano, but it was listening to a lot of music that he learned modern music and jazz.

Nieto obtained the Higher Degree in Jazz from the Escola Superior de Música de Catalunya, and the Higher Degree in Piano from the Conservatori del Liceu in Barcelona. He also holds a Diploma in Music Teaching from the Autonomous University of Barcelona.

El nostre personatge d’avui és pianista de l’orquestra de jazz La Vella Dixieland des de l’any 2001. També és pianista i director de la Big Band Jazz Maresme. Col·labora habitualment amb destacats artistes de jazz nacionals i internacionals: Scott Hamilton, Charmin Michelle, Harry Allen, Grant Stewart, Leroy Jones, Wendell Brunious, Ken Peplowsky, Bob Sands, Toni Solà, Josep Maria Farràs, Dani Alonso i Marian Barahona, entre d’altres. També ha treballat amb Kathy Autrey, Jesse Davis, Monica Green, Txell Sust, Susana Sheiman, Randy Greer, Raynald Colom, David Pastor…

In addition to the piano, Nieto plays electric guitar, trumpet and tuba. He began his professional career as a musician around 1995, after joining the La Vella Dixieland jazz orchestra.

He tells us that when he was five his mother took him to a music school. His classmates left him, but he continued to play classical piano. Last year he did it at the Liceu Conservatory. He then continued his training for power in order to be able to be a music teacher.

When he talks about projects like the Big Band Jazz Maresme, he is very excited. Make it clear that it is a local project with a public vocation.

The reference to the situation of the sector due to the pandemic cannot be missing. He comments that many rooms have had to close due to the impossibility of continuing. Now there is hope for the return of the public. In his case, the training allows him to move forward, but in twenty years as a professional musician the situation in the sector has worsened.

As for how Mataró is musically, he is not too optimistic. For Gerard Nieto, although there are many good musicians, the city does not exercise its capital. He misses an auditorium and the municipal music school finds it very difficult to move forward.

He claims that the participation of local artists in the new initiatives is done almost by militancy. He values ​​the people who carry out these projects very positively. He also attaches great importance to the work done by the Casas de la Música, a project that emerged from Mataró.

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Here you can listen to the entire program.

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