When the group Golpes Bajos, of which he was one of the founding members, broke up, it occurred to him to give up music professionally and devote himself to chemistry, a profession in which he had just graduated. but Los Ronaldoos signed him, and from there, he became what they call a musician “by trade.” Since then he has not stopped and, in his approach, has appeared as an element of the accompanying orchestras, in concert or in the studio, by Nacho Mastrita, Josel Santiago, Ivan Ferrero, Julieta Venegas, Kitama, Luz Casale and Madre; bandleader. Program Band by Buenafuente Late Motiv, soundtrack composer, record producer and mldr; And even the companion and theatrical companion of such stars as Wynton Marsalis or Peter Gabriel. Pablo Novoa (Vigo, 1961) is one of the most sought after, loved and respected musicians By the great pop stars of Spain and part of the foreign.
Did you imagine this professional future when you started with Low Blows?
The truth is, I’ve never been so optimistic about my career. In fact, the only title I have is a degree in Chemistry, a degree I took at UNED because I wasn’t very confident that my future would be in music.
You already did when Low Blows disbanded, right?
Yes exactly. Let’s see, when you start out, as is logical and happens to almost everyone, you have the illusion of doing something significant in music, implementing your own musical project. but I soon realized that no musical style would drive me crazy And make me forget others. At the age of 30, I realized that I was a lover of music and music in general, the fact is that I did not see my future very clearly. When the years go by and I’ve been working on one project, and then another, and another, so different from each other, because I’m subscribed to them all and I know I can keep learning, I came to the conclusion that I could earn a living and continue to do what I really loved. Total, about forty, and when I had twenty years behind me as a professional musician, I realized that I had become, as you say, a musician “by trade.”
Even at the cost of falling into anonymity & mldr;
Yes, it is one of the fees that you have to pay. But not being famous is also an advantage. I’ve lived and live with very famous people and sometimes I realize how hard that can be. I don’t like this part of the music very much, it just doesn’t suit me. I am one of those who think so Success is not about being famous but about making a living doing what you want. And I’m so happy where I am, where I choose to be, even though more people have gotten to know me lately (laughs).
However, musicians like you are basic in the sense that you are good musicians who are very versatile and able to adapt to anything. In your case, when they call you, what do you think they value most in you: Are you a good musician or are you versatile?
I think both. People who contact me, especially at this point, do so because my experience is long, my approaches are so diverse, and my view of music is so broad. Then also because I am very compliant, very responsible in my work, and very respectful with the people who come into contact with me.
Of the many groups and soloists he’s been with, it stands to reason that some would give him more freedom than others to contribute his personal stuff. Have you ever felt somewhat frustrated because you weren’t given freedom for your contributions?
See, when you get into a project, you also get into the story of someone you have to respect a lot. Sometimes, it’s true, they leave you a little margin, but I understand that’s because If everything is very specific and you have to follow a very specific path, respect that. Other times they leave you with more margin which is nice too. For me it is very important, and I checked when I had to do production work, that the musicians who make up the group get along well, that they understand what is being asked of them and feel comfortable. And even if only for selfishness, this is the best way to take advantage of them: when they play better, with a life more and more attentive to the common goal. And I apply that to myself.
Let’s go back to the low beats. Of all the reasons given for the early dissolution of the group, which was the main one?
Enough years ago, I think what really happened is that all of a sudden, a bunch of kids from Vigo rose to fame and we see that for three years in a row, the whole music industry revolves around us and we need a “speed & rdquor. Very big, because we moved the money, because we moved the opinion Because we were interested, wow. It was a grueling three years that we ended up getting tired of ourselves and our colleagues. We did not have time to absorb everything that was happening to us. We were tired and personal friction started to set in, which we definitely would have overcome if we were more mature, but we just couldn’t, because hell, we were still young. I’m sure if we stopped, if we slowed down, if we didn’t allow ourselves to stand too much, we would have recovered and the low blows would continue.
Why weren’t you at the 1998 reunion?
because Neither Teo Cardalda nor German Cobini, who headed this project, contacted me. It is not me nor the other element, Luis García. No, they didn’t contact us. Wow, you just got a massive recovery! In fact, at that time our personal relationships broke off radically, and this break lasted a few years. Fortunately, we were able to reconcile, first with Germain, before his death, and then with Teo, with whom I get along very well today.
However, he committed himself, and very fully, to the album “Cena recalentada & rdquor; an album he produced with Iván Ferreiro & mldr;
When Ivan Ferrero asked me to make this record, the first thing I did was tell him, no matter what it turns out, they’re going to Put green But after thinking about it I signed up because I loved the idea Evan had in mind, which was to honor Low Blows, although I admit that this was the hardest record I ever made. And that was that I faced a complex dilemma: on the one hand, I had to preserve the essence of Golpes, but on the other hand, I considered that we also had to contribute something, which we could not accept to make a copy.
And what was the result?
I am very satisfied with the way it turned out. What’s more, already released, I suggested to Evan that we translate not just some songs from the Golpes Bajos, but the entire repertoire. This was my idea. And Ivan listened to me (laughs).
I know it’s hard to answer this question, but out of the many musicians you’ve played with, which one impressed you the most?
miss out! It’s a difficult question to answer, yes. I have fond memories of when I was in Chile, with Los Ronaldo, seeing myself on stage accompanied by Peter Gabriel and Wynton Marsalis. That was a defining moment, but ok, I’ll be specific: Saxophonist Jorge Pardot, with whom I’ve played several times, is impressive. You have to see how he plays and how easy it is to play with him! Because playing with good musicians makes everything easier for you: they are so good, they listen to you and on top of that they transport you. I also remember collaborating with Jerry Gonzalez, forming a guitar and trumpet duo, him and me on our own. There you realize you are with someone who not only has a lot of music behind them, but also a lot of heart. It’s just, look: there are musicians who are always trying to show how good they are and there are others, like the ones you mentioned, who they are to me Really good people, who try to help you, who want you to be comfortableAnd I had that feeling with people on a very high level. Also when I accompany Luz Casal or Bunbury & mldr;.
Is reggae a trend or a style that is here to stay?
Reggaeton comes from a long way back, and yeah, I am absolutely convinced it is here to stay. Reggaeton comes from Vallenato, from the rhythms of Latin America, was born on the streets of Puerto Rico and the Dominican Republic, and is not an invention of the industry. Flamenco, blues and jazz were also born in the streets, which were also the object of systematic despise in their prime. What happens, as in many other styles, is that it suddenly becomes trendy and good, I admit the percentage of reggaeton that I like is low, but I’m also very clear that hating the musical style is bad: There are always good things in all stylesuntil such time as he puts everyone in the place they deserve.
Why did he only make one solo album? Did you really not have time to do more?
Sometimes I think I should spend more time on my personal projects. Anyway, I’m in no hurry. I keep making songs and when I collect some tracks that have a common theme, that’s when I start thinking about a record.
Do you have them in the next?
Yes, I am right at that point. The problem is finding the moment.
And it will certainly be very useful. Why is it so difficult for instrumental music to enter commercial circles? Is it a problem of musical culture or lack of promotion?
With me it happens that what I really love, What brings out a musician from within has nothing to do with what the general public likes. And that, well, I’ve learned to accept. What is the missing musical culture? Well, yes, but there is also a lack of pictorial, literary and theatrical culture …
Having so many good musicians from Vigo, that the anthem for Celta’s centenary is entrusted to a guy from Madrid is something we can say… That’s at least disappointing, isn’t it?
miss out! Note that I started hearing about this two years ago, when C. Tangana came to Buenafuente, late motiv. First of all, Pocho seems to be a very talented guy and I know he is very passionate about the national anthem.
This is not disputed.
Sometimes he goes out to parties wearing a Celta shirt.
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This is not in dispute either. So did Madonna in Pallados.
I’m afraid Madonna will be too expensive for them (laughs). It would have sounded good to me if they had chosen someone who lives the everyday life of a Celtic, pro-Celtic musicians. And if they give me a choice, it would be nice if they put Sinister Total back together and commission them. But hey, musicians are very used to this and other, more serious things.
