The reader can recognize him both by his appearances with Alejandro Sanz and by the viral duets with Camilo and Don Patricio, but Vic Mirallas yearns to break through with his own: the sinuous songbook of soul-jazz and r’n’b, tending to the nocturnality, which he projects on the album ‘Crucidramas’. A work that he does not see destined for a passing pitch, but rather wishes “that it can be heard in ten years.” He uncovers it this Friday at La 2, by Apolo, within the Voll-Damm Festival de Jazz de Barcelona.
In order to fully dedicate himself to his personal career, Mirallas has taken the step of leaving Alejandro Sanz’s group, after the tours of ‘Sirope’ and ‘#ElDisco’, and says he has given some noes to prominent figures eager to get him. “But leaving Alejandro has been very painful for me and it would not make sense to start something similar with another singer now,” reasons this 28-year-old from Barcelona, who once interrupted his studies at the Berklee music school (Boston) to sign with the author of ‘Corazón partío’.
Search the unknown
There he studied piano, singing and his favorite instrument, the saxophone, with which he projects flashes of jazz improvisation following the trail of his favorites, be they historical ones, such as Sonny Stitt and Dexter Gordon, or the contemporary Bob Reynolds. But ‘Crucidramas’, his second long album, is a work of songs, all with his signature, that perhaps look askance at the more interior textures of a Frank Ocean or a Jamie Cullum. Music that makes him feel “a little out of place in Spain,” he reflects. There he expresses a certain disappointment. “I’m a little angry with the way music is heard, because many people who have musical sensibilities end up pulling on ‘the most listened to’ and the ‘most popular reggaeton’, instead of looking for the unknown more” .
‘Crucidramas’ is one of those albums that reflects the pandemic isolation, here with the addition of living with his ex-partner. The prefix ‘ex’ already says it all. “The songs are what came out of my relationship with her and with myself, with all those existential doubts. They are not ‘super-happy’ themes, except ‘How good I saw you,’ “he says. The album was to be titled ‘Crosswords that I don’t understand’ (alluding to ‘Crosswords’, the theme that closes it). “But my manager, seeing that everything on the album was drama, suggested the change.”
What if they now offer you another duet with an urban ace? “Commercial music, if it’s well done, I love it. The point is to do things with love. So I am not ruling it out, but I am not putting the focus there ”.