Criticas

Reviews

“He is from Peru, his wife from Chile and his music from heaven….thank you for filling our home with the magic and joy and passion of your music!” – T.A Barron, New York Times Bestselling Author

 

“I’ve had the blessing of attending over 1,000 live performances, primarily highly recognized jazz musicians. I can share with you unequivocally that having the privilege to listen to this caliber of world class musician as is Alfredo Muro is one of the unique treats of living in San Miguel de Allende. If music fuels your soul, this is the performance not to be missed. I highly, highly recommend it.” – Dilia Suriel – Author, The Thin Woman’s Brain

 

“En Inocente Amor e Idolatría. La canción de Alicia Maguiña, la has recreado y llevado a alturas diáfanas….un juego melódico y móvil….. Excelente, Alfredo Idolatría con la imagen de fondo de Carlos Hayre, su armonía y juego rítmico,interpuestos en síncopas brevísimas… el bordoneo del bajo… uf Alfredo.” -Luis Justo Caballero, Concertista de Guitarra-Director Revista Cuadernos de Musica Peruana

 

“Muro has the rare combination of surpassing virtuosity and superb musicianship, and his playing is impossible to resist” – Fred Dannen, New York Times, bestselling Author

 

“Alfredo Muro, composer, arranger and performer is a wonderful ambassador of Peru , he with his music and sounds made ​​us vibrate, he offered an exquisite recital.”
– Karla Verastegui, El Portal de Queretaro, Mexico

 

“Es tanto lo que se puede decir acerca de su talento y su calidad interpretativa que lo mejor es callar….Callar y escuchar sus credenciales sobre el escenario”
– Luis Camarena, San Miguel de Allende, Mexico

 

“I love the CD (Guitarra Apasionada) of Alfredo Muro!” – Isabel Allende, Chilean Author & Journalist, National Prize for Literature

 

“Wonderful virtuoso, sensitive artist and, among other things, a fine gentleman.” – Eric Bertoluzzi, Executive Director, Englewood Cultural Arts Center

 

“From heart to heart concert! Alfredo Muro is everything one can imagine of a guitarist. He and the guitar blend into one. The technique is driven to the extreme, and put him in condition to create the musical miracles on the guitar” – Oddvar Hummelvoll, Aust Agder Blad, Norway

 

“The music of Alfredo Muro elevates the guitar to a higher plane than most I’ve had an opportunity to hear. It is moody and melodic. It is richly eloquent as it tells the story of this instrument that is all -too- often hidden in the background in today’s music. This collection in particular, caresses our sense of musicality and inspires the beauty that is still very much a part of this world, despite our hectic life style and mounting responsibilities. I so enjoy listening to Alfredo’s guitar work as it brings me to that place that only really inspiring music can bring one. And when you realize that you’ve listened to the last piece on this CD, you want to hear it all again. And again. It feels good. Well done, my friend.” – Jose Feliciano

 

“Guitarist Alfredo Muro, performed a set of Peruvian folk music, including his pianistic-sounding arrangement of vals Amarraditos…..Muro’s original flamenco composition In Tientos, conveyed a malaguena-lile sensibility. He switched to playing the delicate-sounding charango for El Condor pasa and then returned to the guitar, delivering a lovely rendition of both Pixinguinha’s Rosa and Ary Barroso’s Aquarella do Brasil, with light percussion along the soundboard of the guitar and rhythmical finger brushing against the strings to fade away the last notes.” Classical Guitar Magazine, London

 

“Alfredo Muro proves there are no frontiers between classical and pop music. He glides, in a very elegant way, between the two types, from Villa Lobos, Prelude #3 to Tom Jobim,” Eu seu que vou te amar”,” I know I will love you”, from Joao Pernambuco,” Sons de Carrilhoes”,” Sounds of Chimes”, to Luiz Bonfa,” Manha de Carnaval”,” Morning of Carnaval”. I am honored he included two of my songs on his Alma Brasileira (Brazilian Soul volume 2), and I listen to them with as much delight as I listen to the othe songs. Congratulations, Alfredo, for your good taste, technique and sensibility” – Carlos Lyra

 

“He is a talented guitarist . . sensitive soul vibrates through the strings of his guitar. He will go very far in the arts.” Manuel Lopez Ramos

 

“Alfredo Muro brings much more than just strong technical talent to the stage. He brings an intense love for the music he chooses and performs with such great sensitivity and emotion. Mr. Muro has the rare ability to become the music, losing himself in it and enabling the audience to transcend their own experience and share his. While this is evident on his many recordings, It is in live performance where this manifests most strongly.”

 

“I’ve attended many of Alfredo’s concerts, from intimate house concerts to packed concert halls and each time the music rises from where he sits and extends it’s embrace to those in attendance. It bows to our inner dancer, extends it’s hand and draws us under it’s spell. Sometime later we awaken to our own thundering applause, wondering how our hearts can be so full and our smiles so wide. This is how it’s supposed to be.”
By Chuck Morrison, Master Luthier, Colorado

 

“Appreciated in the entire world, the Brazilian music owes its prestige not only to its creators, but to the musicians that love Brazilian music and lend it their talent. This is the case of Alfredo Muro, a fabulous Peruvian instrumentalist that, in this cd, offers us a refined brazilianism, with no accent. After listening to “Alma Brasileira” (Brazilian Soul), we are left with a desire to give him a standing ovation, to hug him, and to tell him in his ear: “Thank you very much” Carlos Alberto Afonso, Director of Toca do Vinicius Cultural Center, Brazil

 

“Alfredo Muro’s interpretation of “Verano Porteno” is a tango with attitude that ends in a slide whistle. The Peruvian-born local guitarist’s take on the 1964 piece by Argentine bandoneonist Astor Piazzolla, is perfect for stomping back and forth across a room with a lover or a rival. But at the end, the tension is released: Muro scrapes a string to give a high-pitched “zwheeee!” and the song ends abruptly. This is only the most obvious example of what carries Muro’s “Latin Impressions,” a recently released collection of South American folk, classical and jazz songs — it never takes itself too seriously. So, with two volumes down and three to go, why not do something familiar that, since it comes more naturally, can be made light and playful with an occasional surprising transition or loose and silly strum? Of course, these effects are subtle. But they make “Latin Impressions” self-aware, and allow it to be romantic without being cheesy and virtuosic without being over the top.” By Jason Simms, The Oregonian, A&E

 

“Alfredo Muro demonstraded the highly refined technique and artistic expression of a virtuoso classical maestro, but there were these little jazz embellishments that kept sneaking in -not overdone, but tastefully inserted to out his signature on the piece. He possess these elements within his diverse palate of techniques……His passion is Brazilian music and no one plays it better. With his final three pieces, Brazilian rhythms were explored and further examples of Alfredo’s guitar wizardry were presented.” Guitar Foundation of America-Soundboard magazine-Vol.XXXV, No. 2

 

“At last, guitarist Alfredo Muro brings together his three great musical passions – the rich folkloric traditions of Latin America, classical music for the Spanish guitar, and the choros, bossa novas, sambas and other signature styles of Brazil. Thus he bridges the European, African and indigenous strands of Latin music, showcasing its roots as well as the fusions of today. Of course, the music of Brazil is featured, including Baden Powell’s “Samba en Preludio” and the beautiful samba cancao, “Amparo,” by Jobim. But Muro casts his net wider, with compositions of reflective calm (“Salve” by Venezuela’s Vicente E. Sojo), dreamy romance (Jobim’s “Eu Te Amo,” a trio with guitarists Jim Bosse and Alejandro Davila), cheerful dance (“Las Dos Puntas,” by Chilean Osvaldo Rocha), and the narrative drama of Astor Piazzolla’s “Verano Porteno” and Muro’s original, “Tientos.” Also included in Muro’s sixth album are two pieces by contemporary Cuban composer Leo Brouwer, whose meditative tone allows us to savor their subtleties as well as the sound of Muro’s guitar. That sound has carried Muro, a resident of Portland, Oregon, to international guitar festivals in Argentina, Chile and Peru; to the Kennedy Center and the Brazilian-American Cultural Institute in Washington D.C; and to Brazil, whose music he presented on Alma Brasiliera, Volumes I and II. It’s a sound that calms, inspires and even brings us to our feet in dance, a tapestry weaving together the many Latin styles that that have shaped Muro’s elegantly rhythmic approach to the instrument he first studied as a child in his native Peru.” Lynn Darroch (contributor, The Oregonian; editor, Jazzscene magazine; program host, KMHD radio)

 

“This charismatic guitarist played classical and South American music with a distinct passion for Brazilian music. His love for, and understanding of Brazilian music was quite evident in the impressive remainder of the program. Alfredo’s playing was brilliant and exciting.” Jim Bosse, Founder and President of the Southern Colorado Guitar Society

 

“Alfredo Muro – The percussive rhythms of the samba and bossa nova bound from Alfredo Muro’s guitar. Join us as we take a musical journey to South America with a guitar virtuoso living right here in Portland. OPB ArtBeat

 

“A scholar of Latin American styles, an adept practitioner of the classical repertoire for Spanish guitar and a master of Afro-Peruvian and Afro-Cuban rhythms, Muro has in recent years dedicated himself to Brazilian music. He plays all styles with skill and feeling, though; his attack precise and dramatic, his touch elegant, the effect both sophisticated and soulful.

To play the music of Brazil “without an accent,” as they say, requires Muro to know the classical tradition and other modern influences as well as the country’s folkloric styles. That range allows him to move seamlessly from the compositions of Heitor Villa Lobos to the percussive sambas of Baden Powell, from the lyrical beauty of bossa nova to the energetic, undulating rhythm of early 20th-century choro style. That crossover ability is founded as much on rhythmic feel as musical knowledge.The Oregonian

 

“Alfredo Muro has been described as a Latin virtuoso, but his musical styles and tastes are far more versatile, ranging from standard classical repertoire to jazz. His forte is South American music in its many guises: folk, jazz, Brazilian, classical. Whatever the style, it’s the emotional content of his music that carries the day.Portland Guitar Society

 

“Alma Brasileira, Volume II, Alfredo Muro, guitar. Muro is one of Portland’s finest musicians, especially as it pertains to Latin jazz. Here, he brings his vibrant sound out with a beautiful Latin sampler – ranging from sambas, waltzes, and other Brazilian styles – his nylon-stringed guitar at the forefront. Muro has always been a wonderful solo artist, and he gives himself plenty of room to show his technique and his innate sense of melody without accompaniment, as on the lovely ballad, “Minha Namorada,” where he begins with a lengthy guitar solo before the rhythm comes in. The Peruvian guitarist shows his range throughout this disc, the second of four dedicated to “Brazilian Soul.” From lush lullabies (“Abismo Das Rosas”) to solo rhythmics (“Lamentos do Morro”), to pensive takes on bossa nova (“Manha de Carnaval”), Muro runs the gamut of South American compositional favorites. Much time is focused on Muro’s solo pieces, but the strength of his quartet, with Carlton Jackson on drums, Brian Healey on bass, and Dave Fischer on percussion, gives even more life and depth to the songs. Muro is a Latin treasure in the Northwest and this disc shows his strengths and range.Jazzscene – CD review

 

“A “Alma Brasileira” the first in a planned series of four discs, presents a range of styles and moods, from the lyrical beauty of the early bossa nova, “Gente Humilde”, to hard-edged Afro-sambas. Muro’s mastery of and passion for the music rings in every note.
Muro illustrates on ” Choro Tipico,” with its undulating rhythm and catchy melody that the guitarist articulates with precision and expressive timing. The best Brazilian popular music also requires the ability to improvise, and Muro pounces on that aspect of Powell’s “Afro-Brazilian Suite,” where improvised lines ride forceful polyrhythms over dark minor chords. This new CD is just a snapshot of the Brazilian music Muro plans to present. It’s refreshing and vital. Bring us more.Lynn Darroch, Oregonian A&E

 

“You have demonstrated that the saying “the guitar is a small orchestra” is not true . . . with you is a “great orchestra”Sergio Natali, Argentinian composer

 

“The Peruvian guitarist is an elegant interpreter of musica Latina and even counts Jose Feliciano and Pope John Paul II as fans. From Jobim to Rodrigo, Paco de Lucia to Atahualpa Yupanqui, Muro plays the melodies of his heritage with heart, fire and exquisite taste.”Expreso, Lima-Perú

 

“In July the music performance of Alfredo Muro Latin Ensemble, had a great successful. The concert “Una noche de cuerdas ritmicas” sold out. The audience was very enthusiastic enjoying the melodies that were interpreted with great virtuosity and talent”
Centro Cultural Peruano Norteamericano

 

“Sometimes there can be too much of a good thing. Guitar virtuoso Alfredo Muro’s concert dubbed three Hundred Years of Guitar Music; more than satisfied that definition: Starting at 8 pm., the music didn’t let up until around 10:30, and it may have continued after I absolutely had to leave the Rose City Park United Church. That said, if your derriere had to suffer, at least your ears were content, because Muro, peruvian born former child prodigy, is a spectacular technician. His style is one of being intriguingly enigmatic without any loss of clarity, with lots of well-spun inner voices, well-defined outer ones, and a wild palette of tonal and textural colors. He was ably assisted by guest performers- the splendid guitarist Mariano de Orbegoso, flutist Becca Barlow, Bernardo Gomez on acoustic bass and percussionist Otto Gygax along with the Tikhonova String Quartet, vocalist Connie Bieberach, who offered the songs Modinha (by Antonio Carlos Jobim) and the tango Sur (by Homero Manzi) with plenty of throaty, gypsy passion, was more than a match for the church and its grudging soundscape.”Willamette Week (Grant Menzies)

 

“World-style guitar: Guitarist Alfredo Muro exhibits his intricate technique and original compositions, which have taken him all over the globe. Muro gave up a law practice in Lima, Peru, and moved to the Pacific Northwest to pursue a life of music – an excellent choice, as anyone who has heard his fluid, impassioned guitar style will affirm.” The Oregonian

 

“Alfredo Muro is a virtuoso on guitar. He creates a unique symbiosis with his harmony and this sound touches the deepest heart.”In Town Magazine

 

“Alfredo Muro is magnificent on guitar.”KVMR 99.3 FM Nevada City

 

“Alfredo Muro’s guitar provides surging rhythm, melodic counterpoint and sometimes simply a sweet touch…”Chori Santiago, San Francisco Bay Area Critic

 

“Mr. Muro’s brilliant playing demonstrated his obvious love of music with the passion and virtuosity…..He dazzle the audience with his musianship..”Paul Johnson, Kaul Auditorium Reed College

 

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