Mário Laginha is not the man with the seven instruments, because his instrument is the piano, but the pianist likes to navigate the many sound worlds that make the planet music. Just take a look at the records he recorded with the singer Maria João, marked by the language of jazz, but where influences ranging from Portuguese and classical music (especially in the solo album “Canções e Fugas”), to Anglo-Saxon pop or Brazilian and African music, to realize that we are facing a musician who does not like to be cataloged in watertight categories.
In the trio he has created with double-bassist Bernardo Moreira and drummer Alexandre Frazão, with whom he has recorded two albums so far, Mário Laginha maintains this taste for mixture, diversity and risk. In the case of “Space”, the starting point was more or less abstract concepts related to architecture, which served to create a set of themes with designations close to the language of architects and urban planners – “Tanto Espaço”, “Escada”, “ Plano ”,“ Vazio urbano ”- which resulted in an album immediately classified by the critics of the specialty as the best jazz ever made around here.
In Mário Laginha Trio’s second album, “Mongrel”, the pianist took the challenge and the risk even further. The pretext for the album, born of an order from São Luiz Teatro Municipal and the Metropolitan Orchestra of Lisbon, was the work of Fréderic Chopin, a risky undertaking that Laginha took with a mixture of respect for the great Polish musician and freedom to break bars, times and melodies, creating a transfiguration of the original works, which became themes that indisputably fit into the creative world of Mário Laginha.