Fusing the ceremonial grandeur, cosmic time perception, and nature philosophy of the ancient Aztec civilization with the free improvisation forms of ancient fusion jazz, Sun Stone Fusion is a mystical studio manifesto that transcends sound. The group does not perform their music to exhibit it to the outside world, but rather to capture the rhythmic cycles of the sky and nature under the torchlight atop the temples of Tenochtitlan. The core philosophy of the project is to re-blend the ancient ritualistic melodies of Mesoamerica with the modal freedom of Ancient fusion jazz. The heart and rhythmic backbone of the music are formed by Yolotl’s warm and rational chords, which map the geometry of temple architecture onto the guitar fretboard. This powerful foundation is accompanied by the extraordinary saxophone-like fluidity that Quetzalli grants to the double bass, breathing the freedom of the sky into traditional bass lines. Itzli’s stripped-back, minimalist touches, brought to life on the wooden blocks of the xylophone and the piano keys, infuse jazz with a new "swing" feel through the flawless rationality of a master stonemason. Upon this harmonic balance, the hypnotic and misty percussion foundation woven by Tochtli with maracas and drums makes time fluid, resembling the flow of an hourglass. At the uppermost layer, the rule-defying, free improvisations rising from Itzcoatl’s flute completely shatter the boundaries of logic, transporting the listener into a meditative dreamworld deep within the rainforests. Rather than an artificial stage performance, Sun Stone Fusion is a flawless studio recording manifesto of a fictional ancient era captured with today's technology. It offers an Ancient Fusion Jazz experience that is as fluid as the cycle of the sun, yet as unshakeable as sacred stones.
She was a priestess who used to greet the sunrise and sunset with stringed instruments in the highest temples of Tenochtitlan. True to her name, she is the "heart" and rhythmic backbone of the group. She maps the cyclical movements of nature and the geometry of temple architecture onto the guitar fretboard. Her chord progressions establish a warm, rational foundation that flawlessly fuses Ancient fusion jazz's harmonic structure with the mystical melodies of the Aztecs.
She was a nature observer raised by listening to the sounds of the wind and sacred water springs deep within the valley. Named after the Quetzal bird, renowned for the beauty of its plumage, she transcends the boundaries of traditional instruments by granting the double bass a saxophone-like fluidity and tone. Her deep, striking, yet remarkably flexible bass lines infuse the music with the freedom of the sky.
He was a forest philosopher who chased the sounds made by the wind passing through tree trunks in the untouched depths of the rainforests. He blends the ancient tones produced by clay and wooden flutes with the rule-defying, free-improvisation techniques of modern jazz. With a misty, unsettling, and mysterious breath drifting across the upper layers of the music, he drags the listener beyond the boundaries of logic into a meditative dreamworld.
She descended from a lineage of palace artisans who worked with sacred minerals and obsidian stones in the temples. Every strike she lands on the wooden blocks of the xylophone and the keys of the piano carries the flawless rationality of a master stonemason. Applying a minimalist, Stoic approach stripped of the superfluous, she redefines the familiar "swing" feel of jazz through the woody timbres of the xylophone and precise piano chords.
He was the chief overseer of ancient rhythmic ceremonies that tracked lunar cycles and the movements of the stars. Instead of using harsh, sharp impacts, he builds the rhythm upon a misty, warm, and fluid foundation shaped by maracas, drums, and rattles. By creating a time cycle as hypnotic and calm as the flow of an hourglass, he unshakeably balances the group's mystical studio atmosphere.