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Jose Ignácio Hernandez and Amália Chueca together with Basonist Miguel Ángel Pimentel and percussionist Julio Pérez, have formed a new jazz ensemble, SOV Quartet (Sense of Values Quartet). 

Their latest album ATMOSPHERE received a rare review from Panorama Jazz, the most prestigious on-line review of jazz in France:  http://www.youtube.com/watch?v=u_zlHT92zWc

Pianist Josè Ignacio Hernández was born in Granada, Spain in 1963. His interest in music began at a very early age but it really took off in 1979 when he started studying improvisational music while earning a Mathematics degree from the University of Granada. After his graduation, he continued collaborating with the Musicology Department doing research on musical improvisation. In the eighties, he began studying with respected pianists such as Gary Lacy, Melker Isaaksoon and Edward Simon among others.

He continued to study and improve his piano skills, adding jazz to his repertoire, participating in different master classes with musicians like Barry Harris, Arturo O´Farril, and David Kikoski. Despite his years of study, he discovered the real essence of jazz music in New York City. There he was able to study with famous pianist Bruce Barth and again meet with Jazz legend Barry Harris.

During his continual search for musical knowledge, he has given back to arts in several other ways. He has worked in innumerable silent movies as a pianist and composer, affording him the chance to have his own plays produced. He has become a regular performer in venues all over Spain. In addition, he has given master classes to aspiring pianists throughout Spain. He has two records with the DubidudiBand – a singular group lead by saxophonist Paul Stocker. Currently, he is working with his own trio, José Ignacio Marula. In its quartet version, the group, called Sense of Values, is accompanied by brilliant cellist, Amalia Chueca.

Amalia Chueca was born in Granada, Spain in 1973. She has a Degree in Musicology by Granada University, studying Contemporary Solo Cello music repertoire and completing the Master Degree (Dea-Advanced Studies Diploma). Also, she finished her degree in cello at the Real Conservatory Superior de Música “Victoria Eugenia” in Granada .
Her interest also includes Composition and Music Technology research. Furthermore, Amalia has been studying Flamenco in different fields like dance, pedagogy or performance, creating arrangements with the cello. Through computer programs, she has been working with image and dance, arranging music for different events.
As a performer she has been developing different kind of music. In classic performanceee, she has been playing with the Orchestra de la Academie Europeene de Musique, lead by J. Dobrzelewski and the Orquesta del Conservatorio Superior de Granada.
Recently, she has been living in New York, focusing in Jazz improvisation. There, Amalia has attended Master Classes and Workshops conducted by musicians such as Barry Harris, Akua Dixon, Bruce Barth, John Blake, Dana Leon, Jeff Holmes and Charles Chip Jackson. She has taken part in “Jazz in July. Summer music programs” in the Massachusetts University in Amherst or with Karl Berger Workshop.
As performer in Jazz music, she has been playing in the Berger’s Stone Workshop Orchestra, in the Harlem School of the Arts Orchestra and in the “Jazz in July” Big Band in the Massachusetts University lead by Jeff Holmes. Also, she has played with John Ehlis Ensemble in New York and New Jersey with different musicians such as Thomas Heberer, David Perrott, Brian Melick, Rob Henke, Eric Halvorson, Matt MacDonald, Alex Weiss, Chris White and Eloisa Manera.
Hailing from Granada, Spain, Amalia is a member of saxophonist Paul Stocker Dubidubi Jazz Band. She plays too, with the Ensemble Sense of Values with the pianist Jose Ignacio Hernández, Miguel Angel Pimentel and Julio Pérez. Nowadays, Amalia is preparing a recording with Sense of Values and another with her own compositions inspired in images.

Improvisación e imagen

La improvisación aplicada a la imagen pide al compositor un estudio previo del film o la escena. Esto provoca un nuevo contexto desde el punto de vista improvisatorio. Tras visualizar la escena, el corto, el anuncio publicitario, etc, el futuro interprete compone y crea unas frases musicales y/o estructuras armónicas o temas que se “acortaran o alargaran dependiendo de lo que dure la escena”, y sobre las que el interprete improvisa, añadiéndoles, interludios, matices, codas, etc en función de la escena y el contexto. En este caso la partitura es la imagen y la composición está supeditada a lo que el director de la escena nos muestra.

En el caso de escenas de carácter abstracto, limitadas por una secuencia fílmica determinada, el músico o los músicos poseen mayor libertad. Esto es, la partitura, la imagen tiene un amplio abanico de significados. En este sentido el músico puede huir de los convencionalismos del lenguaje musical narrativo.

Improvisation and image

Improvisation as applied to images demands that the composer study the film or scene beforehand. From the point of view of the improvisor this creates a new context. After visualizing the scene belonging to the movie, the clip, the commercial,etc, the interpreter creates musical phrases and/or harmonic structures or themes that are controlled by the timing of the scene.

Using the pre-composed ideas, the improvisor creates interludes, codas, and musical expression that functions with the scene and the context. In this case, the score is the image and the music is suberdinate to what the director wants in the scene.


Se puede decir que la improvisación es una forma de creación y organización espontánea donde los participantes interactúan accionando un conjunto de instrumentos, y donde gran parte del juego es evitar hacer referencias o repetir patrones conocidos. Pero no todo es espontaneidad e innovación, también existen reglas muy especificas para improvisar. Tomando en cuenta que en la improvisación el cambio es constante, se aplican ciertas reglas que permitan a los miembros interactuar de formas inesperadas. La idea es establecer criterios que faciliten una interacción donde el saber escuchar cobre una relevancia mayor, y donde la interacción misma se convierta en una composición viva y mutante.

Frederic Rzewski (virtuoso pianista y compositor) cuenta una anécdota que tuvo con el saxofonista Steve Lacy. En 1968 me encontré por casualidad con Steve Lacy en una calle de Roma. Saqué un pequeño magnetófono y le pedí que me dijera en 15 segundos la diferencia entre composición e improvisación. Me respondió: ‘La diferencia entre la composición y la improvisación es que en la composición dispones de todo el tiempo necesario para decidir qué decir en 15 segundos, mientras que en la improvisación sólo tienes 15 segundos’. Su respuesta duró exactamente 15 segundos y es la mejor explicación que conozco sobre esta diferencia.

La improvisación musical es el arte de crear y ejecutar música que previamente no ha sido escrita y que surge de manera espontánea a través de una serie de material. Podríamos decir que es una composición en tiempo real. Les Wise dice: “Es reorganización espontánea”.


It could be said that improvisation is a form of spontaneous creation in which performers interact, and in which a major part of the game is to avoid reference to and repetition of known patterns. But improvisation is not entirely spontaneity and innovation, there are also specific rules for improvising. Taking into account that in improvisation change is constant, one applies rules which permit its performers to interact in unexpected ways. The idea is to establish criteria which facilitate an interaction in which knowing how to listen plays a major part, and in which the interaction itself becomes a living and evolving composition.
Frederic Rzewski (virtuoso pianist and composer) tells an anecdote that happened with saxophonist Steve Lacy: In 1968 by chance I ran into Steve Lacy in a street in Rome. I took out a small tape recorder and asked him to explain in 15 seconds the difference between composition and improvisation. He answered, ” The difference between composition and improvisation is that in composition you take all the time you need to decide what to say in 15 seconds, whereas in improvisation you only have 15 seconds.” His reply lasted exactly 15 seconds and is the best explanation that I know concerning the difference.

Musical improvisation is the art of spontaneously creating and performing music that is not written down but which has a point of departure. One could say that it is composition in real time. Les Wise says, “It is spontaneous reorganization”.


Dubi Dubi Band

Dubi dubi Band 2

Dubi Dubi Band lejos

Dubi Dubi Band lejos 2

Musician José Ignacio Hernández returns sound to silent movies

The Museum House Angel Ganivet welcomes a cycle of performances dedicated to the origins of cinematography
Juan Jesús Garcia

Granada. For the fourth consecutive season at The Museum House Angel Ganivet a miracle occurs in which silent movies speak, in which music composed and interpreted by pianist José Ignacio Hernández gives a sonic life to images born without sound, in which they have the same form but are improvised each night by a musician. With the month of November have come, not only jazz and the first labels anticipating Christmas (that certainly already have a spot in some warehouse) but also this experience that started at the University and is now sponsored by the City Cultural Bureau has been a marked success, even if the majority of attendees were of a public needing novel experiences, something different from the usual fare. The fourth season cycle entitled "The Permanent History of Silent Film" showed in various stages an extensive tour of the 30 year history of this primitive modality of cinematography. One could see/look at a series of silent works with such artistic maturity that, as director Fred Zinneman says, permit one to explore the most subtle feelings, of problems and of reactions, without the necessity of sound.The principle objective of the exhibition organized by the Cultural Bureau is the continuing programming of silent movies, but also of the restoration of a pure aesthetic, which is the showing of the films with live music, in such a manner that the viewer who wants to can experience this as it used to be, not in a sporadic way, but rather as an activity that one can enjoy frequently. The programming this month began with "A Strong Man" and followed this Thursday with the showing of the Columbian picture "Golden Claws" (1926).

On Thursday the 17th the same José Ignacio Hernández, well-known jazz pianist (These days you can also here him with groups like the Dubi Dubi Orchestra) takes on the extinct trade of cinema pianist, and on Thursday the 24th returns with films of China City from 1934 "The Goddess". All of these activities are free and begin at 8:00 PM.josearticulo



josesolopic.gif Josè Ignacio Hernández

Spanish improvisational pianist Josè Ignacio Hernández, born in Granada, discovered the real essence of jazz music in New York City, where he studied with Jazz legend Barry Harris. He has made a specialty of working with silent movies and has performed throughout Spain, often accompanied by brilliant cellist, Amalia Chueca.


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