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I have listened Retro-Garde with pleasure and admiration.
It is the manifestation of a great pianist who, at the same time, is an integral musician: imaginative, sincere, original and who has decided to be “free”, with all that that implies. 


José Luis García del Busto (music critic and Academician of the San Fernando Royal Academy of Fine Arts )

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Retro-Garde is a work where I explore composition in real time through 22 improvisations for solo piano.
Conceptually and formally, the works on this album adopt recognizable musical parameters, materializing them in a fluid and fresh musical discourse.
In this album, my attitude towards contemporaneity is not one of veneration, but of generalized disobedience, where some transgressive actions are reflected.
Retro-Garde seeks to infuse other points of view and contexts of avant-garde traditions; as a kind of "New Great Story", which does not obey any theoretical and analytical effort, but rather the unexpected effect of the music performed "in situ".
In Retro-Garde I pretend that everything is interconnected, configuring a fluctuating and diffuse magma, but impregnably totalizing.

Tito García González


Retro-Garde in Diario SUR

Retro-Garde in Cadena SER

Retro-Garde in CN Televisión

Retro-Garde in Melómano Digital

One of the interests that this album presents is the aesthetic sound result of what the protagonist (if the composer creates and the interpreter recreates, here is only one) records at the moment, if it is live (supposedly not edited ). (...) We imagine that immediacy is the result of many moments and many previous improvisations, without diminishing the fluidity or freshness of the product, fully digital, virtual (...), recommended for being brave and coherent.


Antonio Soria

(MELÓMANO Magazine / Section: Recommended Albums)

If we start from the premise that music is always the stylization of an idea, it may well be concluded that Retro-Garde is an album, unique in its genre, which, in many ways, supposes the distortion of an idea.


Through 22 compositions of different musical invoices that range from the impetuous pianistic outburst to compositional surrender and from the European Sturm und Drang to the sweetest harmonies of the Brooklyn Jazz Club, Tito García González explores sizzling compositional forms of momentum, decision, and creative discovery, formally and conceptually, making only the just and necessary concessions to conventional and apprehensible musical parameters, which show a whole cornucopia of valid references ascribed to innumerable influences, most of them sieved by the iconoclasm of the composer.


The result is materialized in plastic music that can not only be felt, but also contemplated, smelled and felt, and that is articulated in an integral discourse, fluid as well as suggestive and multivortial. Through these 22 volcanic gushings of chromatic expressiveness, these 22 musical photographs, these 22 musicalized situational stories, or these 22 impromptus, or these 22 how-to-want-to-catalog, Tito García González orbits around a protein nucleus from which images from the deepest chasms of consciousness and unconsciousness are evoked.


Retro-Garde is a concept and adult album that invites us to establish the often reviled dialogue with our own self (the only truly eternal thing we know), reminding ourselves that we can hide from everything and everyone, but not from ourselves.

Lázara Blázquez Noeno 

(Freelance writer) )






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