Why We Retrieve This Conversation
At Psiconáutica, we explore altered states of consciousness across all dimensions, not merely those triggered pharmacologically. Live music—sustained groove, rhythmic entrainment, the somatic synchronization of body and pulse—represents one of humanity’s oldest modalities for shifting perceptions of self and duration. For this reason, we revisit this archival interview with Groove 3, an Albacete jazz trio who released their debut record around 2009. Originally published within a regional countercultural publication, we present it here reframed through our editorial lens, stripped of promotional commercialism.
Who Were Groove 3
Three young Spanish musicians from Albacete—Juan Sánchez (drums and percussion), Julio Guillén (keyboards), and Jorge Cubillana (electric guitar)—founded an eclectic jazz project in early 2006: modern jazz imbued with boogaloo, bossa nova, and above all, the iconic sound of the classic Hammond trio format of the 1960s and 1970s. By late 2006, they were touring regionally, delivering opening sets across six consecutive evenings at the Albacete International Jazz Festival for masters including Chano Domínguez, Marcus Miller, and Medeski, Martin & Wood. In June 2008, they won the Alberto Cano Memorial award, funding their debut album recording and a national tour.
That album, Trionometría—a playful portmanteau of “trio” and “trigonometry”—assembled eleven tracks blending modern standards, original compositions, and Latin melodies, featuring guest contributions from musicians including Vania Cuenca, Marcos Atencia, Marta Folqués, and Gabriel López.
A Bassless Trio: The Left Hand as Rhythmic Anchor
The trio’s defining feature was the total absence of an electric or acoustic bass. Not out of disdain for the instrument, they clarified, but by architectural design: low-end duties were driven entirely by the keyboardist’s left hand, honoring the rich tradition of the Hammond B3 organ. “Warmth, punch, two independent hands… and dozens of heavy kilograms to lug up and down venue stairs,” they summarized with laughter when asked to describe their sound. The musical choice was far from trivial: removing a bassist demands vigilant interpersonal listening and steady dynamic pulse—the very engine of groove.
Reflecting on lessons learned while supporting master headliners, they emphasized qualities transcending technical chops: “stage presence, craftsmanship, deep respect for the audience, humility.” Asked how their ensemble formed, they offered an answer capturing their spirit: “a pursued coincidence; we were seeking each other without knowing it, until we finally met.”
Reinterpreting a Classic: “Dos Gardenias”
Among the record’s highlights was an instrumental reimagining of “Dos Gardenias,” the iconic bolero immortalized in Latin music. They explained that while considering North American funk numbers from the 1960s and 1970s, playing this traditional melody in rehearsal caused them to fall instantly in love with its expressive resonance. The choice reflects their ethos: their repertoire was crafted not through intellectual calculation, but through intuitive somatic feeling during live rehearsal.
Albacete and an Awakening Scene
When asked regarding the musical health of their home city, they remained pragmatic: a small provincial town lacking specialized live rooms, yet populated by an active grassroots community where local artists could influence cultural initiatives. Within regional jazz, they witnessed an encouraging awakening of eclectic ensembles. Their aspirations for 2009 were straightforward: tour the record and bring their music to as many listeners as possible. The artistic circle is complete, they noted, when listeners truly engage and connect with the performance.
Music and Altered Perception
The original questionnaire included an inquiry regarding cannabis and musical creation. The group’s response was measured and insightful: they denied direct chemical influence on their composition, yet acknowledged “a subtle parallel regarding the perceptual effect we aim to induce in listeners.” That observation touches upon our core interest: not chemical consumption, but perceptual effect. Live music strives to modulate consciousness—grounding, elevating, and synchronizing minds—a transcendent outcome achieved independently of any external substance.
We must avoid romanticizing shortcuts. The notion that a substance inherently elevates creative or auditory acuity is a pervasive cultural myth: what typically alters is sensory attention and critical self-monitoring, not necessarily aesthetic excellence. The musicians underscored this when discussing their daily devotion—“we breathe music twenty-four hours a day”—without attributing their artistry to external crutches. The groove—that communal, shared trance within a live venue—is built upon disciplined technique, shared listening, and rhythmic precision, not smoky haze.
The Human Dimension: Records, Quirks, and Kebabs
The original exchange concluded with a rapid questionnaire that preserves an endearing human portrait. Among records that shaped them, they cited Jimi Hendrix’s Are You Experienced? and Peter Bernstein’s Earth Tones (Jorge); Miles Davis’s Kind of Blue and anything by Soulive (Julio); alongside Michael Jackson’s Bad and the Red Hot Chili Peppers’ Blood Sugar Sex Magik (Juan). Their favorite moment of the day: “whenever we hold our instruments.” Their guilty pleasure: late-night kebabs. Their domestic quirks: meticulously polishing guitars before and after sessions, general orderliness, and obsessively shutting the microwave door.
They shared a favored lyric by songwriter Quique González: “I am a musician on watch, from cradle to grave, standing like a streetlight north of my doubts.”
Critical Appraisal
This article represents an archival profile—a historical interview reedited for educational reflection, not an empirical study. Statements regarding sound, rhythm, and perception reflect editorial reflections and the musicians’ personal testimony, not clinical trials. Those interested in the relationship between rhythm, auditory stimuli, and non-ordinary states of awareness should consult academic literature on cognitive musicology and neuroscience, viewing claims that substances magically unlock creativity with healthy skepticism. The driving groove of an organ jazz trio remains a compelling reminder that human awareness can be profoundly transported through nothing more than two hands, a resonant organ, and attentive listening.
