Almost everything has been internal therapy and, now yes, listen to classical music upon your arrival at home. But it says “otherwise.” In addition to its “grandchildren”, the album has had the collaboration of Iñaki Salvador, Hasier Oleaga and Javier Mayor and has the collaboration of Amaia Zubiria, Mikel Andueza, Baptiste Techer and others.

Since he was young he has lived in a musical environment, his father is Tireless “Canario” of the Txaranga and his mother Margari is a pianist and professor of solfeo. Both musicians.

I learned all the solfège with my mother. And violin with Eduardo Lassaletta. He was a warm man who had approached the violin with affection. At that time our house was a small academy, always full of students, bells, children, parents, music, piano, singing... And with my father's charanga, what to say, I went crazy. He played his records with the violin over and over again, gave so good to the sound of the charanga...

But at the Professional Degree Conservatory you had a different experience, although you finished your studies...

Yes, I ended up very harshly, because there you couldn't play with music, because you work with an old-fashioned system. When I finished, I put the violin under the bed to take the dust. I ended up saturated and went to college to study psychology.

You have also dedicated a song to this atmosphere of the Conservatory. Starting with a Chopin Night and ending with a Brazilian Bossa-nova, much happier. Cataract?

I had doubts that this song would enter the album, but so many have told me that it feels identified... that it is a music game, that what we are doing is not “so important”, that if we do it badly we can pull here or there and evolve, that is, we have to allow ourselves to do bad to do good. These are all values that I've worked on later with jazz.

I've caught my attention and I've been delighted to read this on the record: “Thanks to those who supply Koldo Mitxelena Kulturunea’s phonolibrary, where I dreamt for the first time that I was a singer.”

I went crazy when I saw it, that record filled space! Many times he left a Conservatory school for going there. He would take records, and the truth is, he would always end up around jazz. Dark aesthetics, black faces, blues ... I had been completely trapped! There I started listening to jazz singers.

Later I began studying modern harmony with Iñaki Salvador. So they started organizing the Zarautz Jazz Seminars and the singer Sheila Jordan, and it marked me. At that time, the Musikene Jazz Department was going to be installed, and that's where I started. I realized it was my site. There everything was light, illusion, wonderful companions, close ones, referent teachers in the world, everything was like a dream.

And after Musikene?

A great abyss, the truth. When you see that we have problems with the degree to go out and enter the lists of teaching, when you see that the performances are also very scarce... Well, the knot is beautiful. It's been hard years.

Scat is the name of your album...

Scat is an improvisation with the voice that is made in jazz. Intercaling syllables with no defined meaning.

To improvise at your speed, what do you do?

Domestic work is done as with instruments. I work a lot of time with piano. I work harmony and I learn from memory. And in a first lap, I try to improvise “hearing,” without thinking rationally too much, in the most natural way possible. Next, I do a deep work of harmony and scales, I pass through the sieve of rationality, looking for new opportunities, interesting “tensions”. In the song we have a limit, we cannot sing what we do not “hear” inside. So I look for new opportunities for that harmony, and then I try to turn it into my resource. In order to use it suddenly in the concert. In the concert there is no time to think about the notes.

I am led by the improvisation and preparation work of the bertsolaris.

Yes, in jazz there are also those who play with the texts, but many times it is a word, a phrase, a brush. At Ella Fitzgerald there's a recording of Mack the Knife's live performance in Berlin, where he forgot the letter and suddenly improvised it, became famous, has become historic. In the blues, the letters are also improvised. So, there are things like Bertsolarism in jazz.

I've read you saying that your album is with jazz etiquette, almost with a point of anger. Why?

Ha ha ha! It's not anger, but it's something done on purpose. I’m sick of hearing “I wouldn’t tag my music.” Ironically, I say that we have reached a point where we do not want to show our misery and congratulations, and that we find it difficult to say “I am like that”, with our virtues and deficiencies, but “such”. We are. My statement is prior to this snob attitude.

The picture on the disc is very much about Billie Holliday's aesthetic, right? Red flower on the head and dark, red, black... But he was wearing a little pajarita suit and a men's suit.

Yes, on the one hand there is the flower because I wanted to put it on that label; and on the other, because I carry things like that many times. And the men's suit, because I'm bored with the topic of the "sexy singer," women, men, jazzman, jazzwoman, they're both inside of me. The flower as the topic of woman, man pajarita... I'm a jazz musician, and my instrument is the voice. There is no more.

What are you going to do from now on?

We will do performances with the album: on December 9 at the Victoria Eugenia Theatre, I will also be with the Bilbao Band in the Euskalduna on December 20 and I am in the theater with the Cyrano play in New Orleans. In addition, I am in the Eskamak kentzen series, which will be released in January in ETB and in eitb.eus. Non-stop!