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epa Junkera became a professional musician in 1983 when he joined Oskorri, one of the most renowned folk groups in the Basque Country. His liaison with Oskorri marked the starting point of an intense musi- cal collaboration, fusing jazz with traditional Basque instruments. Junkera appeared on the group’s albums as well as playing as a guest performer on concert tours. In those years he developed himself as a composer as well as performer. His first orig- inal tunes were recorded in 1988 on the album entitled Kepa, Zabaleta Eta Motriku. In the early ’90s Junkera blended jazz with traditional Basque dance music and began to get a reputation as an innovator in the genre. In 1990 he won an award in Madrid for the best young contemporary folk artist and by the age of 30, he was already a legend in the Basque music scene.
K Asked about what makes Basque music so special he replies that
“We are part of the main European music current, but we have sev- eral peculiar, unique instruments. For example the txalaparta, a per- cussion instrument, that can be made of wood, stones or tubes. Then there is the trikitixa, an accordeon with central European origins and in my case with Italian influences, and there is the alboka, a unique Basque wind instrument made out of two ram’s horns. We also have typical Basque dances and we speak the Euskera language. So, in some ways, the Basques are different but there are also many simi- larities with European culture, we don’t live outside this world. For instance there are similarities between Basque melodies and those from the Catalan Pyrenees, Cantabria and Asturias.”
With the release of the double CD Bilbao 00.00 (Bilbao Zero
Hour), released in 1999, Junkera’s star started rising fast in world music circles. With its international cast and wide range of styles, this album stands out as one of Junkera’s best recordings. On the follow up Maren (2002) Junkera fused Basque, Caribbean, Malagasy and other styles in a musical tribute to the Urdaibai region of Bizkaia, Basque Country. In 1992, he created Trans-Europe Diatonic, a special diatonic accordeon trio project with the English accordeon and melodeon player John Kirkpatrick and the Italian accordeon master Riccardo Tesi. Junkera also performedwith The Chieftains, German accordeon player/composer Andreas Vollenweider, Brazilian super- star Caetano Veloso and jazz guitarist Pat Metheny. In the late 1990s, he realised a long-held dream of uniting his instrument with a sym- phony orchestra, creating a well-received collaboration with the Bil- bao Symphony Orchestra.
“I like all the projects I have been involved in, I couldn’t choose one I like the most. Looking back at all those collaborations it feels like a dream, an incredible journey. My career itself is already some- thing very special. I was very lucky to work with all of these incredi- ble artists. I have learnt a lot from them.”
With numerous innovative cross-border collaborations and nine- teen albums recorded under his own name, Kepa Junkera’s discogra- phy is a true reflection of his extensive musical career. In 2013 he released the double CD Galiza, a full exploration of the music of Galicia through a collaboration with about 200 musicians, including Uxia, Budiño and Luar na Lubre.
To mark his 35th anniversary as professional musician the album
Trikitixaren Historia Txiki Bat was released in 2014. This brief history of the trikitixa, concertina and melodeon was presented in a magnif- icent illustrated, richly annotated 144-page booklet plus CD. Then on his most recent CD release Maletak (2016) Junkera presents a musical journey through Galicia, Aragon, Catalonia, Basque Country and Castile. Just as on Trikitixaren Historia Txiki Bat, Junkera is accompa- nied by Sorginak, a young female septet of percussionists, singers and dancers, who sing beautiful monophonic melodies. A host of guest musicians, including the Spanish folk musician Eliseo Parra, contributed to this wonderful album full of musical passion from sev- eral Spanish regions. The CD was released in a 24-page book with stunning photographs and maps. Inspiration for Maletak came from Junkera’s old accordeon carrying cases, which he kept and according to him have rich stories to tell.
“I’m so glad I kept the Triki carrying cases. I had stored them in the attic but they have acquired a special meaning for this project. They inspire me and tell me stories that only they know. The carrying cases are the first to travel, they store the excitement generated right before you open them and discover what they contain, the essence of my days, the sonic reason for my travels, the worn nomad instrument waiting impatiently for its best moment.”
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