Horizon Sunset
Release Date: May 12, 2017
Catalog #: Standard Edition BR8947
Catalog #: Deluxe Edition BR8948
Format: Digital & Physical
21st Century
Big Band

Horizon Sunset


Big Round Records presents HORIZON SUNSET, the debut record from international music collective #Bloomerangs. The group’s 22 participating musicians – hailing from the United States, Uruguay, Argentina and Spain– all blend their musical backgrounds on the album, which composer and producer Rodrigo Cotelo described as an “ode to endings that lead to new beginnings” to further expand #Bloomerangs vision of “integrating different cultures and sounds as an expression vehicle to a common universal language through music.”

In this vein, HORIZON SUNSET transcends limits of the imagination, searching for new vistas in a modern global world. The album candidly displays this approach, as it features a diverse array of sounds and instruments, often with several guest artists playing with the set of featured musicians of the album. These sounds range from the banjo of the smaller quartet in Pluralize-It to the accordion in the larger ensemble in Man B and the harmonica in It Shall Pass…

True to #Bloomerangs interests, HORIZON SUNSET also combines several genre elements – from jazzy big band ensemble in Low Ride to funky bass grooves in Pensive and Ten and Nine to an upbeat rock approach in Holly Molly. The instrumental foundations never sound fragmented from each other; the album’s many different sounds blend together to form a seamless, original voice to reflect the vision of #Bloomerangs.


Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 Pluralize-It (Pluralízalo) Rodrigo Cotelo & Marco Messina Tato Bolognini, drums; Ramiro Flores, soprano sax; Marco Messina, fretless bass & ambience sounds FX; Rodrigo Cotelo, banjo & percussion 1:51
02 Pensive (Pensante) Rodrigo Cotelo Martin Gaviglio, drums; Marco Messina, bass & synth bass; Ramiro Flores, soprano & tenor sax; Miguel Leal, flugelhorn; Ignacio Labrada, keyboards; Federico Blois, percussion; Chris Parker, trombone; Rodrigo Cotelo, guitars 4:59
03 On a Trip (De Viaje) Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass; Alfredo Monetti, piano; Matías Arriola, sequences; Ramiro Flores, soprano & tenor sax; Daniel Zehringer, trumpet; Chris Parker, euphonium & trombone; Rodrigo Cotelo, guitars, percussion & drum programming 4:30
04 Low Ride Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass & synth bass; Alfredo Monetti, piano; Ramiro Flores, alto & tenor sax; Daniel Zehringer, trumpet; Jeff Parker, trumpet; Chris Parker, trombone; Rodrigo Cotelo, guitars & scratch 5:46
05 Man B Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass; Rodrigo G Pahlen, piano; Hernan Romero, spanish guitar; Mauricio Trobo, hand percussion; Todd Hildreth, accordion; Luis Ravizza, percussion; Rodrigo Cotelo, guitar & percussion 5:20
06 It Shall Pass…(Todo Pasa) Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass & fretless bass; Ramiro Flores, soprano & tenor sax; Daniel Zehringer, trumpet; Jeff Parker, trumpet; Chris Parker, snare drum, cymbals & euphonium; Rodrigo G Pahlen, harmonica; Juan Rodriguez, violoncello; Manuel Contrera, keyboards; Rodrigo Cotelo, guitars, percussion & candombe drums 4:11
07 Ten and Nine (Diez y Nueve) Rodrigo Cotelo & Marco Messina Tato Bolognini, drums; Marco Messina, bass; Ignacio Labrada, keyboards; Ramiro Flores, soprano & tenor sax; Daniel Zehringer, trumpet; Chris Parker, trombone; Rodrigo Cotelo, guitars & percussion 6:03
08 Ours (Nuestro) Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, double bass; Ramiro Flores, alto sax; Maximiliano Nathan, vibraphone; Rodrigo Cotelo, guitar 4:56
09 Young Dads Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass; Ignacio Labrada, piano; Rodrigo Cotelo, guitar 7:57
10 Eden Pine Trees (Pinos Del Edén) Rodrigo Cotelo & Luis Ravizza Tato Bolognini, drums; Marco Messina, bass; Alfredo Monetti, piano; Ramiro Flores, soprano & tenor sax; Daniel Zehringer, trumpet; Chris Parker, trombone & euphonium; Luis Ravizza, vocals & percussion; Rodrigo Cotelo, guitars & percussion 4:27
11 Purple Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass; Matías Arriola, keyboards; Ramiro Flores, soprano & tenor sax; Daniel Zehringer, trumpet; Chris Parker, trombone; Matías Arriola, keyboards; Rodrigo G Pahlen, harmonica; Todd Hildreth, synthesizer; Rodrigo Cotelo, guitars, percussion & candombe drums 4:06
12 Holly Molly Rodrigo Cotelo Tato Bolognini, drums; Marco Messina, bass; Alfredo Monetti, piano; Daniel Zehringer, trumpet; Chris Parker, trombone & euphonium; Mauricio Trobo, keyboards; Martin Berloto, guitar; Rodrigo Cotelo, guitars, percussion & drum programming 3:55
Additional tracks available in deluxe version of album (digital only)
13 Blooming Tone Rodrigo Cotelo Tato Bolognini, drums; Marco Messina bass, Matías Arriola, keyboards; Ramiro Flores, alto and tenor sax; Daniel Zehringer, trumpet; Chris Parker, trombone; Martin Berloto, guitar; Rodrigo Cotelo, guitars, scat voice & percussion
14 Usual Suspects Rodrigo Cotelo & Diego Bustingorry Tato Bolognini, drums; Marco Messina, bass; Martin Berloto, guitar; Rodrigo Cotelo, guitar
15 Here and Now Rodrigo Cotelo, Fabrizio Rinaldi & Edgardo "Naik" Etchenique Marco Messina, bass; Mauricio Trobo, piano & scat voice; Ernesto Charbonnier, cavaquinho; Nicolas Galván, percussion; Ramiro Flores, tenor sax; Rodrigo Cotelo, guitar

Recorded 2015-2016 at Instru-Mental home & mobile studios by Rodrigo Cotelo & Marco Messina

Additional Location Recordings:
Matías Arriola, keyboards & sequences recorded at Projector Studio in Montevideo, Uruguay

Violoncellos recorded by Gerardo Alonso in Montevideo, Uruguay

Harmonicas & Piano on Man B recorded by Rodrigo G Pahlen at Grassot studios in Barcelona, Spain

Pensive & Eden Pine Trees saxophones recorded by Ramiro Flores in Buenos Aires, Argentina

Bass takes on Ours, miscellaneous percussion on Man B, Eden Pine Trees, and Eden Pine Trees vocals recorded at Berequetum by Luis Ravizza in Montevideo, Uruguay

Man B claps and Holly Molly keyboard solo recorded at MT studios by Mauricio Trobo in Maldonado, Uruguay

Spanish guitar recorded by Hernan Romero at Hernan Romero Productions Studio in Clifton, NJ, USA

Martin Berloto guitar on Holly Molly recorded by Martin Berloto at MB Electronica in Montevideo, Uruguay

Produced by Rodrigo Cotelo
Co-Produced by Marco Messina
Associate Producer Martin Berloto

Musical Direction & Arrangements Rodrigo Cotelo & Marco Messina

Edited by Rodrigo Cotelo and Marco Messina
Mixing Engineer Martin Berloto
Drum Doctor Leo Varga

Cover Art Michael Labrie

This music is dedicated to the families and friends of all musicians and parties that made the inspiration, creation, performing, recording, editing, mixing, mastering, graphic design among all the other layers of this album possible. You all played a part in this.

Additional thanks to Wright State University School of Music, Sara Diano, Ted Baldwin and Dale Sexton, Phillip Tau, Esteban Klísich, Ismael Viera, Germán Magallanes, Andrés Pigatto, Joseph Filipow, SUDEI, Brad Pickett and the Pickett family, the Parker family, Gonzalo Messina, Julio Berta, Gustavo Ruvertoni, Iñaki Marconi, Diego Soca, Marco Panascia, Susana Camiruaga, Fernando Amaral, Rob Esrock, Jake Jezioro and Clay Wulbrecht.

Executive Producer Bob Lord

Executive A&R Sam Renshaw
A&R Chris Robinson

Audio Director Jeff LeRoy
Mastering Lucas Paquette
Assistant Engineer Levi Brown

Art & Production Director Brett Picknell
Graphic Design Emily Roulo

Marketing Samantha Granville, John Higgins

Artist Information

Marco Messina

Co-Producer, Musical Direction, Electric, Fretless, Synth, & Double Bass

Marco Messina’s remarkable skills as a bass player are world class yet what makes him special is an uncharted sensibility to translate feelings into music that touches and moves you. Marco has studied among others with Federico Righi and Andres Rotmistrovsky in Uruguay and the United States, and is an accomplished session musician on countless genres. His leadership throughout the entire production process has been extraordinary. His arranging skills are at full display on this record and his honest musicality always makes you feel that he didn’t keep anything for himself on every level he contributes. This music would have never shaped as is without his time, love and skills put into it. We’re truly blessed to witness the blooming of an incredible talent recorded on HORIZON SUNSET.

Daniel Zehringer


Dr. Daniel Lee Zehringer is the head of the Trumpet program at Wright State University. Dan’s beautiful sound and refined interpretation sensibility brought new light to HORIZON SUNSET and on top of his worldly artistry in the instrument, he is an even better person to be around. I am grateful and incredibly blessed to have Dan’s performance be part of the recording of these compositions. Dan is also a fellow PARMA recordings artist; his solo album JOURNEYMEN’S SONGS on Navona Records featuring the music of Steven Winteregg, is an incredible demonstration of his skills as an interpreter and a recording artist.

Daniel Zehringer plays Conn/Selmer Centerstage and Vincent Bach trumpets.

Chris Parker

Trombone, Euphonium, Snare, & Cymbals

Chris is one of the up and coming talents in Jazz. Born and raised in Indiana, USA, Chris has been performing at countless venues and festivals throughout the Midwest since a very young age and is one of the busiest jazz drummers in the state of Indiana. His unique skillset as a Multi-instrumentalist (apart from drums, Chris professionally performs on trombone & euphonium for the Bloomington Symphony and is a featured sax, trumpet, Bass and Guitar player) makes him one of the artists to follow for years to come. Chris as a very bright young man and has been a mentor and a guide to me as a new Indiana resident and most importantly a friend to my family.

Tato Bolognini


Tato Bolognini’s performances on drums have been key for the artistic development of this album. Tato’s amazing resume includes performances with Uruguayan greats Hugo and Francisco Fattoruso, Leo Maslíah as well as countless others in Uruguay and internationally. From the get-go, Tato was singled out to be part of the album though originally scheduled to be a guest in a couple of the compositions. His artistic curiosity, willingness to collaborate, and authentic investment in the music made him become the official drummer of the album after the early sessions.

Ramiro Flores

Soprano, Alto, & Tenor Saxophones

I met Ramiro in Barcelona, Spain in 2005 as we both were visiting our common friend and Latin jazz piano extraordinaire Eduardo Tancredi. I immediately knew I was in front of a unique talent when I started seeing him play and going to jam sessions with him there. Ramiro is a Berklee School of Music a lumnus with degrees in Saxophone Performance and Film Scoring but his academic accolades make no justice to his carefree and honest musicianship both as a performer and a composer. His current band El Jardín de Ordóñez is in my opinion a ground-breaking musical exploration and is setting the tone for the next generation of musicians and music overall in Argentina where he currently resides.


“Pluralize-it” was conceived as a fugue study. Composition teaching master Esteban Klísich who was mentoring me at the time, helped me supervise the arrangement. Marco wrote the Bass melody at JFK airport in New York waiting for a flight to Bogota after I told with him about the anecdote Michael League shared at the Toronto Jazz festival while playing for Snarky Puppy, that he wrote “Lingus” on a commercial airliner flight.

As the pre-production of the album begun we knew we wanted to play it with the banjo in the main melody and the inspiration for its feel, came from Béla Fleck’s and Victor Wooten’s performance on the Bela Fleck and the Flecktones album “The Hidden Land” of Bach’s composition “Fugue from Prelude & Fugue No. 20 in A Minor, BWV 889”.

-Rodrigo Cotelo

“Pensive” was a standalone composition back when the recording of an entire originals album wasn’t even an idea yet. It literally was the second Brass arrangement I wrote in my life and a result of studying orchestration at that time.

I wanted to replicate the sentiment we get when going out for a walk to clear one’s mind. The vibe of the tune and the rhythm section were crafted based on that hence its “chill” like mood and name.

-Rodrigo Cotelo

“On a Trip” was composed as an Alternative Rock song back in 2005. I have demos of it dating back then. Bringing it to life as part of the program was truly a studio accident. I wanted to pay homage to Toto and I programmed a drum track to jam with, replicating Toto’s “Africa” rhythmic motif. In a ludic moment, I played some of the main riffs of it and it immediately felt like an epiphany that it should be recorded and arranged in style. In an entire weekend, I ended up transcribing and arranging it to its current world music/instrumental form while writing all the additional parts for it.

-Rodrigo Cotelo

“Low Ride” is the result of an increasingly intense preference I have, to write for and play with big brass ensembles. Chris Parker added his Brass know-how and fun to the intro and outro that made it even cooler to play. The idea to add a scratch table on it came when we were figuring out which instrumentation each tune should have and always asking myself as a producer questions on how to make the music standout or different to what’s been done before. On this case the question was “Have I ever heard a scratch in a big band like setting?” It’s the only percussive element foreign to the drums on the tune.

-Rodrigo Cotelo

“Man B” was written with Spanish guitar in mind with a Flamenco feel. The fact that Flamenco guitar and composer extraordinaire Hernan Romero collaborated on the tune is mind blowing to us, we’re truly lucky! I first met Hernan in 2002 at the Punta del Este International Jazz Festival and that same year, I met Rodrigo G Pahlen there too. After jamming some with Rodrigo in Montevideo the following season, an appreciation for his talent and musicianship grew and this is the second album I produced which has his participation. Todd Hildreth musicianship and artistry in accordion was the cherry on top to this tune. I never expected it would end up resulting as is when I originally wrote it.

-Rodrigo Cotelo

(Dedicated to Uruguayan composer Alvaro Pacello)

It Shall Pass… come to life to honor the music of Bassist, Luthier and Composer Alvaro Pacello. Due to an unexpected illness, Alvaro can’t play the bass professionally anymore and the composition was a way to articulate my feelings after he broke the news to me. He is one of the utmost masters in atonal composition I have ever heard hence the nature of this music. I have recorded Alvaro’s music on previous solo albums, performed and wrote music together with him countless times but what makes me feel special more than any of that is being his friend.

-Rodrigo Cotelo

“Ten and Nine” is to some extent, the continuation of “Pensive” from a stylistic standpoint. Once it was established that I wanted to make an album, I wanted to continue with the sound line of the tune that kicked it off.

The composition was written with the performers (Tato Bolognini, and “Nacho” – Ignacio Labrada) in mind. The Soprano melody on the second Brass arrangement Marco literally dreamt of. He called me early in the morning one day telling me about that and then came rushing to the studio later where we finished writing it along the entire arrangement. It’s one of the defining moments of the program.

-Rodrigo Cotelo

“Ours” was written on demand as a ballad for a Uruguayan bolero singer. His project never got the funding to come to life so when analyzing a potential playlist for the album and thinking of a serenating moment, I decided to demo it as an instrumental piece during the pre-production stage. Thanks to Marco (as they share duties for the Uruguayan Murga Fusion group “La Jarana”), Vibraphonist and composer great Maximiliano Nathan delivered us with his incredible artistry on this music.

-Rodrigo Cotelo

(Semi Finalist of the 2015 International Songwriting Competition)

“Young Dads” was never written with the intention of being what it ended up being, a modern Jazz guitar quartet piece. It was only when the pre-production of the album was underway and I started laying out the demo tracks, that I felt something else was there in it. It ended up shaping up as is, mostly because of a drum loops library of Eric Harland I acquired and I was goofing around with.

When trying to construct alternatives to the main melody I ended up incorporating vamps that have been floating on my radar for years yet I never considered them good enough to do something with them individually. They fit great with what the music needed and what I was trying to convey with it.

The guitar solo was recorded in an early morning during one of the many camps Marco and I endured to bring the album to life as he was sleeping in the guestroom next to the studio.

-Rodrigo Cotelo

“Eden Pine Trees” commenced out of a chord substitution exercise I had to prepare for class. I ended up liking the main turnaround of the chord progression and it’s an example of addition by subtraction when Marco and I decided to chop out certain licks in the melody that though appropriate, they weren’t providing enough spacing to the composition.

The part C melody was composed by Luis Ravizza jamming on the tune by his fireplace. I remember being rapid to record what we were doing after naturally heading into a new place from where we were. I love that spontaneity only jamming provides. I later transcribed that recording and added it to the charts as the tune pre-production tracking commenced.

-Rodrigo Cotelo

“Purple” was originally written as an R&B inspired landscape. The main melody was thought for a scat voice but with Rodrigo G Pahlen offering to add to the album in harmonica, we decided to try it and the results are way more than what we could have ever imagined. His solo on the Candombe like part is one of the highlights of the album and it’s an honor to have him as the featured artist of the tune.

-Rodrigo Cotelo

“Holly Molly” was always meant to be a farewell song. The risk taking in the rhythm section came inspired in “Yolanda, You Learn” composed by Lyle Mays and Pat Metheny. Alfredo Monetti initially told me that Piano wouldn’t fit in it as we were recording him with guitar only demo tracks. After a couple of tries, he went 180 degrees from his previous statement and ended up enjoying playing on it with a smile I still remember to this day. Mauricio Trobo’s (one of my mentors and one of the craziest improvisers I’ve ever spent time with) synth solo at the end provided the final touch not only to the tune but the entire album as it also was the last track added to the tunes.

-Rodrigo Cotelo