Principle Of Least Action by Ricardo Urquiza

Principle Of Least Action by Ricardo Urquiza

In Principle of Least Action, guitarist and composer Ricardo Urquiza has crafted an exceptional conceptual EP rooted in both physical law and musical structure. The title is borrowed from a fundamental idea in physics—that nature follows the path of least resistance, or least effort. Ricardo transforms this scientific principle into a musical metaphor, navigating through structured harmonic repetition and fluid improvisation with elegance and intention.

At the heart of the EP lies Olivier Messiaen’s Mode III, a nine-note symmetrical scale that Urquiza uses as the harmonic backbone of every piece. Rather than employing this mode as a rigid system, he bends and reinterprets it, much like saxophonist Mark Turner, whose influence is evident in the music’s improvisational language. The result is a fascinating contradiction: music that feels both highly organized and completely free.

Urquiza is joined by a remarkable ensemble of musicians deeply connected to Barcelona’s vibrant jazz scene, with David Mengual on double bass and Òscar Latorre on trumpet standing out among others. Each composition is tailored to the performers, allowing their personalities and interpretive instincts to shape the flow. The balance between individual virtuosity and collective unity is one of the EP’s most striking features.

Composition and Flow in Principle Of Least Action

From the outset, Principle of Least Action draws listeners into a dynamic and shifting world. The opening track, “internally flawless.” is a dazzling display of contrapuntal interplay between guitar and saxophone. Lines weave in and out—sometimes echoing, sometimes diverging, sometimes meeting in unison—creating a tapestry of musical thought that is as complex as it is captivating. The guitar might initiate a phrase, the saxophone will vary it, and then both instruments fold those ideas back into each other. It’s a dialogue built on memory and transformation. Pretty complex pattern in the melody development, it reminded me of the complexity of fugues of baroque era, I’m not saying it sounds like a fugue, no. but it is driven from the same spirit.

The second track, “europa.” softens the texture. Trumpet and guitar take center stage, and while the piece begins with a more introspective tone, it doesn’t lose its harmonic sophistication. There’s space to breathe here—space that allows the listener to hear how deeply the improvisation is embedded in the mode’s logic.

“ice viii.” begins with a solo bass line—modernistic and haunting—evoking Stravinsky’s use of non-traditional modes and developing motifs. As the other instruments enter, the track gains momentum, reaching the kinetic energy of the first piece while maintaining its atmospheric edge.

“syntropy.” offers a more ballad-like approach, beginning with guitar and gradually evolving into a full ensemble work. The pacing is gentle, but the harmonic tension remains. Like the physical principle referenced in the title, the piece finds its way with graceful economy, every note serving a purpose.

Then comes “kuiper belt.” a spiritual highlight of the album. Though composed in Mode III, for me it strongly echoed the mood of Messiaen’s Quartet for the End of Time. The melodic material—especially the saxophone lines paired with harmonic guitar textures—feels like a modern invocation of Messiaen’s mystical voice. There’s a timeless stillness in it, and it speaks deeply to both spiritual longing and cosmic wonder.

In the same way that the harmonic progression throughout the album relies on cyclical patterns and repetition, the album itself comes to an end with “internally flawless. alt take” which circles back to the beginning, not as repetition but as a transformation. This second version feels looser, more uninhibited, as if the ideas presented at the start have evolved, matured, and now return with wilder, more expressive force. It completes the cycle—both structurally and emotionally.

The Language of Messiaen’s Mode III

Since Messiaen’s mode plays such a central role in the music, I guess it’s worth offering a brief explanation. It might get a bit technical with music theory here, but bear with me, I’ll try to keep it as simple as possible.

Mode III is one of Messiaen’s so-called modes of limited transposition—a symmetrical, nine-note scale built on repeating patterns of intervals (whole tone – semitone – semitone). Because of its structure, it can only be transposed a few times before the notes begin to repeat, making it feel closed, meditative, and infinite all at once. 

For example on the note C, the Mode III scale would go as follows:

C – D – E♭ – E – F♯ – G – A – B♭ – B

Interestingly, this scale isn’t too far from jazz harmony. For instance, the E♭ in the C pentatonic scale is often referred to as the “blue” note, evoking the expressiveness of blues music—especially noticeable in guitar bends. Combined with the tritone (F♯) and the minor seventh (B♭), the scale takes on a harmonically rich and intriguingly ambiguous character.

In his album, Ricardo doesn’t treat the mode as a static palette. Instead, he uses it dynamically, letting it form the base for complex harmonic progressions and ever-shifting melodic invention. Like Turner, Urquiza explores the boundaries of this mode through improvisation, treating its limitations not as constraints but as opportunities for exploration.

Ricardo Urquiza

Ricardo Urquiza: The Guitarist as Narrator

While each musician on the album brings nuance and sophistication, it’s Ricardo Urquiza’s guitar that holds the emotional thread of the EP. Sometimes leading, sometimes blending into the harmonic undercurrent, his playing acts as a narrative force. His touch is fluid and expressive, simultaneously grounded in classical control and open to the spontaneity of jazz.

There’s a sense that the guitar is the voice of the album—a storyteller navigating through different states of mind and emotion. Whether harmonizing with the trumpet, echoing the saxophone’s lines, or creating space for the bass to unfold, Urquiza never overshadows his collaborators. Instead, he elevates them while remaining the structural and emotional core of the work.

One might even hear echoes of Gershwin in Urquiza’s harmonic sensibilities. Not in style, but in the way he bridges classical language with the lyricism and swing of jazz. That fusion—refined, narrative, deeply expressive—is the defining spirit of this release.

Final Thoughts

Principle of Least Action is a philosophical and emotional journey. Ricardo Urquiza uses Messiaen’s Mode III not as a gimmick, but as a genuine compositional foundation—an architectural element that binds the music while leaving room for freedom, conversation, and breath. His collaborators shine, but it’s Urquiza who holds the ship steady, navigating the waters of jazz, contemporary composition, and abstract introspection with masterful clarity.

This is music that rewards deep listening. It is technical, yes—but it’s also tender, playful, and spiritually resonant. In a jazz world increasingly shaped by theoretical complexity, Ricardo stands out by giving that complexity meaning and emotion. He doesn’t just know the principles—he lives them, and in doing so, creates something both intelligent and profoundly human.

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