From rock to jazz — the formation of a musical identity
The years 1977–1990 cover Pere Soto’s first professional period and a foundational chapter in his musical identity. He works simultaneously as guitarist, composer, arranger, orchestrator, producer, bandleader and teacher. Progressive rock, fusion, Latin rock, traditional jazz, modern jazz and new improvisation currents coexist.
RockFusion
In 1977 he forms Pharmacus, rooted in rock and fusion. The group appears at the Calella Camping Rock Festival 1977, a landmark of the Catalan rock scene. Core influence: King Crimson and the guitar world of Robert Fripp — progressive rock, experimentation and mixed languages.
Rock / Fusion · King Crimson · Robert Fripp
Dancing Project
Main influence: Carlos Santana — rock, blues, Latin elements and improvisation.
Rock
Another formation from this first professional stage.
Swing · Traditional jazz
With the Lecaros brothers and Peter Delphinic. An opening toward swing and traditional jazz beyond rock and fusion.
Jazz ManoucheGypsy Jazz
Founded with Óscar Roig and Roberto Lecaros. Linked to Django Reinhardt and European manouche jazz. A turning point in Soto’s development as a guitarist and the seed of a major later path: Gypsy Jazz.
Jazz Duet
A step into jazz and improvised guitar. Influences: John McLaughlin and Ralph Towner — melodic, harmonic and rhythmic guitar, dialogue between two instruments. McLaughlin connects to jazz-rock and fusion; Towner brings a more acoustic, chamber sensibility.
FusionJazz
With Óscar Roig and Jordi Rallo (recently returned from India). Main influence: Shakti (John McLaughlin and jazz–Indian fusion). Rallo’s experience in India opens the project to other cultures.
Deepening jazz language and improvisation.
Consolidates the move into jazz. Musicians from the Catalan and European scenes include J.M. Farràs, Horacio Fumero, Peer Wyboris, Jean-Luc Vallet, Dave Pybus.
ComposerArrangerOrchestratorProducer
Throughout the 1980s Soto works intensively for La Raíz Productions. Documented releases include:
He also contributes orchestration to The Passion, a religious stage work for Castro Urdiales (Cantabria).
DLR 713-C · First recording as a soloist (cassette). Shows that already in the 1980s he was not only a performer but also composer, arranger, orchestrator and producer.
Assistant and copyist. Contact with Thad Jones, Chuck Israels, Hal Crook, Steve Brown, Jim McNeely, Ben Riley, Bill Dobbins, Sal Nistico, Claudio Roditi.
Harmony, composition, arranging, reading, improvisation and jazz language — alongside the shift from rock/fusion toward modern jazz.
Begins teaching. The lifelong axis takes shape: performance · composition · arranging · production · pedagogy.
In the 1980s he meets trumpeter Dave Douglas — an important step toward modern jazz and a new generation of American musicians.
First LP as leader. A turning point after more than a decade of rock, fusion, jazz, arranging, production and teaching. Soto consolidates a personal voice as bandleader, composer and jazz guitarist.
End of the decade and start of the international chapter: first Berlin, then Amsterdam and the European jazz scene. Transition from formative years in Catalonia to the European career of the following decade.
Rock → Fusion → Swing → Gypsy Jazz → Jazz-rock → World fusion → Modern jazz → Europe