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Béla Fleck, Edmar Castañeda, and Antonio Sanchez Launch BEATrio With Daring Genre-Fusing Debut

by Madonna

In a bold and unconventional collaboration, three musical powerhouses—banjo virtuoso Béla Fleck, Colombian harpist Edmar Castañeda, and Grammy-winning drummer Antonio Sanchez—have united to form BEATrio, a trio that defies traditional categorization. Their debut album, self-titled BEATrio, showcases a spirited blend of jazz, bluegrass, Latin, and world music influences through an unorthodox instrumentation of banjo, harp, and drums.

During a recent concert performance, Sanchez, who has assumed a loosely defined leadership role within the trio, joked, “Banjo, harp, drums… what the hell is that?” While the instrumentation may seem unusual, the audience’s overwhelming response left no doubt about the trio’s ability to captivate. The live format proves especially beneficial for this ensemble, allowing spectators to witness Castañeda’s unique performance technique—using his left hand to deliver bass lines through an amp and his right for harmonic support alongside Fleck’s intricate banjo lines. Known for his dynamic stage presence, Castañeda often commands the audience’s attention. Meanwhile, Fleck’s precision and musical depth continue to impress, and Sanchez remains the rhythmic anchor with his fluid drumming and instinctive feel.

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The name BEATrio cleverly derives from the initials of each member—B for Béla, E for Edmar, and A for Antonio. The trio’s musical direction leans predominantly toward jazz, although Fleck contributes pieces laced with his trademark “bluegrass energy.” Of the album’s compositions, Fleck penned five, Sanchez and Castañeda each composed two, and the remaining two were co-written by Fleck and Castañeda.

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Fleck, now based in Nashville, is no stranger to blending genres. He draws comparisons between the audience’s curiosity about BEATrio and the early skepticism surrounding his work with the Flecktones, when jazz and bluegrass first collided in unexpected harmony. While Fleck represents the American South, both Castañeda and Sanchez live in New York City—Castañeda originally from Colombia and Sanchez hailing from Mexico City—highlighting the trio’s global roots and the universal language of music that binds them.

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Despite his rhythmic prowess, Sanchez points to Castañeda as the ensemble’s “glue,” uniting the banjo and drums through his dual-hand responsibilities. On the album’s opening track “Archipelago,” co-written by Fleck and Castañeda, Fleck leads with brisk banjo lines, harmonized gracefully by the harp, as Sanchez complements the melody with subtle cymbal accents. On Fleck’s “Pellucidar,” both string players shine with high-speed solos and improvisation, while Sanchez punctuates the performance with rhythmic clarity.

Sanchez’s composition “Kaleidoscope” reflects the trio’s deep musical synergy, with each member contributing in a dynamic and ever-evolving musical dialogue. Castañeda’s “Countryside” draws Fleck into a bluegrass frame, with both musicians navigating tempo changes with energetic precision and flair.

Among the highlights is “Cloak and Dagger,” a co-written piece that carries a melodic line with pop sensibilities, evoking the sense that a vocal might enter at any moment. Fleck’s distinctive five-string banjo sound and unmatched technique remain a marvel, particularly in his intricate musical exchanges with Sanchez in the track’s final moments. Castañeda’s “Whispers of Resilience” begins with cinematic flair—deliberate harp phrasing accompanied by atmospheric drumming—before Fleck enters to lead the trio through a pulsing groove that recaptures the piece’s original motif.

Fleck’s “coda” harkens back to the sounds he explored in Throw Down Your Heart: The Complete Africa Sessions, while “Walnut and Western,” a long-cherished composition of his, finally makes its recording debut with an uplifting melody and vibrant group interplay.

The track “Three Is Not a Crowd,” penned by Sanchez, gives the drummer space to showcase his skill, albeit in a more measured studio setting compared to his expansive solos in live performances. Fleck’s “Hooligan’s Harbor” unfolds with a series of layered musical conversations, intensifying as the track progresses. Finally, the album concludes with “Touch and Go,” a blistering piece that lives up to its title with relentless momentum.

With their debut, BEATrio has created more than just a musical experiment—it’s a daring, cross-genre collaboration that thrives on innovation, virtuosity, and the joy of exploration. The trio’s chemistry is palpable, and their music challenges expectations while celebrating the limitless possibilities of musical fusion.

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