Text: Rubén Gutierrez
Photos: Málaga en Flamenco

Sax and flute: : Jorge Pardo. Bass: Carles Benavent Batería: Tino Di Geraldo. Piano: Chano Domínguez. Cante: Chonchi Heredia (guest artist).

SEVENTH SENSE

 Once again lured by Málaga’s Palo beach, our sixth sense said something big was going to take place. After listening to the car radio or CD for years, and never seeing the artists live, a kind of existential vacuum is produced. That empty space was filled last night when we had the luxury of listening to those geniuses of flamenco jazz, the trio of Pardo, Benavent and Di Geraldo, along with Chano Domínguez.

As was only fitting, the idea came from Ortiz Nuevo himself, within the series of recitals dedicated to Paco de Lucía. The proposition brought to Málaga was a 1994 record from Nuevos Medios, “Diez de Paco”. If you haven’t got a copy, don’t pass up the chance to get one if they still exist. Flamenco and jazz have always gone hand in hand, if only because of the similar roots. There’s little difference between a New Orleans jazz club, and a café cantante in Seville at the turn of the previous century.

The stars appear in good spirits to the tune of “Sólo Quiero Caminar” with Chonchi Heredia providing the vocals. It’s been a long time since we heard her, and with moral support provided by her husband José el Francés and their children who are seated in the audience, she cut to the quick with her Camarón sound. The audience was slow in applauding these great musicians in their respective jazz-style solos. Chonchi also sang por soleá while Chano Domínguez played pizzicato on the grand piano and Carles Benavent played his electric guitar. Everything is changed in their world, and you can expect anything from them. The tangos that follow bring in Latin jazz – this trio has played at most jazz, world music and flamenco festivals the world over, and nothing holds them back.

There’s little difference between a New Orleans jazz club, and a café cantante in Seville at the turn of the previous century

The virtuoso of flamenco wind instruments, Jorge Pardo, is left alone on stage to interpret a medley of Paco de Lucía and Camarón themes to the beat of the waves gently breaking on the beach. Even Ravel’s bolero fits to bulerías, and he manages a very flamenco interpretation. The rest of the group returns to delight us with “Canción de Amor”. The mind wanders. . . I momentarily imagine a romantic walk along the beach listening to these sweet melodies.

The sea continues to set the mood in the following piece by Chano Domínguez with his special touch on the keyboard for a solo that unites two shores, that of his hometown of Cádiz, and of Cuba. We are transported to Havana’s pier – Domínguez reached international fame sharing the bill with the greatest stars of jazz in the film Calle 54. His special way of playing the piano, more percussive than melodic, is the ideal accompaniment for the trio in the bulerías that follows.

Next up were the other two greats. In the great rock tradition, Carles and Tino are capable of gradually slowing down the beat to reach a rhythmic catharsis. The audience couldn’t keep to their seats, most were jumping up and down, and heads were bobbing incontrolably when they played Ziryab. An enthusiastic ovation brought the musicians back on stage for more bulerías. A wealth of sensations all rolled into one, a great concert, the delights of the Mediterranean and the smell of fresh-roasted sardines that fill Málaga’s sultry evenings on the beach.

More information:

Special MÁLAGA EN FLAMENCO