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Remembering Gali
The second day of the Flamenco Pa Tos festival paid warm tribute
to musician José Antonio Galicia who passed away a few months
ago. “Gali” as he was affectionately known had a very
close relationship with Gomaespuma and their charity foundation,
and one of his activities was bringing flamenco to children. With
images of Gali as a backdrop, a group of musicians, some from the
original group such as guitarist Arcadio, along with bass-player
Luis Escribano and percussionist Cepillo who has now taken over
Gali’s work with children, dedicated tangos and bulerías
to their friend and colleague. The most unusual element was the
use of the “txalaparta”, a Basque percussive instrument
played by young Mayca and Sara with wooden sticks in each hand demonstrating
perfect mutual communication which was well-suited to the precise
rhythms of tangos and bulerías. It was a spectacular touch.
“Just wait and see how this instrument combines perfectly
with flamenco” commented Juan Luis Cano when he introduced
the performance, and judging from the long applause the young women
received, they were more than convinced – Gali would have been delighted.
José Antonio Galicia’s widow Teresa gratefully received
an award for her husband that was presented by Gomaespuma.
After
that moving opening Jerónimo Maya, the star of the evening,
came on stage. With his first solo recording just released, Jerónimo
presented some pieces aimed at the general audience. This guitarist
manages a perfect symbiosis between polished technique and his natural
flamenco perspective. He played por soleá managing to convey
great expression. His brother Leo played backup for the tangos,
and Amador Losada provided the percussion. The piece was decorated
with some soul singing by a flamenco singer, and some more flamenco
singing by a woman, with all the styles ably and subtly combined.
Jerónimo shined por bulerías incorporating a bit of
the Zarzamora song which was followed by a beautiful intimate ballad
that left no doubt about the musician’s creative and interpretive
abilities. He finished off with the composition titled “Rey
Chango” from the record – a tribute to jazz musician
Django Reinhardt interpreted with his brother Leo whose playing
is a perfect match for the young maestro. Being young, they flirted
with jazz in this composition that went down smooth as silk, as
smooth as Arcángel’s voice.
Jerónimo & Leo Maya
The young man from Huelva tends to put together a good performance,
and he did just that in the Colgeio de Médicos with the solid
accompaniment of Miguel Ángel Cortés. His voice is
sweet and warm, he never resorts to shouting and his delivery reaches
moments of great beauty. It was in alegrías where he sounded
just like an angel, and forgive the redundancy, incorporating fragments
of alegrías de Córdoba. Caña, taranto and some
stylized tangos came off well. To end his performance he did his
signature fandangos de Huelva, with the especially beautiful styles
of Alosno. With his fame growing day by day and a new record on
the market, Arcángel’s star is on the rise.
Arcángel & Miguel A. Cortés
The night ended with dance, from one of the greatest living maestros
still performing: el Güito. He began with farruca, one of his
classics, on this occasion accompanied towards the end by two dancers
from his company, young men who were noteworthy for their strength.
By comparison, Güito’s style is paused and tight, but
full of elegance. It’s true he belongs to another era considering
how this discipline has evolved, which is why Güito’s
dancing is like an old vinyl record. Many of us have seen his soleá
many times, but Madrid audiences always receive it with open arms.
Dancer La Truco offered a very flamenco and stylized interpretation
of taranto. The grand finale por bulerías included the whole
company and Güito added his touch. As has been customary in
this very public festival, the delighted audience gave the stars
of the night a standing ovation.
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El Güito
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La Truco
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Text: Sonia
Martínez Pariente
Photos: Rafael Manjavacas
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 |
 |
 |
 |
 |
|
Remembering Gali
The second day of the Flamenco Pa Tos festival paid warm tribute
to musician José Antonio Galicia who passed away a few months
ago. “Gali” as he was affectionately known had a very
close relationship with Gomaespuma and their charity foundation,
and one of his activities was bringing flamenco to children. With
images of Gali as a backdrop, a group of musicians, some from the
original group such as guitarist Arcadio, along with bass-player
Luis Escribano and percussionist Cepillo who has now taken over
Gali’s work with children, dedicated tangos and bulerías
to their friend and colleague. The most unusual element was the
use of the “txalaparta”, a Basque percussive instrument
played by young Mayca and Sara with wooden sticks in each hand demonstrating
perfect mutual communication which was well-suited to the precise
rhythms of tangos and bulerías. It was a spectacular touch.
“Just wait and see how this instrument combines perfectly
with flamenco” commented Juan Luis Cano when he introduced
the performance, and judging from the long applause the young women
received, they were more than convinced – Gali would have been delighted.
José Antonio Galicia’s widow Teresa gratefully received
an award for her husband that was presented by Gomaespuma.
After
that moving opening Jerónimo Maya, the star of the evening,
came on stage. With his first solo recording just released, Jerónimo
presented some pieces aimed at the general audience. This guitarist
manages a perfect symbiosis between polished technique and his natural
flamenco perspective. He played por soleá managing to convey
great expression. His brother Leo played backup for the tangos,
and Amador Losada provided the percussion. The piece was decorated
with some soul singing by a flamenco singer, and some more flamenco
singing by a woman, with all the styles ably and subtly combined.
Jerónimo shined por bulerías incorporating a bit of
the Zarzamora song which was followed by a beautiful intimate ballad
that left no doubt about the musician’s creative and interpretive
abilities. He finished off with the composition titled “Rey
Chango” from the record – a tribute to jazz musician
Django Reinhardt interpreted with his brother Leo whose playing
is a perfect match for the young maestro. Being young, they flirted
with jazz in this composition that went down smooth as silk, as
smooth as Arcángel’s voice.
Jerónimo & Leo Maya
The young man from Huelva tends to put together a good performance,
and he did just that in the Colgeio de Médicos with the solid
accompaniment of Miguel Ángel Cortés. His voice is
sweet and warm, he never resorts to shouting and his delivery reaches
moments of great beauty. It was in alegrías where he sounded
just like an angel, and forgive the redundancy, incorporating fragments
of alegrías de Córdoba. Caña, taranto and some
stylized tangos came off well. To end his performance he did his
signature fandangos de Huelva, with the especially beautiful styles
of Alosno. With his fame growing day by day and a new record on
the market, Arcángel’s star is on the rise.
Arcángel & Miguel A. Cortés
The night ended with dance, from one of the greatest living maestros
still performing: el Güito. He began with farruca, one of his
classics, on this occasion accompanied towards the end by two dancers
from his company, young men who were noteworthy for their strength.
By comparison, Güito’s style is paused and tight, but
full of elegance. It’s true he belongs to another era considering
how this discipline has evolved, which is why Güito’s
dancing is like an old vinyl record. Many of us have seen his soleá
many times, but Madrid audiences always receive it with open arms.
Dancer La Truco offered a very flamenco and stylized interpretation
of taranto. The grand finale por bulerías included the whole
company and Güito added his touch. As has been customary in
this very public festival, the delighted audience gave the stars
of the night a standing ovation.
|
|
|
|
El Güito
|
La Truco
|
Text: Sonia
Martínez Pariente
Photos: Rafael Manjavacas
|
|
|
|
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