At Clamores, Madrid’s temple of jazz, Jerónimo
Maya presented his first recording as a soloist. In a full
recital, Jerónimo delighted those present with his
stylized aesthetic based on an extensive musical background,
impeccable technique, a flamenco sensibility and his talent
for composing.
It was like a small gathering of friends at Clamores on Friday
the 15th, not because the event lacked quality, but because
just a few kilometers away a lad called Paco de Lucía
had apparently managed to bring together a goodly number of
flamenco guitar fans and inevitably this attracted people
who might have attended the recital of the Madrid guitarist.
Even so, Jerónimo Maya managed to lure a good many
flamenco, jazz, guitar and music enthusiasts.
And Jerónimo didn’t let us down, just as his
recently released first solo CD (“Jerónimo”,
Alma100 Música) which he played a good part of at Clamores,
disappointed no one. The show was divided into two lengthy
parts in which we could follow the development of bulerías,
soleá, rondeña, granaína, tangos, siguiriya,
rumba and some extraordinary flirtation with melodic Caribbean
sounds thanks to singer Alex Flores who was billed as guest
artist. Let’s not forget to mention “Tío
Chango”, the most brazenly jazzy incursion that Jerónimo
dedicates to Django Reinhardt.
Noteworthy is this performer’s musical capacity and
complexity, the clean sound, the lovely immense cascade of
notes that come together in his head, his swiftness at sending
them out into the air, his overall ear, his hands (generally
speaking, in other words, both left and right), his way of
putting the pieces together. I would even dare to say, his
perfection. Jerónimo knows how to create richness because
his technique is flawless and he dominates a virtuoso’s
combination of tones, rhythms, textures, tonalities, melodies
and also silences.
A few things are missing, not much though. In the first place,
the greeting: this crazy thing of not saying “Good evening”,
at least in small venues. In second place, we had to make
due without the good cante of María Carmona who was
announced. And, by my lights, some quiet moments were lacking.
Jerónimo has prodigious technique and his brain is
quite prepared for creativity – there is no question
about this – but there is a sameness not relieved by
repose: those necessary moments, especially with the intense
characteristic of flamenco, that cannot be achieved by ‘compression’
(notes per second), but rather, by biding one’s time.
Leo de Aurora & Jerónimo
Jerónimo Maya’s generosity must also be pointed
out. Generosity with his audience because it was a very complete
recital, and generosity as well with his musicians, to whom
he gave the place they deserved. And while we’re at
it, it’s only fair to highlight the quality of the group
members: Antonio El Ciervo (with his very flamenco voice),
Amador Losada (first-rate on percussion), Alex Flores (guest
singer, a masterful voice and great sensitivity as well) and
last but not least, Leo Maya, Jerónimo’s brother,
who gave quite a show of his virtuosity and talent.
Without a doubt, it was an intensely musical evening which
left a very good impression. The droll comment of one observer
seated next to me unable to contain his delight makes an apt
closing: “Wow! this one-armed kid can really play!”
