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Text: Mari Katsigianis
Dance and song: La Conja. Percussion: Gonzalo Grau. Violin:
Rohan Gregory
One of the most important objectives regarding local
arts organizations, is that they reach a broad sector of the
population, while creating an intimate and comfortable atmosphere
for both the audience and performers. This is not only achieved
at TCAN, it is one of the organization’s core achievements.
To see flamenco the way flamenco should be seen, this reviewer
prefers the “peña”, or flamenco club, over
the theatre auditorium. With seating under 250, excellent
acoustics, and acceptable sight lines, this performance space,
with art galleries, classes, and shows of every kind, was
the perfect setting for the “jewel” which is Juanito
Pascual and his group. Two years ago in June, TCAN moved its
venue from a downtown Natick storefront to its current location
in a refurbished firehouse, and it works In fact, Juanito
commented during the show that it was one of the best venues
he’d had the pleasure to perform in.
Juanito Pascual first picked up the guitar at the age of
ten was practicing flamenco at the urging of his mentor, “Zvi”,
who was a tremendous fan of flamenco. Juanito played a song
in the second act entitled Zvi and which is also on his CD.
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Conja
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Born in the Midwest, he is a multifaceted guitarist/composer/teacher,
performing in styles ranging from jazz and blues, to classical
guitar, klezmer, and of course… flamenco. Based in Boston,
he has toured throughout the US in such prestigious companies
as La Repompa de Málaga, Ramon de los Reyes, Carlota
Santana, Omayra Amaya and Jose Greco II just to name a few.
The first set opened with Granainas, a hauntingly gentle
instrumental. Surprisingly passionate, it contained some of
Juanito’s own original material and was the perfect
choice as an introduction to his exquisite technique with
the ability to balance light and dark notes. Those familiar
with flamenco were as rapt as first-time viewers.
In his rendition of Sevillanas by Moraito Chico, Juanito
displayed the element of jazz which this Jerez guitarist is
so well-known for, in a joyful and lively rendition. He was
accompanied on cajón by Gonzalo Grau, well-known to
Boston audiences not only for his flamenco skills but as the
band-leader for the group La Timba Loca. Another happy number,
Colombianas, which was the arrangement of Manolo Sanlúcar
(one of Juanito's teachers) followed.
Next up was Paco de Lucia’s arrangement, Tientos, which
Juanito played with tenderness and great skill, showcasing
his extraordinary talent. The music almost floated off the
strings, so ethereal was his playing, something he must have
picked up in Jerez, no doubt, where he cut his teeth on toque
with the masters.
Things heated up rapidly with the first Alegrías as
veteran dancer/choreographer/singer La Conja took the stage
to add her distinctly throaty and raw-edged vocals to the
piece. Here, in earshot of this lady, can one can experience
the cante jondo so prevalent among the pueblos of Andalucía,
where she has studied for many years. An American born of
Egyptian parents, with a Turkish surname, you might say she
possesses the flamenco birthright in it’s entirety.
She knows it, and doesn’t let you down. Whether it was
to provide fiery syncopated palmas to this piece, or to blow
the unsuspecting audience away with amazing taconeo –
La Conja has it all!.
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Gonzalo
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Another contributor to this incredible night was Rohan Gregory
whose violin moaned in the Romani language with the opening
movement of Tangos, captivating the audience with the metaphysical
quality of his playing. Rohan has toured in Europe with the
Klezmatics, including a Great Woods performance with Yitshak
Perlman, as well rock'n roll gigs with Led Zeppelin and has
performed with the Boston Symphony Orchestra, Boston Ballet
in addition to being a regular member of the Boston Lyric
Opera, The New England String Ensemble and The Boston Modern
Orchestra Project. I simply cannot say enough about this musician,
and hope to see him in more flamenco and classical concerts.
A Tangos entitled ”Cosas en Común”, the
title cut from Juanito’s CD, opened the second set.
It was very reminiscent of Strunz & Farah, combining jazz,
flamenco, and other elements to create music that was both
traditional in its intent and contemporary in its execution.
He was accompanied in the beginning by Gonzalo who played
the zambra as butterfly’s wings.
Something Juanito was once told “joy isn’t always
happy”, set the tone for the second Alegrías
of the evening which contained contradictory emotions that
were seamlessly meshed. His control was similar to a flamenco
dancer’s control of the bata de cola, or long train.
Speaking of a bailaora, one had only to experience La Conja’s
smokily erotic vocals, as well as her incredible posture/arm/footwork
to feel transported to the sacred space of a crowded peña
during the Festival de Jerez. This woman encapsulates the
purest sentiment of “duende” on this side of the
Atlantic, and we are truly fortunate to have her.
Closing the show, Ode to James Brown was a terrific ensemble
piece which contained very bluesy/jazz arrangements in a perfect
blend, surrounded by flamenco undertones. The rapport between
performer and audience was achieved handsomely in what has
so far become one of the best flamenco shows of the year.
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