Last Thursday November 11th Niña Pastori’s
newest recording was presented at Madrid’s Casa de America.
On this occasion Niña Pastori chose an intimist
ambience to present her new recording which right now is the
best-selling record in Spain. A wide stairway lined with candles
led to an auditorium which along with the stage established
a certain closeness with the audience assuring close communication.
The set-up was also simple, laid out in a semi-circle in keeping
with the circular shape of the auditorium, with José
María Cortina on keyboard, Chaboli on percussion, Antonio
Ramos “Maka” playing bass and a chorus of three
singers (Loli, Anabel Rivera and Toñi). The intent
is clear, to demonstrate that pure sentiment is akin to a
minimalist approach and genuine simplicity. “Authenticity”
is the operative word to define what María and Chaboli
transmit, perhaps not from a diversified flamenco perspective
(nearly all the rhythms are tango or rumba), but in the desire
to offer a sincere product of high quality which is really
a more meaningful kind of purity than trying to demonstrate
knowledge (which is also there although it’s not on
display) of the various flamenco forms.
Elegant
in her black dress for the tangos “Santo Romero”,
followed by the rest of the songs from “No hay quinto
malo”. Songs like “Imposible” with a lovely
introduction by Cortina, or “La cuna”. A moving
moment came with María stood up for “La Tata”
in honor of that older person we’ve all had taking care
of us at one time or other in our childhood. Cortinas’
keyboard which, as always, instead of trying to be the star,
carries out the function of a musical backdrop which accommodates
everything, well-planned choruses, a quality bass-player,
Chaboli’s percussion which only gets better…and
María’s voice putting the heart into everything.
Also guitar of course, with Diego del Morao, whose best moment
came in bulerías with his considerable command of compás,
jumping in and pulling back at will.
Sincerity and good old-fashioned
quality
The most humorous moment of the night was during the presentation
of “En tres minutos” which as we know was composed
by Chaboli the night before marrying María. ‘La
Niña’ took charge of the situation – she’s
much more Pastori than Niña now. After this song, with
the audience on its feet, the concert officially ended, but
the ovation forced the performers back on stage for some bulerías
in which chorus singer Anabel Rivera (from Levantito) did
quite a nice little dance. After the applause the audience
began chanting “Cai, Cai, Cai”…José
María Cortina didn’t have the song prepared,
and María didn’t entirely recall the verse, but
none of this was noticeable thanks to their professionalism.
The tanguillo-like song composed by Alejandro Sanz carried
the audience off as if carried by a sea breeze to a salt-sprayed
morning. El Mentidero, that patio where the wind whistles
tangos between the flower pots…divine. Then the sincere
minimalist theme “Puede ser que nos veamos otra vez”…
We shall surely see plenty of Pastori since her artistic evolution,
despite straying further and further from the roots of flamenco,
offers sincerity and good old-fashioned quality.
Last Thursday November 11th Niña Pastori’s
newest recording was presented at Madrid’s Casa de America.
On this occasion Niña Pastori chose an intimist
ambience to present her new recording which right now is the
best-selling record in Spain. A wide stairway lined with candles
led to an auditorium which along with the stage established
a certain closeness with the audience assuring close communication.
The set-up was also simple, laid out in a semi-circle in keeping
with the circular shape of the auditorium, with José
María Cortina on keyboard, Chaboli on percussion, Antonio
Ramos “Maka” playing bass and a chorus of three
singers (Loli, Anabel Rivera and Toñi). The intent
is clear, to demonstrate that pure sentiment is akin to a
minimalist approach and genuine simplicity. “Authenticity”
is the operative word to define what María and Chaboli
transmit, perhaps not from a diversified flamenco perspective
(nearly all the rhythms are tango or rumba), but in the desire
to offer a sincere product of high quality which is really
a more meaningful kind of purity than trying to demonstrate
knowledge (which is also there although it’s not on
display) of the various flamenco forms.
Elegant
in her black dress for the tangos “Santo Romero”,
followed by the rest of the songs from “No hay quinto
malo”. Songs like “Imposible” with a lovely
introduction by Cortina, or “La cuna”. A moving
moment came with María stood up for “La Tata”
in honor of that older person we’ve all had taking care
of us at one time or other in our childhood. Cortinas’
keyboard which, as always, instead of trying to be the star,
carries out the function of a musical backdrop which accommodates
everything, well-planned choruses, a quality bass-player,
Chaboli’s percussion which only gets better…and
María’s voice putting the heart into everything.
Also guitar of course, with Diego del Morao, whose best moment
came in bulerías with his considerable command of compás,
jumping in and pulling back at will.
Sincerity and good old-fashioned
quality
The most humorous moment of the night was during the presentation
of “En tres minutos” which as we know was composed
by Chaboli the night before marrying María. ‘La
Niña’ took charge of the situation – she’s
much more Pastori than Niña now. After this song, with
the audience on its feet, the concert officially ended, but
the ovation forced the performers back on stage for some bulerías
in which chorus singer Anabel Rivera (from Levantito) did
quite a nice little dance. After the applause the audience
began chanting “Cai, Cai, Cai”…José
María Cortina didn’t have the song prepared,
and María didn’t entirely recall the verse, but
none of this was noticeable thanks to their professionalism.
The tanguillo-like song composed by Alejandro Sanz carried
the audience off as if carried by a sea breeze to a salt-sprayed
morning. El Mentidero, that patio where the wind whistles
tangos between the flower pots…divine. Then the sincere
minimalist theme “Puede ser que nos veamos otra vez”…
We shall surely see plenty of Pastori since her artistic evolution,
despite straying further and further from the roots of flamenco,
offers sincerity and good old-fashioned quality.
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Elegant
