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From Spain: PACO PEÑA returns to Boston w/Guests Ángel Muñoz & Charo Espina
performing the Boston premiere of A Compás, (In the Rhythm)

DATE: Sunday, October 04, 2009

SHOWTIME: 7:30 PM

LOCATION: Berklee Performance Center - 136 Massachusetts Ave - Boston, 02115

TICKETS: (GENERAL PUBLIC TICKETS GO ON SALE TUESDAY JUNE 23...)
Reserved seating $42.00, $37.00, $30.00 (includes Berklee $1.00 restoration fee)

CALL: World Music/CRASHarts 617.876.4275 Mon. - Fri., 10am - 5pm

OR LOGON TO: www.worldmusic.org

World Music presents Paco Peña’s "A Compás" on October 4, 2009 at the Berklee Performance Center. Be prepared for Paco's sheer virtuosity on Flamenco Guitar
and the incredible Ángel Muñoz/Charo Espina dance team!

Acclaimed for its passionately authentic flamenco, Paco Peña’s A Compás, In the Rhythm, brings to the stage a true interpretation of what flamenco represents:
a spontaneous collaboration among dancers, singers and musicians. Miguel Ortega reveals the intensity, depth and raw energy of flamenco cante, while the company's
superb dancers create flurries of impeccably controlled rhythms with palmas, braseos, and taconeos beyond imagination!

Paco Peña himself displays his sublime guitar technique across a dazzling array of solo and ensemble pieces with two other guitarists and a percussionist.

Read the Flamenco Buzz review of A Compás HERE!

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Help support Alex Alvear & Mango Blue in the Recording Studio Through the HECTOR FUND

(Listen to their great Salsa Music online!)

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NEW SITE FOR FIROOZ SORKHABI



Flamenco Guitar lessons and performances with Firooz F. Sorkhabi in Cambridge, MA

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REVIEW: Chuscales in Concert

presented by Flamenco @ MIT
Sunday, March 1, 2009 - 8:00 pm
Kresge Auditorium, Cambridge, MA

Featuring Chuscales - Guitar & Musical Director
Vicente "El Cartuche" Griego - Cante
Francisco Xavier Orozco "El YiYi" - Cante & Percussion
Mina Fajardo "Mina" - Baile
Juan Siddi - Baile

Introduced by spokesperson Miriam Makhlouf of Flamenco @ MIT, the show could not have happened without the help of a generous grant from the university. Chuscales' show is the second offering from these fledgling flamenco promoters and aficionados.

Opening with Granaina, Chuscales was accompanied onstage by El YiYi and the amazing Vicente Griego, whose voices rang clear and strong at the acoustically perfect Kresge Auditorium. Griego began touring the US in 1992 and has appeared with Jose Greco II and Albuquerque's Yjastros Dance Company under the direction of Joaquin Encinias.

Tona came next highlighting singer Vicente Griego's special style. Following that, the entire company performed a Seguiriya. A musical interlude, Malagueña came next and a lively dance number Tarantos finished out the first act. The dancers were entertaining, however they truly came alive in the second act.

Starting off the second act with a Tientos/Tangos Juan Siddi showed what stuff he's made off. This is a journeyman flamenco performer recognized throughout the industry. He's danced, directed, and choreographed around the world. Here in the US, he's directed and performed in the Juan Siddi Dance Company, as well as being principal dancer for Company Maria Benitez and La Tania in San Francisco. He's also appeared as a guest in the top flamenco festivals of Genoa, Sevilla, Venice, Qatar, and Santa Fe. His own company, Juan Siddi Flamenco Theatre has toured on stages from Berlin to New York. Needless to say, his amazing dance acumen was evident in this number.

A Solo de Cante featuring El YiYi highlighted his unique vocal style. Another veteran of Maria Benitez' company. He's performed with Domingo Ortega, Jose Greco II, and Alejandro Granados. He's also appeared in New York with Maria Del Conte. A true son of Andalucía, his father (singer Joselon de Jerez) trained him in cante at Peña Fosforito. Known both in the US and Spain this is NO flamenco lightweight!

Mina Fajardo's talent as a dancer truly blossomed as a "flamenquita" in the second act with Alegrias which made the first act seem like a "warm-up". Her command of upper body and footwork was more pronounced (this particular number appeared to be second nature). Based in Santa Fe, NM, she has performed with many artists such as Elena Andújar, El Pripi, La Tibu, Juan Siddi, and of course, Chuscales. She currently performs with Chuscales and El YiYi at Local Tablao Flamenco in Santa Fe.

Chuscales performed his Solo de Guitarra with the skill of a man born to flamenco (his family, prominent in flamenco from the caves of Sacromonte). The musical legacy continues, with his son, Luis Miguel Manzano, (who recently appeared with Guadalupe Torres presented by Suffolk University and Fundación Conservatorio Casa Patas here in Boston last November - see review below. Over twelve years ago, a somewhat younger Chuscales played with Omayra Amaya here in Boston at the Park Plaza in Omayra y Flamenco. He currently lives and works in Santa Fe, New Mexico plays in many companies (think, "Noche Flamenca").

Solea por Bulería contained the entire company in an enthusiastic display of all the elements of flamenco - fire, grace, passion, sorrow, anger, and desire. This was the defining number of the show. The Fin de la Fiesta finished the show and the audience whooped and hollared their approval. Another great show presented by Flamenco @ MIT - and a testament to flamenco's diversity and beauty. One can only imagine what's next for these dedicated devotees of flamenco.

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FLAMENCO FESTIVAL REVIEW #1:

Compañía Isabel Bayón performing "La Puerta Abierta"

(Original Concept by Pepa Gamboa with Choreography by Isabel Bayón)
Friday, February 13, 2009 - 8:00 pm
Cutler Majestic Theatre - Boston, MA

From the programme
"La Puerta Abierta takes place in a performer’s abode, a metaphysical room where the artist’s freedom takes priority. Isabel Bayón comes and goes through a door to display the internal and external worlds. On stage, the extraordinary voice of Terremoto and musicians meld with Bayón’s dance to capture the whole range of emotions, from joy to sorrow. The interaction between Terremoto and Bayón enhances the performance with their chemistry and stage presence. The result is a thoroughly entertaining and thought-provoking piece, harmonious, natural, innovative and beautiful. At its premiere at the XIV Bienal de Arte Flamenco de Seville in 2007, La Puerta Abierta won the Giraldillo award for the festival’s best performance."

What was gorgeous to witness was (as web-journalist ed young also observed) the fact that Ms. Bayón danced not to the audience, not to her ego, but purely and exclusively to the singer!!! Her sinuous arms reached behind her in almost supernatural grace, with a reach far longer than any dancer I've ever seen. Angular movements (reminiscent of colleague/mentor Israel Galvan) mixed and melded with elements of ballet, modern and traditional flamenco dance styles.

Her use of minimal staging (great lighting, no sets, and no distracting costumes) served to crown the quality of her work. Especially pleasing to the eye, a black bata de cola skirt with red under-ruffles was pure genius! The lighting accented the bata's blood-red ruffles with just enough "tease".

She had the courage to dance in a strapless top which she combined with many different skirts and accessories (dressing onstage - and remaining onstage for the entire production). There were moments when it seemed like the ghost of Audrey Hepburn, complete with long black gloves, stepped out of Tiffany's window to execute the most delightful braseos! This dancer takes risks and they pay off in spades. This was not a footwork athlete, this was a DANCER!

What a relief to see such intricate movements coupled with a true respect for Cantaor Miguel Ortega (the Guest Artist who stepped in for Fernando Terremoto - who was ill and unable to make the performance) setting the theatre on emotional fire with his clear and doleful voice. You have to admire the versatility and courage of performers like these to step into the fray, brimming with self-confidence. They know their craft inside/out.

Guitarist Jesús Torres (like Isabel, a former company member of Noche Flamenca) is a journeyman guitarist who knows how play for a talented cuadro in order to achieve tight accompaniement to the production. Additional "props" for Antonio Coronel's amazing percussion and the palmas of Luis Peña and Carlos Grilo (brother of flamenco superstar Joaquín Grilo). No intermission and a tight schedule of numbers placed additional demands on this cuadro and they handled it with remarkable aplomb.

What a shame it was only one night - theatregoers and flamenco aficionados could revisit this and see so many different nuances each and every time. It was a true privilege to see this remarkable troupe and hopefully they will return again someday to grace future Boston Flamenco festivals.

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FLAMENCO FESTIVAL REVIEW #2:

Photo by Zarmik Moqtaderi

Noche Flamenca performing “La Plaza”
Emerson Majestic Theatre – Boston, MA
Sunday February 15, 2009

Empty chairs defined the stage as it filled with song and the company of Noche Flamenca filed in. The opening number “La Plaza” (choreographed by Martin Santangelo) revealed a cadre of modern Spaniards, dressed in street clothes, each dancing to his own drummer. Soledad Barrio in trousers looked like anyone you’d meet in Madrid, but the way she moved was flamenco - tradicional y puro”.

Female dancers Sol La Argentinita and Rebeca Tomás graced the stage and performed quite well, each had a slightly different style but were utterly professional. Their accompanying dance movements balanced the stars in an appropriate and entertaining manner. Sol is a local NYC dancer who performs with Carlota Santana, Andrea Del Conte, and Omayra Amaya. Rebeca has also performed with Carlota Santana and has appeared with Edwin Aparicio as well as the tablaos of Spain. (Per his usual vision, Artistic Director Martin Santangelo always puts together a terrific set of performers.)

Next, Emilio Florido belted out cante in a solo that displayed the many years of experience garnered working with the likes of Alejandro Granados, Isabel Bayón, and Rafaela Carrasco. This segued into the “Solea por Siguiriya” performed by the sensational Antonio Jimenez (“El Chupete”). His look, disheveled, spent, and exhausted, his dancing, anything but. He has that typical Spanish look, a young man’s body housing a very old one. A mainstay of the tablaos and peñas in Andalucía, his performance was raw and unadulterated by the preening and prissiness of more contemporary male flamenco “divas” choreographies. What you see is what you get and what you get burns the eyes the way moonshine burns the throat. In a word…intense!

The short first act was followed by a second act which started out with an Alegrias performed by Soledad Barrio and Antonio Jimenez. It was erotic, languid, and satisfying to see, but then anything choreographed by Soledad Barrio usually is. There was a little more contact than one usually sees with two people dancing flamenco but it was executed brilliantly.

The guitar solo by Salva de Maria was beautiful – if a little too predictable, but then gave way to Soledad again dancing a Solea as only she can. The many vueltas brought gasps to the audience, her body moving in those dangerous backflips that can ruin a career if done incorrectly. But her confidence and experience are the control that assures perfection each and every time.

Sadly, the all too short production came to an end with the Fin de la Fiesta – all company members present and accounted for. It was another fabulous show by the perennial Boston Flamenco Festival favorite – Noche Flamenca.

Check out the latest information on Noche Flamenca including tour dates and other news at www.nocheflamenca.com/


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Review of "Sangre Flamenco en Gira" by Mari Katsigianis

Last Friday night's house at the BU Dance Theatre was nearly full
as the curtain rose on the show. Mavi Dance hosted the event and
in the first half there were ethnic dance numbers from Eastern Europe
and Turkey included with Spanish Classical dance performed by Mavi
Dance. Alternating between Mavi's company, Clara Ramona appeared with
her dancers employing fans and castenets to recorded classical music.

The end of the first half was completed by brothers Isaac and Nino
De Los Reyes dancing with no music to a completely compás-oriented
number. Their ritmo was flawless as was to be expected.

What this reviewer waited for, and was rewarded with, was the second
half of the show. A show replete with live guitar by Juanito Pascual,
piano by Alejandro Carrasco and vocals by Leo Treviño. One after
another, the cuadro "hit it out of the park". This half started with a
martinete performed by all the musicians and which highlighted
Nino's dance skills. Other dance offerings included solos by
Nino, Isaac, and a fin de la fiesta which included Clara Ramona
together with her sons.

To see one of the De Los Reyes boys is amazing, to see them both,
on the same stage is a gift. Proud papa Ramon De Los Reyes beamed
great pride in the audience as his sons - already young legends
in the world of flamenco - made their marks on Boston once more.
A phenomenal show with the very best artists will not soon be forgotten.

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Ramon de los Reyes Classes for Winter/Sping 2009



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We're coming into Flamenco Festival Season - why not make TIENDA
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Catch the ALL the latest news on Juanito Pascual

His new CD will be out soon!

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Announcing Sabrina Aviles' Winter/Spring Class Schedule

Beginners 1 – 2 PM
Sevillanas
Classes are $16 each, $54 for a four-class card.

Adv Beg/Intermediate 2 – 3:30 PM
Sevillanas, bulerias marcaje
Classes are $18 each, $60 for a four-class card.

Intermediate/Advanced 3:30 – 5 PM
Alegrias
Classes are $18 each, $60 for a four-class card.

(Classes start Saturday, January 10, 2009)

Location: Tony Williams Dance Center - 284 Amory Street,Boston

Please note: Sabrina needs a six-person minimum to conduct the classes. If not, she will have to combine and reassign levels.

The Portsmouth, NH classes are still to be determined, because Ballet New England is still looking for a studio. Classes should start the week of January 12. Flamenco Buzz will keep you posted.

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REVIEW: Ida y Vuelta (Coming & Going)

Photo of Guadalupe: Juan Pelegrín/Lonnie Tague www.casapatas.com

Presented by Suffolk University and Fundación Conservatorio Casa Patas

Director & Choreographer – Guadalupe Torres
Musical Director/Guitar – Luis Miguel Manzano
with José Maldonado – Dancer
José Anillo & Francisco Luis Trinidad – Singers
Diego Villegas – Flute/Saxophone/Clarinet & Harmonica

November 24, 4:00 pm at the C. Walsh Theatre – Suffolk University, Boston, MA

Before the performance, Sebastián Royo, PH.D. spoke on the origins of flamenco and how the amalgam of cultures within its core existence serve as an example of diversity and sharing of traditions. The study and appreciation of flamenco is especially important in an age of fundamentalism and intolerance, he later went on to say, and that is one of the main reasons that Suffolk University brought the above dance company to perform as part of a year-long series of events highlighting Spain.

Additionally, Professor Marilyn Plotkin who heads up the Summer Studies program in Madrid was excited and privileged to present Fundación Conservatorio Casa Patas in Boston as an example of the many cultural exchanges that a summer in Suffolk’s Madrid Campus can offer. (More information of how you can apply for this program will be presented in the weeks to come.)

Guadalupe Torres appeared with José Maldonado in the first number “Buscando” which had no fancy staging, lighting, or costuming (which for me are all distractions anyway). This Farruca, a traditional version of flamenco from Galicia, was well accented by Diego Villegas flute and clarinet accompanyment. It was especially enjoyable to see Guadalupe's movements in contrast with her partners. There was superb footwork, along with the ritmo of the musician’s palmas.

Photo of Luis Miguel from NY Flamenco meetup site

Next came a Tangos instrumental played brilliantly by the musicians under the apt leadership of Luis Miguel Manzano (descendant of a long line of great flamenco guitarists and dancers). His father, Chuscales, was on the Boston flamenco scene some 11 years ago when Omayra Amaya had her show “Omayra y Flamenco” at the Park Plaza. Like father, like son. Both are unimaginably facile at their craft and play guitar like their hands were on fire!!! (Also, they both enjoy Flamenco Buzz tapas at parties.) Singers José Anillo and Francisco Luis Trinidad had their work cut out for them – despite an uncooperative microphone and their voices resonated clearly in the “cante jondo” style of deep flamenco singing.

Next up, “Soleá por Bulerias” highlighted the physical and technical skill of Sr. Maldonado as well as providing yet another example of Luis Miguel’s gorgeous guitar stylings. I especially liked José's complex patterning of taconeo as well as an attitude of reckless indifference – it was like a blast of hot, fiery air in a sub-zero room.

The resilience of “woman” came through loud and clear when Guadalupe took the stage again in a Soleá played in the key of E. This is a soulful and erotic dance with strong roots from Andalucía. Her womanly frame displayed all the hope, disappointment, lost love, and eventual rebirth so synonymous with the flamenco experience. Utterly believable, she conveyed that sadness throughout her body and up through her very fingertips in a graceful arc that extended her soul to the heavens.

The “Encuentro” played up both dancer’s fantastic skills. The crowd was on its feet several times to applaud before the end of the number with an enthusiasm which many being new to flamenco demonstrate. (This show is a taste of what is to come for those who make the Summer Program in Madrid a reality. )

The show capped with a “Fin de Fiesta” which was hilarious as each company member donned silly wigs and hats as the musicians did their quasi-flamenco footwork. The group has a genuine like for one another as was made apparent by their comeraderie throughout the performance. Having come from San Francisco, New York, and other venues, Boston was the final installment in their tour. The company spends today conducting a Master class before heading home to Spain where a much deserved rest awaits. Boston has great opportunities for fine flamenco, and this show is yet another case for that potential to be realized.

The Suffolk University organizers as well as Fundación Conservatorio Casa Patas’ Begoñia Fernández Pellicer are to be commended for their hard work and extraordinary commitment to bring flamenco to the students and this city.

EDITOR’S NOTE: Please stay tuned to Flamenco Buzz for more information on how you can apply to the Suffolk University Summer in Madrid Program

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FLAMENCO CLASSES w/ EVE AGUSH 2008-2009

THURSDAYS:
LOCATION: 77 Addington Road, Brookline, MA
CLASS TIME: 5:00-6:15 PM Youth Flamenco 3 (Ages 12+)

SATURDAYS:
LOCATION: 77 Addington Road, Brookline, MA
CLASS TIME: 10:00AM-11:00AM Youth Flamenco Level 2; 11:00AM-12:00PM Youth Flamenco Level 1
Level One Ages 5-9: Beginner to Adv. Beginner; Level Two Ages 10+: Adv. Beginner to Intermediate


** Private/Semi-Private Instruction available at 77 Addington Road, Brookline, MA. Please inquire.

ALL ABOUT EVE - Eve Agush has been teaching tap and flamenco in the Boston community for the past fifteen years. She teaches at many studios in Massachusetts including Boston Ballet, the Dance Complex, the Acton School of Ballet, Ballet Arts Worcester and the Northeast Youth School of Ballet. Ms. Agush began her professional career as a tap dancer at the Leon Collins Tap Dancer's Paradise. She was first introduced to flamenco by Ramon de los Reyes and then went on to both perform and teach in his company, The Ramon de los Reyes Spanish Dance Theatre.

Ms. Agush is a familiar face on the Boston dance scene, contributing her considerable experience to events such as Dance Across the City Day, The Children's Dance Festival, City Dance and the Boston Children's Museum Outreach Program. Eve Agush is the founder and Artistic Director of the "The AdamAnt Eve Dancers" a children's rhythmic dance troupe performing pure flamenco and traditional jazz tap.

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REVIEW: "JUANITO PASCUAL & FRIENDS"

FEATURING:
Juanito Pascual - Guitar
Elena Andújar - Baile
Nino de los Reyes - Baile
Rohan Gregory - Violin
Jerry Leake - Tabla/Percussion
Gonzalo Grau - Percussion
Stan Strickland - Flute/Soprano Sax./voice
Seiki Tamura - Guitar
Haggai Cohen - Bass

With Special Guest Star Alejandro Carrasco on Piano

DATE: Sunday, October 12, 2008 @ 8:00 pm

Kresge Auditorium was the premier venue for what is hoped will be a series of outstanding flamenco performances to come. Under the auspices of a newly established student group at Massachusetts Institute of Technology, their passion for this treasured art form flourished last Sunday night, Oct. 12th.

In fact, during a conversation with one of the group's founders, Serdar Karatekin, I was informed the mission of Flamenco @ MIT intends to produce performances and workshops by visiting artists. Being supported by the University, they have an impressive array of facilities and institutional support to achieve this. Further... the group welcomes non-students as well in hopes of creating a broad base of support for flamenco in an historically cold climate. (Interpret that as you will - my experience of it goes more than a decade)

Where to start? Juanito Pascual & Friends (listed above) fed off each other's creative energies to deliver one of the BEST shows he's ever had! The featured ensemble lists like a "who's-who" of virtuosic musicians, singers and dancers - all at the top of their game.

Starting out with "Rio" a new composition slated to be on Juanito's upcoming CD, the guitar styling was pure Andalucia. It was followed by an Alegrías accompanied on palmas by Rohan Gregory, Gonzalo Grau, and Jerry Leake. The next song included jazz legend Stan Strickland on flute and the hauntingly beautiful sounds of Valencia's Alejandro Carrasco. Rohan Gregory's doleful Gitano violin chimed in to create an exquisite blend of new-world jazz and old-world flamenco. I have seen attempts at this before but never before anything this brilliant!

Elena Andújar took the stage next in a gorgeous full length traje which highlighted her richly sensous curves and complimented that earthy melodic style of Sevilla. This is the raw and confident Gitana's cante - that with a smile and flick of her graceful wrists - enchanted the audience totally.

A TREAT indeed emerged in the form of young but highly talented Nino de los Reyes, who performed a syncopated number - totally improvised - that was composed by the pianist Alejandro Carrasco especially for him. Reminiscent of a Savion Glover choreography, yet totally and unmistakably flamenco - this young wizard nearly raised the roof! We were transported immediately from the sound of his first taconeo to Madrid. (Nino and his brother Isaac have performed there many times at tablaos such as Casa Patas and Corral de Moriera). Proud father and Cambridge institution, Ramon de los Reyes, beamed his approval from the second row center aisle. His legacy of flamenco we are privileged to own in Boston but his sons - they belong to the whole world!

The second act provided the hungry-for-flamenco crowd with a traditional Tangos, sung by Leo Treviño, with a quality of grito in his voice. Nino returned to dance a Bulerías with a fury both forbidding and dangerous. After changing from a miked to a non-miked format in mid-performance, he moved like a wild man in perfect control. The crowd returned the gesture with a maniacal standing ovation.

Juanito closed with "Rhumba for JB" his signature tune from the first CD. Every time I hear it I smile as I remember the young man I first met over 10 years ago who had just graduated NE Conservatory and was with myself a member of Omayra Amaya's Flamenco Sin Limites. How far he's come, respected by the maestros of guitarra in Jerez, playing all over the country, and gearing up for the very best part of his career!

For more information on Flamenco @ MIT, Logon to: http://web.mit.edu/flamenco/

For more information on Juanito Pascual, Logon to: juanitopascual.com

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Check out Edmy Ortiz in this month's Worcester Magazine

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Listen to the Debut CD From Hierro



Boston area flamenco guitarist Rad Raykov has a CD and flamenco persona both named "Hierro".
The name was given to him by a teacher because he displayed iron qualities in his playing, hence the Spanish..."Hierro"

To listen to selections from the CD, click on HERE

For more information about Hierro, click on HERE

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Review: Emil Zrihan Direct from Israel

Featuring an All-Star Andalusian Band: Boujema Razgui,Hamid, Zairi Walid, Rachid Halihal, & Juanito Pascual

DATE: Saturday, Sept. 8, 2007
SHOWTIME: 9:30 pm
LOCATION: Young Israel, 62 Green St., Brookline, MA (Near Coolidge Corner)

The show got off to a late (10:00 pm) start, but it was worth the wait! Sr. Zrihan has a voice like noone else - high but not shrill, strong and meliflous. His cante is not grating to the ear and indeed it was so soul-lifting, one felt almost transcended to a higher spiritual plane.

He can hold a note longer than any cantaor I have ever heard, and it is totally unwavering in its tone or substance. The night was populated with Morrocan and other North African traditional songs as well as favorite Israeli ones which he encouraged the audience to participate in. This special Jewish New Year's Celebration show drew a sold-out crowd and the audience was buzzing before, during, and afterward.

Accompanied by veteran Flamenco Guitarist Juanito Pascual, along with Boujema Razgui on Flute, Hamid on Darbouka, Zairi Walid on Oud and Electric Bass, and Rachid Halihal on Electric Violin, the ensemble drew breathless gasps of pleasure at their musical virtuousity. (Noted in the audience master violinist Rohan Gregory). They played traditional love songs in the ballard style as well as religious temple songs. It was very similar indeed to Quawali singing (i.e., the late Nusrat Fatah Ali Khan) in its devotion to God and the innate goodness of the Human Spirit.

Because I did not understand Hebrew or Arabic - which were the languages that Sr. Zrihan sang in - I can't provide a detailed account of the content. But it was almost a moot point since the subtext of his singing and not the words where that I came for. Sorrowfully, the night ended much too quickly. Hopefully others will get to experience the voice of the Cantor of Israel's Ashkelon Temple. This man has the most beautiful male voice I have ever heard and I encourage you to seek him and his art out!!!

CD information is as follows:



http://www.cdroots.com/hm-zrihan.html

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Juanito Pascual Flamenco Ensemble At New England Conservatory - Jordan Hall

Unlocking the Art of Flamenco - As part of the intercultural Institute


REVIEW

New England Conservatory - Jordan Hall
Friday June 22, 2007
8:00 pm

Juanito Pascual - Guitar

With Special Guest - Elena Andújar Vocals and Dance

Jerry Leake - Percussion

Rohan Gregory - Violin

The night started out with "TARANTAS" a traditional piece played solo by Juanito Pascual. As always, Juanito warms up the audience with the truest of sounds so evocative of flamenco which inspires romantic sentiment. Next came an alegrìas - "SALVA" in honor of his guitar maestro from Extremadura.

Elena Andújar, just in town that evening performed the vocals in the truest of Gitana style. When listening to her, I simply close my eyes and imagine an Andalusian peña or private house party replete with the best musicians, singers and dancers, perhaps celebrating a wedding or other family event.

She looked absolutely every inch from head to toe a “Reina Gitana”, dressed in green manton and hair comb and a lovely Spanish blouse over flowing black skirt, her beautiful countenance a reminder of the Indian Migration across the world to what is now the Roma Diaspora. Her eyes and skin as dark and glowing as the first singer to come from Northern India many centuries past…

She then proceeded to perform a “SOLO DE CANTE” with the same skill and intensity, pouring out as much passion and conviction as any singer could. She was formidable in her style and execution.

The third piece, was a traditional “BULERÍAS” which is always an audience favotite due to it’s 12 beat rhythm, and was followed by the last number in the set, a TANGOS also done in the traditional style. This last number highlighted the skills of percussionist Jerry Leake, an instructor at New England Conservatory (as well as co-founder of acclaimed world music ensemble Natraj) demonstrating just how deadly serious he is about his craft.

Speaking of serious sound, can the violin of Rohan Gregory kill with a note? You bet!!! I could listen to his deftly nimble handling of those sonorous strings for hours! To hear him is to transport oneself to a Roma campfire in the heart of a Romanian forest. You MUST find an opportunity to see him play, perhaps as a member of the QX String Quartet where he is currently a member. He’s played with the world-reknowned Klezmatics as well as rocking Boston’s Fleet Center (nee BankNorth) on the Paige/Plant tour with Led Zeppelin!

The second set followed with the premier of "ELATION" which will be on Juanito's next CD. ( By the way, the working title of the CD is language of the Heart but it may change. ) It was a jazz/flamenco fusion with new sensations and textures accented by compás accompaniment.

The second number of the set, “TIFERET” was a beautiful fusion piece. It's translation from the Hebrew is truth/beauty/harmony.

The third number was an “ALEGRÍAS” danced and choreographed by Sra. Andújar which gave the audience little time to catch their breath, as her footwork and style enhanced the production immeasurably. She captivated the entire hall, and a pin could drop yet her movements onstage were the only thing anyone was paying attention to. You literally could not pull your eyes from her as she danced. This is a journeyman flamenco performer – someone who can do it all!

The last number, VIAJÉ was a Bulerías done in a new style by Juanito. Here again, strong vocals from Elena Andújar with a composition which morphed from new-age jazz back to tradional. It will be interesting to her on the CD.

The night ended too quickly and left everyone up from their seats in a standing “O” – another triumph for young but remarkable artist, Juanito Pascual.

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REVIEW: CHARO'S Performance At SCULLERS! Saturday May 19, 8:00 pm
Scullers Jazz Club 400 Soldiers Field Road, Boston, MA.

Funny, crazy, passionate! She was the very essense of DUENDE!

These words barely begin to describe Charo. My front row seat in the intimate Scullers setting was like a Christmas and Birthday gift all rolled into one. As Charo sang and performed her "Las Vegas" style show complete with songs from ABBA and others, mingling with the crowd, dancing and waving her arms violently, I knew this would be no ordinary night.

Accompanied by sterling musicians Rick Powell (Musical Director) on drums, Wayne Tolen on bass guitar, and Patrick Karst on keyboards, Charo's ensemble combined decades of musical acumen and skill. Each musician knew his material inside/out and was able to keep up with Srta. Charo's high energy and intensity. No mean feat, since this woman was phenomenal by half!

Once the first half of the show which was geared mostly to the image of Charo as a caricature ended, the night truly began for this reviewer. I really looked forward to what happened next...

She picked up her guitar and proceeded to bring the house down.

Selections included the standard classical works from Albeniz (Asturias), Manuel de Falla, and Ravel (Bolero). Charo also shared her experience studying under the late great Andrés Segovia . She has helped to set up a special guitar school for children teaching the Segovia method.

Check out her album here: CHARO AND GUITAR

(More about Charo)

Charo is the nickname of Maria Rosario Pilar Martinez Molina Baeza. Born in the town of Murcia in southeastern Spain, she learned to play the guitar from the world-famous master, Andres Segovia, becoming a recording artist in her early teens. She appeared in the Spanish film classic, "Don Juan Tenerio" and was featured in a children's television show that brought her to the attention of famed Latin bandleader, Xavier Cugat. She joined Cugat's band and traveled to Las Vegas where the band played in major casinos; including Caesar's Palace, The Flamingo, and The Tropicana.

Twice voted "Best Classical Flamenco Guitarist in the World" - Guitar Player Magazine Vice President of Muscular Dystrophy Association Winner of a Billboard International Latin Music Award Winner of Screen Actors Guild Award Winner of the prestigious Golden Eagle Award for Outstanding Entertainment of the Year Received the Key to the City of Las Vegas by Oscar Goodman (03/14/04) Honored with the "Charo Week Proclamation" from the City of San Francisco (08/02/05)

Charo not only created and established the new Salsa style, but also made it possible for contemporary Latin music to reach the heights of popularity it has today.

Currently, Charo is on tour and in concert to sold-out audiences. She is also busy promoting her new CD, "Charo and Guitar," a highly anticipated mixture of her patented rhythms and mastery of classical guitar. "Charo and Guitar" is a combination of the most exciting and original music of today and the most famous classical masterpieces in the world. Charo performs brilliantly and passionately on these powerful tracks, blending heart and soul with her unique Flamenco style. This album breaks new grounds by featuring and combining new-age Flamenco Pop with some of the greatest classical masterpieces ever written - sure to be an international success with all audiences. "Charo and Guitar" will bring countless hours of enjoyment to all listeners.

Go to her website: www.charo.com

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La Conja on her collaboration with the ART

How do you put Flamenco and a Greek tragedy together?

This is what I thought when director Karin Coonrod, asked me to work with her at American Repertory Theatre in Cambridge. Karin and I had worked on 2 other plays; Poet In New York at NYU, and Casa De Bernarda Alba, at Columbia University. Both plays were written by Federico Garcia Lorca which of course means putting Flamenco dance and song in the play would be very appropriate as Lorca loved the Gypsies and Flamenco cante.

But when Karin said we are going to do The Phoenician Woman by Euripides, I thought well this should be interesting... she gave me the play to read, then we got together to discuss the various scenes and as she was talking I could envision the different palos that would go well for each scene. I worked with 18 actors only a few had dance backgrounds. This made my job very challenging couple with the fact that we had very little time together. Karin wanted each scene to have a different Flamenco compas behind it. So when the actors were speaking there would always be a Flamenco rhythm behind it.

There were wooden boxes which they used to create the different sounds of the compas almost like cajons. I started each day with the actors with a very strong warm up for the body arms, hands, palmas, footwork. I know this was something very different for them but, each one really gave there all to the work.

When I would come in each day I could hear them rehearsing their footwork and palmas and I could see that they were getting more and more into the Flamenco. Both Karin, and I would talk to them about the feeling and passion of Flamenco, how you really have to commit to the movement. Each day I would see new things in them and hearing them recite there lines I could see how each actor was getting deeper and deeper into the play. We used a Siguiriyas, for the opening all the actors coming forward as a group and marking the compas with there feet and the palmas. From there the group would open up and Jocasta, would come forward with her opening lines.

Then the rest of the ensemble would start the compas for Fandangos. This is where the Phoenician Woman would start telling there story as they were speaking there lines there were also dancing believe me this very hard to do. Karin, also had the actors speaking in both Greek, and Aramic (A derivative of Phoenician alphabet) I also gave a bit of cante to one the actors who was one of the Phoenician Woman, she sang some letras por Tientos. Other palos we worked in Tanquillo, Tangos.

The actors will be in Moscow Russia, for 3 months where they will perform the play and also be studying at the Moscow Theater Arts School. I wish I could go to Moscow but, at least my choreography will be seen in other parts of the world.All in all it was a great 2 weeks I really enjoyed watching the play come alive. It was great to share my art form with these young talented actors I really wish them a lot of success over in Moscow.

Editors note: This production is slated to be eperformed at the ART around September... more details to come.

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Calling all dancers, musicians, writers, storytellers, humanists, teaching artists, folk, and film/video artists. Complete a MatchBook profile today.

MatchBook is New England’s free online performing arts marketplace, helping to MATCH artists with those wishing to BOOK them. MatchBook also features a classifieds section, venue and presenter directory, professional development calendar and featured resources on grant writing, marketing, and other important topics.

Register today at www.matchbook.org.

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Grisha Goryachev

Flamenco Guitar virtuouso - available for lessons!

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