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BETH NESBITT’S CALIFORNIA BUZZ…
(part of www.flamencobuzz.com)



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Caminos Flamencos at Cafe Flamenco

DATE: Friday, July 10, 2009

TIME: 8:00pm to 11:00 pm

LOCATION: Verdi Club

STREET: 2424 Mariposa (18th & Potrero)

CITY: San Francisco, CA

TELEPHONE: 510.531.9986

EMAIL: info@caminosflamencos.com

LOGON TO: www.caminosflamencos.com or www.verdiclub.net

TICKETS: $18/advance and $22/door. Purchase online at www.brownpapertickets.com or call 800.838.3006

Following the great success of our first inaugural Cafe Flamenco in this new space, join us for an evening of fun and great performances....and a first-class Concurso de Sevillanas (Sevillanas Contest). Contestants will compete for a First and Second Prize Cash Award, juried by a panel of guest judges TBA. The evening includes performances by the awesome cuadro flamenco of Felix de Lola, Jason McGuire, Fanny Ara, Marina Elana and Yaelisa. Back by popular demand is young guitar student Roberto Granados...bring your best Sevillanas!

Enjoy an evening of flamenco in an exciting new setting with a full bar lounge, a menu of tapas and 3 separate showtimes (8-9-10pm). Patrons may for any showtime, but there is no reserved seating. $18 ticket is good for all shows and the entire evening, which includes Sevillanas Club and Open Stage Juerga, where audience and aficionados are encouraged to join the house musicians for Bulerias, Tangos and Sevillanas....come and party with us!

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SUMMER FLAMENCO WORKSHOPS w/Yaelisa, Emmy Award-winning Dancer/Choreographer

Contact Yaelisa at info@caminosflamencos.com

Yaelisa is a master instructor who has won numerous awards
for her choreographies. Her classes focus on introducing
students to the movements, rhythms and feeling behind this
exciting dance form. The classes are an intense workout,
yet fun for beginners and advanced dancers alike.

Yaelisa is the artistic director of the award-winning
Caminos Flamencos Dance Company, Compania Somos Flamencos,
and the co-founder of the New World Flamenco Festival.

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The Flamenco Society is proud to start dance classes at a new location:

San Juan Dance Express
1557 Meridian Avenue
San Jose, CA 95125

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SAD NEWS FROM YAELISA

Since 2005, I have been spending the first two weeks of March at the Festival de Jerez in Spain, sipping sherry and good wines, visiting friends and seeing a variety of performances from artists all around Spain. Many of them are my friends and its always a fabulous trip. Today I am writing from the Bay Area instead of partaking of the joys of Jerez, a true sign of the times. The economic turmoil that is now a global phenomenon has trickled down to the arts and to the flamenco community, affecting artists, teachers, arts organizations, presenters and non-profits.

Historically, during times of upheaval and unrest, people turn to the arts for solace, comfort or just entertainment...but we are already seeing that many projects, tours and events which were fixtures in the cultural scene will be postponed, cancelled or simply disappear.

It’s already happening. News that the Albuquerque Flamenco Festival has been cancelled completely will soon be followed by the announcement that the 2009 New World Flamenco Festival is being postponed until 2010. Culturally and economically, the effects are significant but on the hopeful side, it may be a chance for audiences to support their local artists more fully. In major cities across the U.S., artists are becoming both creative and daring in their current and future projects, because resources have become even scarcer than they were.

I urge aficionados to disregard what some "financial" experts are saying about saving your money and not going out to performances: go to the theatre, to a music concert.... and go see flamenco. By spending a few dollars on a live performance, you’re not only enriching your soul or simply being entertained, you are a part of an industry that generates $167 billion dollars a year and employs 6 million people in some fashion.

That's a success story. Be a part of it and be proud of it!

Yaelisa - Artistic Director, Caminos Flamencos

Editor's Note:
There is some good news...Yaelisa and Caminos Flamencos remain committed to providing workshops and performances in the San Francisco Bay Area. To find out more you can contact Yaelisa at: info@caminosflamencos.com or call 510.531.9986

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REVIEW: Amargo’s ‘Tiempo Muerto’ Fuses Modern with Flamenco

By Beth Nesbitt, Flamenco Buzz Correspondent

The intimate setting of the Nate Holden Performing Arts Center was treated to
six electrifying breakout performances by Andalucía-born Rafael Amargo &
Compañía de Flamenco in his sixth flamenco production ‘Tiempo Muerto’
(Time Out) September 5-11 here in Los Angeles...

read more









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Flamenco Society of San Jose has a NEW website!

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New World Flamenco Festival - Read the Show Reviews HERE!!!

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REVIEWS OF THE NEW WORLD FLAMENCO FESTIVAL SHOWS!!!

Compañía Rafaela Carrasco’s “Una Mirada al Flamenco” (A Look at Flamenco) Saturday, August 12, 2006

“A New Flamenco Mosaic”

Reviewed by Beth Nesbitt

Saturday night’s highly anticipated “Una Mirada al Flamenco” presented a fascinating new vision of flamenco performance. Rafaela Carrasco’s original choreography embraces refined movement, sophisticated lighting and haunting musical threads, pushing boundaries so strikingly original they defy categorization.

As the third and final featured company in this year’s Irvine Barclay Flamenco Festival, Compañía Rafaela Carrasco took the stage for a new flamenco mosaic. Advance buzz had it that Rafaela Carrasco was the hottest flamenco dancer in Spain and not to be missed. But there was a surprise as the evening unfolded, more striking as each number of the seamless 70-minute nonstop production blended Andalucian roots with jazz and contemporary influences. Of note was the impeccable choreography, which offered a new model for translating an intimate art form to a large audience.



Lighting designer Gloria Montesinos’ haunting spotlight-driven opening ‘Bulería’, Encuentros, pushed all boundaries of time and space. Ms. Carrasco stood poised, sinuous arms twisting, punctuating vueltas quebradas (deep back-bent turns), with crisp footwork driving the rhythm. Dancers were individually highlighted - - - two, three, then five - - - each brilliantly challenging the compás in small vignettes. Piano and cello music from Pablo Suárez and José Luis López, respectively, wove doleful melodies around solid mainstays of the bulería, with the flamenco guitars of Arcadio Marín and Jesús Torres superbly articulating the compás.

Solo un Solo, a haunting ‘Malegueña de Trini’ which transitioned into a ‘Fandangos de Frasquito’, featuring cantaores Antonio Campos and Miguel “Picuo,” emerging from smoky darkness. These two impressive young singers presented individual expression to this ancient and mournful song. Ms. Carrasco then took the stage for a minimalist, heartbreaking solo, which transcended the established rhythm to match Torres’ guitar arpeggios. Ms. Carrasco's dances have a compelling formal logic, so that each unexpected entrance or departure feels simultaneously inevitable.

The ‘Farruca’ dazzled by setting a mood not based on personality but elemental presence. Highlights included a spot lit Rafaela caressing a bata de cola, clutching it sensually to her bosom. One female and two male dancers enter dressed in black, whip-trained, coiling batas, lending all a sculpture-like quality to their ensemble effort. Throughout the evening company dancers Concha Jareño, Rocío Montoya, Daniel Doña, and Ricardo López continuously displayed versatility in expression.

Entre Dos, a ‘Tarantos de Almeria’, featured the vibrant tabla playing of Nacho Arimany who also sang the punctuated Indian accents to shouts of olé. A haunting ‘Martinete’ featured strong cante and dynamic rebellious choreography. Adding to the evening was the arresting imagery of Pepa Carrasco’s beautifully styled black and turquoise costumes, smartly accentuating the boundless energy of the group.

The finale, a ‘Soleá’, captured the darker side of love and portrayed the art form's aching embrace. A delicate cello, lyrical piano, and expressive guitar and singing maintained the intensity of emotion. Ms. Carrasco was again superb. She is an elegant, refined, yet gutsy dancer and choreographer who has made an indelible footprint in contemporary flamenco as well as the world of dance.

Congratulations to artistic director Yaelisa, president and producer Douglas Rankin, director of communications Karen Drews Hanlon, and the superb staff of the Irvine Barclay Theatre. What a fitting end to this year’s New World Flamenco Festival and its theme “Sin Fronteras.”

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Son de Jerez - A Soulful Mix!

Reviewed by Beth Nesbitt

The Irvine Barclay Flamenco Festival is now one of the year's biggest events in Southern California, and Tuesday night’s blend of traditional flamenco and contemporary tap had all the promise of a sure-fire winner.

Jerez is the flamenco world’s rhythm center, where compás is king. In the evening’s opener, "Son de Jerez," we were treated to a performance of dancers all hailing from Jerez de la Frontera in the southern Andalusia region of Spain. Its residents have their own unique way of feeling the rhythms of flamenco, particularly the bulería, which was invented in this region.

Bulerías "De la Calle" highlighted the best of this intimate circle. The combination of strong vibrant singing from both Manuel de la Malena and Luis Moneo, rock-solid guitar work from Domingo Rubichi and Juan Manuel Moneo, and intoxicating dancing from Andrés Peña, produced energy-driven displays of pure Jerezano-styled flamenco. Every gesture and musical accent expressed a fierce, implacable hauteur, a wonderful mixture of pain and pride, along with an erotic fire whose flame can barely be contained.

Each flamenco song and dance, by definition, has a set rhythmic form. Yet flamenco is a performer's art, and no flamenco dancer is like another. Although not a Jerezana, Yaelisa’s "Por Soleá" extended a personal presence, with majestic refined arm work and impressive percussive footwork.

A musical highlight was a solo by noted guitarist Domingo Rubichi, who exhibited great passion and feel. Peña again took the stage for another masterful display of raw sustained energy, mixing whiplash movements with stellar footwork.

I quite like the current trend in flamenco that fearlessly combines other styles into its framework. The evening’s second half featured the much-anticipated flamenco/tap duo. Savion Glover’s engaging syncopated footwork seemed a natural pairing with flamenco dancer Yaelisa. Glover is a tap dancer master capable of locating, cajoling and transmitting an amazing array of subtle rhythms through his feet. Clearly he enjoys his ability to create unique rhythmic expression, and shares this with an audience. Yaelisa displayed strong variations in both duet work and solo performances. This pairing, however, only sparked and smoldered without really ever catching fire. Jason McGuire “El Rubio” added his own special virtuosity in a strong solo performance.

The finale assembled all performers on stage, with Savion Glover featured on a raised platform in the center. Mr. Glover unfurled dazzling rocket-like footwork rhythms that in every way blended with his flamenco counterparts. Yaelisa then took over and gathered her own momentum--to hearty applause and encouragement from the audience.

The triumph was that the evening’s soulful mix gave everyone bountiful displays of excellence in both dance genres.

Next up Compañía Rafaela Carrasco.

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Review of Compañía Juana Amaya With Juan del Gastor at the Barclay Theatre
As part of the New World Flamenco Festival, Irvine, CA

Reviewed by Beth Nesbitt

¡Aire, Aire, Aire!

The Irvine Barclay Theatre and artistic director Yaelisa have once again has brought the best of Spain’s flamenco artistry to Southern California. The highly anticipated New World Flamenco Festival’s fifth season opened with a resounding force to hearty crowds of appreciative viewers.

Morón, a tiempo y a compass - (Morón, a time and a rhythm)

On Friday night, loyal fans crowded into the Irvine Barclay Theatre to see legendary flamenco artists Compañía Juana Amaya and guest artist uncle Juan del Gastor perform their magic.

Dedicated to the city of Morón de la Frontera, deep in the heart of Andalucia, the show was full of the heartbeat of true flamenco and told a story of time and rhythm.

Juana Amaya’s consummate artistic mastery and ability to compel an audience were apparent from the opening moments. A spotlight highlighted the company seated around a low wooden table. Raping knuckles set the compás, haunting guitar falsetas established the melody, and richly impassioned singing began the evening's Presentación Bulerías. What immediately came to mind was the classic scene in the film Los Tarantos, with Carmen Amaya pounding out the compás on a wooden table in knuckle-rapping frenzy. This Presentación evoked that same spirit.

All three singers, which included El Galli, and El Extremeño, a last minute replacement for an ailing Juan Jose Amador, displayed amazing vocal dexterity. Superbly imposing dancing continued with Nazaret Reyes (pictured here with Juana), daughter of Juana Amaya and Cristóbal Reyes (you can imagine that gene pool!) ascending onto the table for an impassioned performance. Juana finished off the opening, ascending as well to continue the bulerías with powerful footwork that expressed such pure joy--and aire--that all in attendance seemed to inhale its richness.

The evening proceeded with the best of the best, a Martinete into Siguiriya, featuring spotlighted solo work from all singers, and Juana Amaya displaying mind-blowing footwork (no one can match her) mixed with pure aire that was both haunting and anguished. Ms. Amaya’s choreographic intelligence and maturity allowed each flavorful detail to hang suspended, dominate, then embrace the next, as if performed in a trance-like state.

Solo guitar work by Juan del Gastor featured 20 minutes of music that captured the bittersweet suffering of love and life--true mainstays of flamenco. The duet work of El Extremeno and guitarist El Bola embodied vitality and passion.

Friday night’s performance excluded dancer Jairo Barull due to an ankle injury, but none were disappointed with daughter Nazaret's fine cantiñas. This compact version of Juana Amaya (an exact replica) exhibited all the styling and footwork strength, with a forceful high-energy style of her own.

Juana again took the stage with a powerful Soleá por Bulerías that transitioned into a brilliant Soleá--the Aire dexterously unfolding and refolding around her signature palo, with stern, imposing, technically perfect footwork. Make no mistake: to witness Ms. Amaya’s brilliant, deeply personal and soulful performances is like a small piece of heaven opening just for you.

¡Aire, Aire, Aire!

Next Review up: “Son de Jerez” (please note program change) and Savion Glover with Yaelisa for the mid-week show.

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11/09/05

“A Walk Across the World”

Reviewed by Beth Nesbitt


Photos L-Pedro Ricardo Miño, R-Jackson Browne, by Beth Nesbitt

The legendary Friars Club of Beverly Hills provided a stellar backdrop to Saturday night’s Living Wellness Foundation’s premiere fundraising “Walk Across the World” concert, featuring renowned singer-songwriter Jackson Browne and flamenco pianist Pedro Ricardo Miño.

In keeping with the Foundation’s theme of world peace thru spiritual and cultural understanding, Browne and Miño provided a magical and strikingly relevant evening of music.

The opening set featured Miño in a range of richly moody solos that ran the gamut from seduction to despair. In the taranta, a traditional song of the Andalusian miner, Miño threaded tragedy and sorrow with edgy keyboard dexterity. A seductive guajira captivated the crowd with light, glittering rifts. In contrast, the hard-hitting 12-count soleá mixed mournful, dark undertones with beautifully eloquent modulations. Miño's richly flavored bulerías were ablaze with nimble-fingered licks and sparkling bebop assuredness.

Hailing from Sevilla, Spain, Miño unites the rhythms and textures of his country's native flamenco tradition with American jazz and blues improvisation. Drawing from the alluring sounds of heavyweights like Bill Evans and Thelonius Monk and blues master Muddy Waters, Miño merges precision, style and soul into his masterful playing.

After an intermission Browne took the stage to revisit some of his classic songs in an intimate acoustic setting. Known for crafting songs that integrate rock, soul and blues--all with a heaping helping of warmth and humanity--Browne offered up his heartfelt, slice-of-life tunes to a packed and appreciative house.

Saturday's eleven-song set reminded us of the beauty and timelessness of Browne's songwriting talents. “After the Deluge,” a stunning personal narrative of doomsday prophesy, was presented with refined voltage, while “These Days” proved just how moving a simple ballad can be. Classics such as “Looking into You,” “For Everyman” and “How Long” rendered emotional scenarios with Browne's expressive vocal power.

Browne moved effortlessly from acoustic guitar to piano and electric keyboards to give each number a flavor of its own. Other musicians--on trap drum, electric bass, oud and djimbe drum--added the perfect world music texture and rhythm to Browne's engaging set.

Miño returned to the stage to join Browne in his final number plus two encores, which featured the '70's anthem, “Running on Empty,” and a four-member all-female gospel choir, directed by Fred Martin. Bringing together such diverse musicians and musical genres gave testament to Browne’s unique ability to ‘walk across the world’ and into our hearts.

There is a word in Spanish,duende, which describes a concept in flamenco that does not have a literal English translation. It can mean many things but principally it has to do with feeling. Intense feeling, one that comes after a majestic sweep of notes that elicits a spontaneous luminous moment.

Everyone felt duende at Saturday night's performance. And our applause to Jackson Browne, Pedro Ricardo Miño and the other fine musicians was our way of shouting--olé!

TO LEARN MORE LOGON TO: www.soundsofthesacred.org

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REVIEW OF: Ballet Flamenco José Porcel (by Beth Nesbitt)

Segerstrom Hall, Orange County Performing Arts Center
600 Town Center Dr., Costa Mesa, CA
October 27, 2005 8:00 pm

Thursday’s opening night performance of Ballet Flamenco José Porcel embraced both the powerful and sensual sides of traditional flamenco dance. The well-rounded program, presented in two parts, combined expressive ensemble choreography with imaginative duets and trios. Throughout, Porcel displayed choreographic intelligence and maturity that allowed him to weave well known flamenco movements into his own personal vocabulary.

The first segment featured the company's flashy bulerías, as well as Porcel’s dramatic solo farruca, danced in an eye-catching green velveteen suit. The four female dancers then took the stage with an uplifting traditional-style guajira. A highlight was the male trio's somber solea, spot-lit for dramatic effect. The male members brought the house down several times with their heart-stopping footwork and majestic turns. Their highly individual body types, focused facial expressions, and attention to detail provided a perfect foil for the women and background for Porcel.

Opening the second half, Porcel’s tiento/taranto duet with one of the women allowed wonderfully intense moments to develop through suggestive strokes of the cheek, a head nestled against a chest, even an actual or near embrace. This segued into a passionate seguiriya, performed by the male members of the company. They undertook unison sections with sheer dominance and control. The women then performed a merry alegria with bata de colas and shawls, kicking their trains with enormous gusto.

Well worth mentioning was the excellent musicianship throughout the evening. The singers' velvety voices washed over the audience like a richly aged Rioja, while the guitarists performed beautiful and haunting falsetas reminiscent of flamenco legend Ramón Montoya. Capping the evening in fine style was José Porcel in a solea por bulerías. The performer literally danced in the footlights and executed a riveting tacaneo to further entice the crowd.

Call it old-fashioned, but heavens praise the heart and genuine pleasure Porcel takes--and receives--with his art. ************************************************************
08/16/05

Review of Vivencias - Starring Antonio El Pipa and his Compañía

Barclay Theatre - Irvine California
Saturday, August 13, 2005 - 8:00 pm

Compañía Antonio El Pipa performed a stellar, traditional Jerezano-styled closing performance that proved the ‘classics’ never go out of style. This 11-member ensemble presented a heart-felt tribute to the memory of grandmother Tía Juana la del Pipa in Saturday night’s performance of "Vivencias".

The cante is the spirit of flamenco, and the dancer is the reincarnation of the song. In every way this came to fruition as Antonio El Pipa delivered in rare style, along with aunt Juana la del Pipa’s deep, raspy singing voice, great moments of feeling and sensitivity.

The staging was warm and friendly and reminiscent of the famed ‘patios’ of Jerez de la Frontera complete with wood crates, a table, benches and I want to imagine wine (but most likely water) flowing in abundance. Company members enticed us with spirited performances throughout the evening. ‘Guapa’ was shouted for the captivating principle dancer Maria José Franco whose movements easily transitioned from powerful to sensual. Along with singer Juana la del Pipa, noteworthy cante was provided by singers Manuel Tañé, Felipa del Moreno, and Joaquin Flores who also provided rousing jaleos throughout the evening.

Pipa’s passionate and soulfully performed siguirillas made the cante visible. Stormy taconeo punctuated the air with bursts of energy and élan that made the audience erupt into applause. He stands still, his hand, as if moving the bullfighter's cape, silences us. Fiery footwork patterns begin again each progressively louder and more expressive. All this and more, including the sensitive playing by guitarists Pascual de Lorca and Juan Moneo helped to complete a very personal conversation.

This showcase gave special tribute to the spirit of Tía Juana la del Pipa and a fitting punctuation to the Irvine Barclay’s themed festival “Tradicion y Familia”.

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08/12/05

New World Flamenco Festival Irvine, California presents: Tradicion y Familia

August 5 – 14, 2005

As reviewed by West Coast correspondent Beth Nesbitt

The Irvine Barclay Theatre and artistic director Yaelisa have again brought the best of Spain’s flamenco artistry to Southern California. The highly anticipated New World Flamenco Festival’s fourth season opened with a resounding force to sold-out crowds of appreciative viewers.

“LOS FARRUCOS”
The first of three companies to perform in the week long festival was the dynamic, and always surprising Sevilla-born Farruco family. This dancing dynasty included Rosario Montoya “La Farruca”, son Antonio Fernadez Montoya “Farruco”, and cousin Juan Antonio Fernandez “Barullo”. The opening alegrías were presented as a stormy taconeo (footwork) duet between the two cousins that was well received. The evening also featured an original ‘buleria galactica’ solo from Farruco, and a ‘soleá’ from Barullo. However, the highlight of the evening was La Farruca’s ‘romance’ solo which brought vivid spontaneity, and expression to her very personal style of flamenco dance.




Kudos to the extraordinary musicianship of guitarists Román Vicenti and El Perla; singers Jorge Rubio “El Canasterio”, José Valencia, and the phenomenal artistry of the Sevilla-born cantaor José Anillo .

“Y UNA BATITA DE COLA”
A rare gem! This was a superb demonstration of exciting, romantic and sultry flamenco dance. Each performer presented the highest level of artistic mastery pairing focused lyrical performances with exquisite choreography and musicianship.

Opening Tuesday night’s performance was a poetically beautiful guitar solo from Juan Requena. The warm space of the Barclay is perfect for Requena’s delicate, almost classical touch on the guitar. Jose Anillo continued with an ancient and mournful cante solo which left one breathless and wanting for more. Continuing with superb majestry was Anillo’s sister Encarno, a singer of great depth and beauty. Her letras includes phrases such as "God is sending me punishments" does it get any better than that. Hold on…

The program then segued into the nights first dance solo featuring Isabel Bayón appearing in a multi red bata de cola dancing a ‘bambera’. Her sinuous arms twisted behind her back and her sharp accented turns and fluid arm work thrilled the audience to heartfelt jaleos of encouragement. The dancing of Yolanda Heredia in an amazing ‘solea por buleria’ was flawless with precise 180 degree rotations, armwork, and intricate footwork embellishments. Her exquisite line and rhythmic fluidity was a thing of beauty.

Next, a joyful ‘tangos’ duet featuring Yolanda and Isabel. Due to a small accident dancer Concha Jareño could not perform, however, not a beat was missed. Ms. Bayón continued with a ‘seguirilla’ which was pure, raw, and gutsy. The perfect mix of brother and sister singers resounded throughout the entire nights performance. Encarna Aniilo sang with particular power and soulfulness. This paired with the impassioned playing of Requena and Barakaldo-born guitarist Jesus Torres weaved seamlessly throughout. For many the highlight of the evning was Ms. Heredia’s astounding and joyous ‘alegría’.


<----Glowing from the phenomenal success of "y una batita de cola"
(l to r) dancer Isabel Bayón, festival director Yaelisa, dancer Yolanda Heredia,
and the incredible cantaora Encarna Anillo. Look for the upcoming CD release
produced by Miguel Poveda!

The beautiful multi-colored and patterned flounces of her bata de cola paired perfectly with the dance. The fabric connected in geometrical patterns with the train releasing with each flick of her foot expressive energy and artfulness. All too soon the evening came to a close with a spirited ‘fin de fiesta’. Singers and guitarists moved closer to the audience for an exhilarating finale featuring both singers, and Encarna launching into an impromptu buleria which sent jaleos, and cries of “otra, otra from the audience.

Next up, Antonio “El Pipa” stay tuned…

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