Hazy, atmosphere. The bar is closing. The lingering members of the party start the percussion. (Flamenco looks to Jazz in the "Grilo night club experience", among the dreamy haze) the dancer from Jerez,  with his second show by his own company, brings back memories of the Madrid nightlife transporting characters and events to a Jazz club that sounds Flamenco, with the staple players Jorge Pardo y Carles Benavent.

Tino di Geraldo missed his plane and was substituted by El Cepillo, with whom the flamencos added a little more rhythm. The potent voices of Carmen Grilo and David Lagos, along with the consistent back up and creativity of El Bolita. A glass breaks and Grilo dances, shows ambivalent personalities, and the contagious fertile threshold under the direction of Gustavo Tambascio.

This is a real character, because on top of the bar tender, he rowdily calls attention to the role of dancer Pedro Córdoba, playing a drunk “Candela”  type with intoxicated gestures cutting with his hands in a rhythmic garb in the style of Israel-Latorre. Counterpoint Grilo.

Group tangos, seguiriya with highlights, synchronized dance of Grilo with a wife and a lover in nightgowns (protagonists, next to a third woman, walk the walk to bulerías for Joaquín in his dreams), fandangos with Carmen Grilo that the band makes into a song, Pardo on flute, Carles all over the place. Yes there are Jazz players that seem like University students when they play Flamenco (on a first date with a waitress), but these players are deans of a new style.

Jorge Pardo

Carles and Jorge make Spanish Jazz (in three letters, from CTI to ECM) with a free touch that Pardo reduces to samba-rumba in order to sing with his sax to Grilo with pure intuition, to the most musical heels. The three will be touring soon with Paco de Lucía, to whom they pay homage with bulerías 'Río de miel' (River of Honey). The dancer expresses with his body each verse by Luis Cernuda, also used in 'Noche del hombre y su demonio (Night of Man and his demonds), read by Jesús Quintero, from the book that subtitles the piece: 'Como quien espera el alba' (Like one who awaits the dawn).

Other high moments include the alegrías by David, the soleares (free reign on the give and take that maintains the elevated tone, Carmen –little sister (17) of Joaquín- performs with Lagos) finishing off with Pedro Córdoba and Grilo dancing, the jolly climatic ending (the most notable performance by Grilo is here) before which the group follows the melancholy singer who with her taranta awaits the dawn.

Joaquín Grilo

José Galvez
Villavicencio Palace, 19:00

In his solo taranta, the guitar of Diego Amaya seems burnished, Gypsy, following with solid disposition the slow, tired, meticulous and pale voiced singer without risk of asphyxiation that comes from the neighborhood of Santiago. For example, the beautiful seguiriyas where chosen with the feeling of liviana, later alegrías, soleá y taranta. He started and finished standing, with a short trilla and long bulerías; he is a singer with a light blue shirt and pink tie that has an album out as a melodic singer.  For his part as an outstanding guitarist he can be heard on the latest album of El Capullo.

Luis Clemente
Translated by Jessica Lorber