ANA SALAZAR, ‘CLAROS DEL ALMA’.
PREMIERE
Stage magic
S.C. Madrid, October 16th, 2007
‘Claros del alma’. Ana
Salazar: vocals, baile. Israel Sandoval: electric
guitar. Juan Carlos Aracil: flute. Josep Pérez:
bass. Josete Ordóñez: flamenco guitar. Guillermo
McGill: drums. Cuco Pérez: accordion. José
Luis Montón: guest flamenco guitarist. Sala Galileo
Galilei. Madrid, October 16th, 2007. 10 p.m.
Ana Salazar. Premiere
of 'Claros del alma' (Photo Daniel Muñoz)
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Ana
Salazar grows on stage. The contents of her new album
‘Claros del alma’ (‘Cracks in the Soul’)
acquire body, energy and expression when the Cádiz-born
artist performs it on stage. And it was the first time,
at that. It happened at Madrid’s Sala Galileo Galilei,
where women have performed of the likes of fado singer
Katia Guerreiro, rapper Mala Rodríguez and the
eclectic tonadillera Martirio. Like them, she
wielded all her weapons. A voice which now, after facing
up to Edith Piaf, sounds more complete, firmer. Baile
which now goes beyond the finish, which displays the full
choreography. And presence which naturally projects light
and strength derived from what is flamenco. She doesn’t
put on airs of a cantaora; far from it. But the jondo
is inevitable in her... as is an open, cosmopolitan perspective
of song.
Her curls half tamed, vintage esthetics
in black and white with a touch of red on her lips and
fingernails, with a long silhouette. That’s how
she appeared before a crowd consisting largely of guests.
Some of them as illustrious as bailaor Mario Maya. Backing
her, besides the joint’s pink neon lights, was a
band of ‘multi-trend’ musicians led by jazz
drummer Guillermo
McGill, the album’s producer. In view of how
modest the group was, the consolidation, spark and attitude
fell entirely upon the singer-bailaora.
Ana Salazar was brilliant in her performance,
improving upon the result of the recording exceedingly.
And more so once the pressure of the premiere had worn
off. She sang believing what was sung, contributing the
pose which each song - nearly all of them, versions -
required. As a bailaora, she opened up, dancing an instrumental
song por seguiriyas, as designed by Rosario Toledo, whose
electricity was relayed in every quiebro. Vibrant dancing.
At the end, the touches of flamencura were appreciated
which were contributed by the guitar of José
Luis Montón, a guest in the songs which he
has written: ‘Como Adela por la vida’, a lovely
tribute to cantaora Adela la Chaqueta, and the final rumba
‘Tu regalo’. The crowd, very devoted, called
for two encores, insistently demanding flamenco ‘chanson’.
And Ana responded with ‘Hymne à l’amour’...
flamenco style, por bulerías.
Ana Salazar. Premiere of 'Claros
del alma'
(Photo Daniel Muñoz)
