SEVILLE'S BIENAL DE FLAMENCO 2002

My flamenco is of today

Silvia Calado Olivo. Seville, September 21st, 2002
Photos: Javier Hurtado

'Tomatito en concierto'. Guitar: Tomatito. Classical guitar: Carles Trepart. Vioiín: Bernardo Parrilla. Cante: Potito. Bass and mandoline: Diego Amador. Palmas and dance: Joselito Fernández. Percussion: Ramón Porrina. Teatro de la Maestranza. Seville, September 21, 2002. 9:00 p.m..

Tomatito started to cry when the Argentine guitarist Luis Salinas made him listen to Astor Piazzola. The tears began to turn into a tribute in 'Spain', a record which contains the version of 'Adios Nonino', a bolero which has been revived over a hundred times by all kinds of musicians. The guitarist from Almería came back to recreate the composition, this time without the Dominican pianist Michel Camilo, in 'Paseo de los castaños'. And the tribute continues...

Accompanied by the classical guitarist Carles Trepart, he decided to offer a repertoire of five cuts from the bandeonist and composer from Buenos Aires in exclusive for the Bienal audience for the first part of the recital. Flamenco and classical guitar on the same level for a trip to the Mar de Plata. The responsibility of creating a structure, compacting, giving an edge fell upon Carles Trepart...while Tomate colored not with flamenco, but with a flamenco instrument and flamenco technique. The final result, seasoned with Bernardo Parrilla's bow, a delight. If indeed it's true that the classical - well, classical with a snappy face - could take on a concert on its own, the authority with which the guitar dominates, the powerful agility and freedom about which it is ignorant, bring everything full circle.

A little this and a little...flamenco. But of the kind to which you could apply the musical concept of Piazzola. If the Argentine musician who died a decade ago made that statement "my tango is of today", when he himself had announced the end of music from Buenos Aires, Tomatito could say that his flamenco is of today. Crossing frontiers, unchained, breezy, imaginative. Yours truly, who has been following the concert over a period of time - the taranta 'Macael' as a solo, and in group, the bulería 'Paseo de los castaños', this, that, the other thing, 'La vacilona' - can say that the way the music was executed in the Maestranza...no earlier. Tomatito had a firm step, he attacked the notes with unusual power, he flowed, he endeared himself, he shook things up. And in the back, a string of accompanists. Ramón Porrina on the cajón, playing knowledgeably, creating intricacies with the rhythm...take note of how to do right by an instrument. Bernardo Parrilla on the violin, conversing with the guitar, one on one, ripping open the melodies, making them their own. Diego Amador on the bass and mandolin, redoubling and filling out the foundations. Potito with bits of melted cante, and a second guitar. Joselito Fernández who danced an encore of wonderful soleá por bulerías, restrained, walked, posed, settled. Oh yes! and the lighting. Bendito Sergio Spinelli brought light to a Bienal marked by shadows. Ole, ole, ole...

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