PERIFERIAS FLAMENCAS 2007. JORGE PARDO,
‘VIENTOS FLAMENCOS’
‘Circumjondo’ addicts
S.C. Madrid, May 3rd, 2007
‘Vientos flamencos’.
Jorge Pardo: sax, flute. Juan Diego: guitar.
Tomasito: compás, baile, cante. Nacho Arimany:
percussion. Periferias Flamencas 2007. La Casa Encendida.
Madrid, May 3rd, 2007. 10 p.m.
Jorge Pardo and Tomasito
(Photo Daniel Muñoz) |
|
| |
|
The ‘opening’ of the series
Periferias
Flamencas 2007 has a lot to report on. To begin with,
the very presence of flamenco. La Casa Encendida focuses
its program on contemporary and experimental artistic
expressions. And until now, flamenco has only appeared
on the slant at this venue, in the shape of complementary
activities of the Caja
Madrid Festival or album presentations. With this
new series, however, the jondo enters the main stage of
the building in its own right, a huge glass patio used
to the most diverse creative shows. To that end, the orthodox
isn’t resorted to, but rather tangent, peripheral,
surrounding flamenco. That’s how the jondo can get
across, one-to-one, to this new and necessary audience,
which isn’t flamenco’s usual one.
And the welcome was impressive. The tickets
were sold out, and many people were left outside, including
those coming from other provinces. Here’s evidence
of the need for forums for those other flamencos. But
the truth is that it was an occasion not to be missed.
None other than Jorge Pardo opened the series, with all
his quality, with all his mastery, with all his charm,
with the repertoire from his latest album, ‘Vientos
flamencos’ – just like at the past Festival
de Jerez -, and with an exceptional group consisting of
Tomasito, Jerez-born guitarist Juan
Diego and percussionist Nacho
Arimany. Just the four of them, with absolute fellowship
and devotion, managed to give a rush to the audience which
jam-packed the venue, sitting both in chairs and on green
rugs on the floor. There was room for everything; to let
yourself be cajoled by the maestro’s flute, to give
your spirit a break with the Jerez-born artist’s
guitar, to delight in the percussionist’s cross-border
timbres, to enjoy Tomasito’s
inspired genius, for Falla, for Camarón, for the
free and for feeling. Separately and at the same time.
From within and outwards. That’s how the audience
felt it... new, necessary, and from now on, addicted to
the ‘circumjondo’.
Juan Diego and Nacho
Arimany (Photo: Daniel Muñoz) |
Jorge Pardo and Tomasito
(Photo: Daniel Muñoz) |
Juan Diego
(Photo: Daniel Muñoz) |
