JORGE PARDO. ‘VIENTOS FLAMENCOS’

A matter of oxygen

‘Vientos flamencos’. Jorge Pardo: sax and flute. Juan Diego: guest guitarist. Nacho Arimani: percussion. ‘Martes flamencos’ at Contraclub. Madrid, April 4th, 2006. 10:30 p.m.

Jorge Pardo (Photo: Daniel Muñoz)

No more crowds. Jorge Pardo escapes from the packed Chick Corea tour to find himself once more with the pleasure of playing absolutely up close and personal. The saxophonist chose a small concert hall, Madrid’s Contraclub, to do a live presentation of several of the pieces off his new album – downloadable at Flamencodigital.com – and review a selection of scores from his repertoire. And to do so he had the invaluable collaboration of an old music colleague, Jerez-born guitarist Juan Diego. Together, they sketched out a high-quality musical journey in which breathing, sensitivity, enjoyment and a liking of sharing became the stars.

The small place packed with people. A family concert. Just a percussion base on a pumpkin by Nacho Arimani and the disturbing buzz of the air conditioning accompany Jorge Pardo in his infinite intro solo. He sings with the flute. He flies with the flute. From the most old-fashioned cante tradition to Manuel de Falla, going on to other galaxies of his own and others. When the audience is now completely inside, Juan Diego comes to continue with the hypnotism session. He brings new airs, the ones that shape up the album he is already recording in the United States. He performs the piece with tact, blowing oxygen into the six strings. Hypersensitivity. Jorge Pardo joins back in to undertake the dialogue. The alegrías ‘A tu mare Rosa’. From Jorge to Camarón. From Camarón to La Perla. Journeys of a thousand textures, of a thousand intensities. And the party must have the jondo feeling. Time to recover a little musical jewel, ‘San José’ off the album ‘Mira’, a composition by Antonio Soteldo ‘Musiquita’ which relates the Venezuelan joropo and the soleá. Next, it’s time to make a reference to the tangos from ‘Luminaria’ by Juan Diego. Remedios Amaya’s voice finds a worthy substitute in Jorge Pardo’s sax. Party.

The celebration goes on with another preview of the second album by the Jerez-born guitarist. A bright piece also signed by Musiquita and reconverted into bulerías by Juan Diego. A delight to the ears, food for the soul in search of light. Toque which is just a caress. And then at the end, a three-way stew of soleá and bulerías cooking on low heat. Juan Diego takes the legacy of Jerez toque maestros. Jorge Pardo looks up the melodies with complete comfort. The regards between the two of them are like an open book. Now you. And the percussionist will also have his place, free but backed at all times by his meeting colleagues. A smooth tide. Instruments which are recreated unhurriedly. Flamenco takes back freedom, since in this conversation among friends there is no other rule than enjoyment, respect and reciprocal admiration. It all flows.

Jorge Pardo, Juan Diego and Nacho Arimani (Photo: Daniel Muñoz)

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