S.C./ Flamenco-world.com, September 2010

As Spanish jazz evolves, the way in which young Spanish jazz players approach flamenco evolves, too. And proof of it is the album ‘Evocación’ by Catalan trumpet player Raynald Colom. Freedom predominates in his regard, but also marked respect for jondo music tradition. Not just in what concerns the rhythmic structures, but also the expressive essence of cante. Confronting Rosario la Tremendita’s voice with the brass of his instrument is precisely the beginning and end of this original disc, the two installments of the piece which entitles it.

But the trumpet player and composer also finds support in the flamenco guitar of Chicuelo, who stands out and dialogues in songs like ‘Toulouse de ida y vuelta’, with a latin edge he borrows from both jazz and Spanish American musical ties. ‘De ida’ superimposes strings and wind: two visions for a single road, por soleá. ‘Y vuelta’ makes the guitar trace, the percussion mark, the bulería surround… and only then does the trumpet take over and soar. ‘Sanctuary’ is an intriguing piece por seguiriyas, the underlying guitar, cyclical trumpets… an experiment.

And everything goes back to normal in ‘Como el cielo las estrellas’… or nearly so. Guitar and trumpet: question and answer. Brightness, clapping, jaleos and a ‘lerele’ by the very special cantaora. The finishing touch on the album is the version of Paco de Lucía’s ‘Zyryab’, with piano, winds, rhythms and life. A real gesture of admiration to he who has drawn so many ears from jazz to flamenco and from constriction to freedom.

Further information: Trumpet player Raynald Colom gives flamenco jazz a personal touch on his album ‘Evocación’ Flamenco and jazz continue to strengthen ties Interview with Rosario la Tremendita, cantaora (September 2009)

 

“As Spanish jazz evolves, the way in which Spanish jazz players approach flamenco evolves”