Paco De Lucia
(Royal Festival Hall, part of London Jazz Festival,18th November 2010, review by Rod Fogg)
Jazz has travelled freely around the world, soaking up influences and being reinvented in places far afield from its birthplace. We have French jazz, Swedish jazz, British jazz and so on. Flamenco, in many ways a close relative, has also traveled well but without ever losing its connection to its homeland. Wherever it is played, it speaks of Spain, Andalusia, and its origins in the poverty and oppression of a minority.
In his own country Paco de Lucia is both hero and legend; he is the embodiment of a free creative spirit, yet he remains rooted in tradition. Making his debut as a boy in a different world, in Franco’s Spain in 1958, he went exploring, pushing at the boundaries, inventing jazz/flamenco fusion and bringing in new instruments and an extended harmonic language. You could sense the affection in the cries of support from the many Spanish speakers in the audience.
Flamenco shows tend to follow a predictable route, full of intensity and passion, with guitar introductions joined by singing and dancing leading to an ensemble climax. In many ways this was a very traditional concert. It began with a solo piece, played freely, perhaps even hesitantly, as if feeling his way; with gently plucked strings, closely voiced chords and guitar percussion, blending European, Gypsy, Moorish and Arabic and yet not sounding like any one of these. Gradually, Paco de Lucia was joined by his ensemble; two singers, a dancer, a second guitarist, bass guitarist, percussion, and keyboardist who doubled, spectacularly, on harmonica.
The music was engrossing, moving, perhaps at times even transcendental. There was so much virtuosity on display, and not just from Paco. The first half followed more-or-less the traditional flamenco structure; the second half was more jazz-influenced, with extended solos from all the musicians and themes stated in unison between guitar and harmonica. Though the sound was a long way from the traditional rawness of the guitar supported only by cajon (a boxlike percussion instrument) this was still flamenco more than jazz, while the broader textures afforded by the large band hinted at world music. This was the sound of Paco de Lucia drawing inspiration from his roots, blending the earth song of flamenco with elements of grooving jazz improvisation. The lengthy standing ovation at the end of the concert says it all.
Notes: (1) There are post-concert comments on Andrew McCormack’s preview.
(2) If anyone knows/ would like to add the names of the others onstage, please do – thanking you in advance! (3) Photo Wikimedia)
(Royal Festival Hall, part of London Jazz Festival,18th November 2010, review by Rod Fogg)
Jazz has travelled freely around the world, soaking up influences and being reinvented in places far afield from its birthplace. We have French jazz, Swedish jazz, British jazz and so on. Flamenco, in many ways a close relative, has also traveled well but without ever losing its connection to its homeland. Wherever it is played, it speaks of Spain, Andalusia, and its origins in the poverty and oppression of a minority.
In his own country Paco de Lucia is both hero and legend; he is the embodiment of a free creative spirit, yet he remains rooted in tradition. Making his debut as a boy in a different world, in Franco’s Spain in 1958, he went exploring, pushing at the boundaries, inventing jazz/flamenco fusion and bringing in new instruments and an extended harmonic language. You could sense the affection in the cries of support from the many Spanish speakers in the audience.
Flamenco shows tend to follow a predictable route, full of intensity and passion, with guitar introductions joined by singing and dancing leading to an ensemble climax. In many ways this was a very traditional concert. It began with a solo piece, played freely, perhaps even hesitantly, as if feeling his way; with gently plucked strings, closely voiced chords and guitar percussion, blending European, Gypsy, Moorish and Arabic and yet not sounding like any one of these. Gradually, Paco de Lucia was joined by his ensemble; two singers, a dancer, a second guitarist, bass guitarist, percussion, and keyboardist who doubled, spectacularly, on harmonica.
The music was engrossing, moving, perhaps at times even transcendental. There was so much virtuosity on display, and not just from Paco. The first half followed more-or-less the traditional flamenco structure; the second half was more jazz-influenced, with extended solos from all the musicians and themes stated in unison between guitar and harmonica. Though the sound was a long way from the traditional rawness of the guitar supported only by cajon (a boxlike percussion instrument) this was still flamenco more than jazz, while the broader textures afforded by the large band hinted at world music. This was the sound of Paco de Lucia drawing inspiration from his roots, blending the earth song of flamenco with elements of grooving jazz improvisation. The lengthy standing ovation at the end of the concert says it all.
Notes: (1) There are post-concert comments on Andrew McCormack’s preview.
(2) If anyone knows/ would like to add the names of the others onstage, please do – thanking you in advance! (3) Photo Wikimedia)
Categories: miscellaneous
“The lengthy standing ovation at the end of the concert says it all.”. Errr, not sure. Paco has its fan, the hall was full of hot Spanish who know how to show their affection (and it was the only real highlight of the night).
The concert was certainly generous, but from the second row, it was neither moving nor transcendental. It was often heavy, never really light or unexpected, and after the show, we had to have a walk to go back home, to help digesting a set I would describe as too fat and to sweet.
Not sure Paco de Lucia did justice to his music.
Well, it's amazing how different the sound was between the second and fourth rows, because from where I was sitting it was a superb concert – full of virtuoso playing, and great version of a number of classic Paco songs (if you can call them that). The harmonica player was the best I've ever seen, as was the dancer. All in as good a night of flamenco/jazz as you're likely to see anywhere in the world.
Thank gawd someone mentioned the dancer! Astonishing: a masterclass in rhythm, as was the whole concert. Jazzers: get out of your boxes!
The concert was aboslutely amazing. As spaniard and guitarrist I may not the most objetive person to say this. However, I honestly think that everything was perfect. It was atrue flamenco concert and he totally made justice to his name and his music.
I cried it was that moving.
Thank you anonymous for the file links of Paco de Lucia's album.
I have no way of knowing if what you have sent me is authorized downloads. If you can clarify this issue, I will publish them.