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PHOTO: MURALI KUMAR K.

FABULOUS FLOURISH The Spanish guitarists introduced music lovers to a style that has grown out of the unique interplay of various traditions

At the packed hall of the Ista Hotel, guitarist Chema Vilchez and pianist Javier Coble brought a distinctive genre of music from their country at “An Evening of Jazz Flamenco from Spain” presented by the Bangalore School of Music and Embassy of Spain.

The Spanish guitarists introduced music lovers to the flamenco style which “…grew out of the unique interplay of native Andalusian, Indian, Islamic, Sephardic and Gypsy cultures that existed in Andalusia prior to and after the re-conquest”.

Though the music was too loud and magnified to be able to enjoy the subtleties of jazz and flamenco blending together, the weeknight concert was invigorating.

“Spain” composed by Chick Corea was evocative of the country – the music employed racy, driven notes with the lilt of the piano and beats of the guitar.

“Lisbuta Tango” had the beginnings of a rock concert sound-check with the strumming of the guitar. Chema used innovative improvisations with his fingers and thumb – slapping and tapping his way on his guitar to reveal a deep, upbeat echo. It was a mellow and thoughtful composition by Piazzola with very light intonations that built up to ringing notes and faded away gently. It reminded one of a typically sad soundtrack title number with elongated notes that just let you drift away on another plane.

Chema’s “Camino a Nasik” was dramatic, with repeated, persuasive notes that burst forth like a flood and closed on a sober note. Javier Coble’s “Azabachey Plata” saw a piano flourish with definitive breaks, and created a slow pending gloom.

Chema’s “Mansala” began with a gentle and coaxing guitar solo with staccato beats, and was later joined by jazz notes on the piano, making for the most enjoyable piece. Javier’s “La Nina” saw an interesting, high-noted rendition on the piano that was full of energy and almost felt like it bordered on synchronised, then, light music. This piece brimmed with intonations and was different from the rest.

Chema’s “El Espiritu del Ganges” was a welcome surprise – a fusion accompanied by tabla-player Avijit Goswami. Though it began with noteworthy co-ordination amongst the artistes, with the light and deep piano and resonating tabla, the guitar was too loud to catch the intricacies of either musical tradition.

Finally, the guitar took a backseat and the tabla and piano made for a better balance. Javier’s “Viva Orduena” was mesmerising and rhythmic as it saw a continued fusion of the piano and tabla. Chema’s “Inocencia” began with a rounded, heavenly start with very Indianised piano notes – a true cultural exchange!

When the musicians returned to jam, they discussed styles and performed a piece that was both soothing and had a booming pitch – but ended on a fabulous flourish.

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