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Детали релиза : Camerata Flamenco Project - Entre Corrientes (2011) [FLAC (tracks + .cue)]

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Camerata Flamenco Project - Entre Corrientes (2011) [FLAC (tracks + .cue)](кликните для просмотра полного изображения)
Camerata Flamenco Project - Entre Corrientes (2011) [FLAC (tracks + .cue)](кликните для просмотра полного изображения)Camerata Flamenco Project - Entre Corrientes (2011) [FLAC (tracks + .cue)](кликните для просмотра полного изображения)
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Artist: Camerata Flamenco Project
Album: Entre Corrientes
Label: Trimeca
Catalog #: TR 000002-F
Released: 2011
Genre: Flamenco, Classical, Jazz
Country: Spain
Duration: 00:44:11

Tracklisting:
01. Camerata x bulerias (06:15)
02. Entre dos aguas (07:58)
03. Seguirilla para Astor (05:29)
04. Nananta (04:20)
05. Garnacheando (05:57)
06. Entre corrientes (06:29)
07. La nave (07:39)
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:: Musicians ::
Pablo Suárez: Piano, Handclaps
José Luis López: Cello, Electric Cello, Handclaps
Ramiro Obedman: Flute, Sax (alto & soprano)

Guests:
Sergey Saprychev: Tablas, Tambourine (# 2, 3, 6)
Daniel Suárex "Sena": Cajon, Handclaps (# 1, 3)

:: Review ::
Three instruments, three genres: one project
(flamenco-world.com)

Flamenco is no longer limited to cante, guitar and baile. Instrumental offers are making their way. And with them, encounters between genres and diverse musical trends. Camerata Flamenco Project joins this fourth way with ‘Entre corrientes’, an album on which three instruments meet — piano, cello and flute; as well as three genres — flamenco, classical and jazz. Pablo Suárez, José Luis López and Ramiro Obedman are the soul of this group which, although it has started off as a trio, has the flexibility to “end up becoming a symphony orchestra”. But for the time being, on stages the project is growing with double bass, percussion, Antonio Campos’ cante and Concha Jareño’s baile.

The three of them are regulars in the musical lineup of flamenco companies. Pianist Pablo Suárez, cellist José Luis López and flutist Ramiro Obedman met in the late ’90s in projects such as ‘La garra y el ángel’ by Rafael Amargo and a tour around Japan with Adrián Galia. Next would come their work for other companies like Rafaela Carrasco’s. As Suárez recalls, “we began to coincide and musical affinities started to spring up”. And the time came when “we had enough material to move forward with a name of our own”, he adds.

That is how Camerata Flamenco Project came about. The group has flamenco as a common denominator, but it brings together the musical paths of its members, which are flamenco, jazz and classical. “The structure is flamenco, but we feed on many other elements”, they explain. To which Obedman adds that “the work system is that of flamenco dancing, which is how we’ve encountered one another musically. There is quite an important flamenco base for those who want to hear it”.

Most of the seven songs on the disc come from that composing work, from ‘Camerata x bulerías’ to ‘Entre corrientes’, with ‘Seguirilla para Astor’ in between. All of them except one: a version of ‘Entre dos aguas’ by Paco de Lucía. “Doing a version is a way to make us understand better. If we only do our own songs, many people might not know where to place us. But it’s a chamber-music-style ‘Entre dos aguas’. You can understand our filter there”, they comment.

The base of the group is the trio, but the live band is flexible. “We can be everything from a trio to a symphony orchestra”, they affirm. They have added percussion, “a very necessary fourth element” and also a double bass. And since the presentation this past summer at the 2011 Dublin Flamenco Festival, they have had Antonio Campos on cante and Concha Jareño on baile as special guests. Thus, they were at the mythical Madrilenian tablao Villa Rosa in their premiere before the media and before guests as illustrious as cantaora Carmen Linares (in whose ‘Oasis abierto’ the pianist is currently taking part) and writer Félix Grande. And they will be in their concert premiere on September 27th at the Sala Clamores in the Spanish capital.

They are aware of the difficulty involved in the instrumental way for flamenco. “There’s already a lot of this, fortunately; the thing is that there’s no room for it. People are restless and you see projects which go along that road, but it’s hard”, the pianist comments. To which Obedman adds that “there’s a big breeding ground of musicians who do instrumental flamenco, but there might not be places where that can be displayed. It seems as if they weren’t there, but there are a ton of musicians doing really interesting things, people coming from flamenco and people coming from the outside”. Camerata Flamenco Project is one of those things, one which understands “flamenco as avant-garde”, one willing “to keep up the excitement and to go on rowing”.

:: Biography ::
Instrumental Quartet open to the sounds of the world. The Camerata Flamenco Project comes from the friendship and communication during the many years of work of their members touring around the world with big dance companies, orchestras and, above all, composing and performing for the theatre, where the project took shape naturally as chamber music ...until it took a life of its own with certain features that make it not only absolutely original, but also so intense in its live appearances that it's very difficult to match.
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