Camerata Flamenco Project sound looks for contemporary feel about Ravel, Satie and Debussy master pieces with flamenco styles like tarantas, seguiriyas and tanguillos.
Gnosiemme nº1 de Erik Satie
Kaddish de Maurice Ravel
Syrinx de Claude Debussy
FREEDOM AS A CONCEPT
The clear look of music.
I have sometimes defined them, as a musical commune and every day I more believe so. They have been developing their project, for the last ten years, under the strictest of aesthetic consensus; different sensitivities coming together to express and explain new ideas.
It is a productive terrain from which they are able to extract an original, unique language. Each one of them posses their own alphabet on their own, but the greatest virtue of Camerata Flamenco Project is to be able to articulate common message. Impressions is a wonderful example of the former. Their diverse discourses generate a musical concept so perfectly linked together that it would be impossible to take it apart. Melodies run free but together and harmonies create
a beautiful ambience in which different colours generate a unique light that caresses both your skin and your heart. This work of theirs is just that, pure light. It could not be otherwise. In this present time, when the streets reclaim their voice again,CamerataFlamenco Project is able to demonstrate once again that consensus is possible when dialoguing with excitement and fantasy. The clear look of music serves as an example for life.
El Callejón del Cante, RNE
Collaborations of great flamenco artists.
Intencity – Con Juan de Pura y Antonio Campos
Chiquilín de Bachín – Con Carmen Linares
Despedidas – Con Jorge Pardo, Tino Di Geraldo y Pablo Martin
THE LANGUAGE OF SENSATIONS
Flamenco music has coincided, in its infinite progress, with the most diverse faces, with many doors that opened to flamenco with either the softness of a fragile breeze or the brute force ofa borderless hurricane. Passion and gentleness, disagreements and encounters that once made are there to last, add new formulas of artistic expression to flamenco ́s already rich tableau.
One of these encounters has occurred with Camerata Flamenco Project, a multidisciplinary band composed by musicians who come from the world of jazz, classic music and an extensive experience in all sort of musical works. It was love at first sight. The flute, cello, piano, sax, percussion and double bass shelter the voices of Carmen Linares, Rafael Jiménez Falo or Antonio Campos. They also accompany the dance of Rafaela Carrasco and the guitar of Juan Antonio Suárez Cano. Prodigious!
More than an encounter is like a hug. Excellent musicians for a music that is alive and kicking. José María Velázquez-Gaztelu
Nuestro Flamenco, Radio Clásica, RNE
Tanguillos de mi casa
Entre dos Aguas -Paco De Lucia –
VIRTUOUS AND ESSENTIAL ELEGANCE
Pianist Pablo Suárez, cellist Jose Luis López and saxofhonist/flutist Ramiro Obedman choose to difusse boundaries and settle in
a stateless land with no flags! They are not the first ones to arrive in this territory as
the way they so wonderfully play jazz with flamenco notes is not unusual in today ́s musical avant-garde. However, last night while listening to them, one could not help thinking that the missed Mario Pacheco, founder of NuevosMedios, would be giving them his blessings from far away.
CFP turn to flamenco idioms with the audacity of not finding amongst them, any Spanish guitar. On the contrary, there is some degree of Camerata lyricism in that Paul Winter Consort who, two decades ago, packed our theatres out (does anyone remember cellist Eugene Friesen?).
Worthy of mention is the vertigo we felt by that sax solo, broken and in crescendo, with which Ramiro Obedman confirmed himself in Entre Corrientes, a score that has become one of the best findings in present day clubs. Fernando Neira, El País