Jerry Gonzalez
Jerry Gonzalez Y Los Piratas Del Flamenco
SSC1135
2004-06-29
Jerry Gonzalez Y Los Piratas  Del Flamenco  by Jerry Gonzalez cover

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Track List: listen

Hubo Un Lugar - 5:12
Rosa Para Julia - 5:00
En El Corazón De Pescaderías - 6:30
Gitanos De La Cava - 5:49
Pirata De Lucía - 5:07
Donnali - 3:46
Monk\'S Soniquete - 4:09
Al Abordaje - 8:06
Obsesion - 9:05

 

Musicians:
Jerry Gonzales - trumpet, congas, percussion, cajón
Nino Josele - flamenco guitar
Israel Sandoval - electric guitar
Israel Suarez “PIRAÑA” - cajón
Piratas Del Flmaenco - palmas, vocals
Diego El "Cigala" - special guest



Backed by a cadre of Flamenco musicians, including acoustic and electric guitarists Nino Josele and Israel Sandoval; Israel Suárez “Piraña,” a master of the cajón – a wooden, box-like percussion instrument -- and the great cantador Diego El Cigala, Gonzalez explores the interlocking inventions and dimensions of these Spanish and American musical genres. The traditional “Hubo Un Lugar” features Gonzalez’s buttery horn overdubbed over his congas, complimented by Josele’s sinewy guitar lines. “Rosa Para Julia,” written for Jerry’s mother, is a zesty rumba, while “En El Corazón De Pescaderías,” is a mid-tempoed bulería finessed by Gonzalez’s muted, Milesian musings and his own equally impressive cajón playing. On “Gitanos De La Cava,” and Puerto Rican composer Pedro Flores’s song “Obsesion,” – with Gonzalez’s younger brother Andy on bass -- Cigala’s impassioned Cante Hondo cries parallel Gonzalez’s golden horn. “Pirates de Lucia” is a hypnotically syncopated tribute to the legendary guitarist Paco de Lucia. “Donnali” is the Latin jazz/flamenco translation of Charlie Parker’s bop classic ‘Donna Lee, and “Monk’s Soniquette,” is transformed from Thelonious Monk’s “Monk’s Dream” into a festive tablao, peppered with the distinct and intricate flamenco handclaps called palmas.

Recorded in Spain.

Reviews:

GRAMMY Nominated - 2004 - Latin Jazz

With this recording Jerry Gonzalez has projected his musical vision further ahead by incorporating the flamenco idiom into his Jazz and Afro-Cuban discourse. ''The knowledgeable flamenco people say that Jerry's stay in Spain has changed flamenco forever because he's opened it up to other musics” - Fernando Trueba, director of the movie Calle 54.

 

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