The Flamenco Eñe Showcase will take place May 18 through May 21 at the Picasso Museum in Malaga. This showcase, presented by The SGAE Foundation, in collaboration with the Picasso Museum of Malaga and the Regional Ministry of Culture of Andalusia, through the Andalusian Institute of Flamenco, was launched in 2016. Flamenco Eñe has the mission of promoting flamenco internationally.
During four days in May, the selected flamenco artists will present showcases. In addition, meetings will be organized between festival directors, European flamenco programmers and managers of flamenco acts to encourage new forms of collaboration and exchange of experiences among professionals from Spain and the rest of Europe.
In 2016, the musicians selected for Flamenco Eñe were: José Antonio Rodríguez, Babel, Ultra High Flamenco (+ Rosario Toledo), Pedro el Granaíno, Alfonso Aroca Quinteto, Josemi Carmona & Javier Colina, Esperanza Fernández, Dos Cabezas … Pa un Sombrero Dorantes / Pele), Antonio Reyes, Flamencas, Rafael Riqueni and Manuel Valencia.
Mártires del Compás pushed the boundaries of traditional flamenco. Since its storied 1995 debut, Flamenco Billy, Martires brought a rougher, rootsier sound and a more street-level point-of-view to the flamenco-rock party.
“To me, “flamenco billy” is a description of the Martires sound,” explained singer and lyricist Chico Ocaña. “It describes flamenco that’s on the border, something a little more raw, that can only be learned on ‘the University of the Street.’ What separates us from Ketama and Pata Negra is that they play rumba, which is just one style. We play actual flamenco, in many different styles – soleas, bulerias, fandangos, etc. Even though we’re payos (non-Gypsies) and even though we’re all self-taught musicians, we’ve studied and learned many different compas (rhythms) and palos (styles). We come from Andalucia, where all that matters is that you respect the music and play it well. If you play it well you’ll be accepted, no matter who you are. So when we mix our music with blues or rock or something African, it’s still coming from a base of flamenco. It’s always flamenco first.”
Life at the border, both musical and cultural, is something that comes naturally to Ocaña, who grew up in the small coastal town of San Roque, which was the gateway to Gibraltar. “I was born on the frontier,” he laughed. “22 kilometers (14 miles) from Africa and three kilometers (two miles) from England! Growing up I listened to shortwave radio and heard Arab music from Africa and pop music from England. All of that is part of the music I make today.”
That eclecticism was reflected in Martires del Compas’ original lineup, which first came together around 1994. In addition to Ocaña’s vocals, guitarist Julio Revilla brought his heavy metal licks to hear. and Alberto Alvarez traded in his drum kit for flamenco’s cajon. Manuel Soto brought traditional flamenco guitar technique and bassist Jesus Diaz added a pop sensibility to the Martires’ sound, while Senegalese percussionist Sidi Samb gave the group a funky. West African twist and Rocio Vazquez brought a clean breeze with her backing vocals.
Together, these musicians combined their disparate influences into Martires’ signature “flamenco billy” sound, and helped reinvent flamenco for the 21st century. “I don’t think that we created a new sound,” said Ocaña, “but rather a new posture within flamenco. We take real flamenco and update the lyrics for today’s street. My lyrics are inspired by what I see everyday, what I watch on the news on what I read in the papers. Of course, I write a lot of songs about love, too… because you just can’t get away from that in life.”
This ground-level lyricism and musical adventurousness has served Martires del Compas well. Since their 1995 debut they’ve released four subsequent albums in Spain: 1996’s Prohibido da el cante (“Singing Prohibited”), 1998’s Al compas de la llaga dolorida (To the Pulse of the Stigmata) 2000’s Mordiendo el duende (“Biting the Duende”), and 2000’s Empaquetado al vacio (“Vacuum Packed”). Only one of these, Mordiendo el duende, was released in the United States.
The band navigated some personnel changes, too, such as the departure of Sidi Samb. All of these albums saw Martires opening new dialogs between flamenco and rock, flamenco and blues, flamenco and West African music, flamenco and the music of the Latin Caribbean. As Martires explored the connections between flamenco and these other musics, they echoed the larger conversation of contemporary Spain finding its place in the world.
In 2007 the group disbanded. Lead vocalist Chico Ocaña went on to pursue a solo career. The rest of the band formed a new group called Pellizco.
* Flamenco Billy (1995)
* http://www.amazon.com/gp/product/B001LP33UW?ie=UTF8&tag=musidelmund-20&linkCode=xm2&camp=1789&creativeASIN=B001LP33UW | Prohibido da el cante “Singing Prohibited” (1996)
* Al compas de la llaga dolorida To the Pulse of the Stigmata (BMG, 1998)
* Mordiendo el duende “Biting the Duende”(Warner, 2000)
* Empaquetado al vacio “Vacuum Packed” (Warner, 2002)
* Simpapeles.es Compapeles.son (Warner, 2004)
* Mártires del Compás – 10 años (Warner, 2005), DVD + CD anthology
Marina Heredia Ríos, the daughter of flamenco singer Jaime El Parrón, was born in Granada on the 10th of April of 1980. She grew up with the art of flamenco in her blood. Marina started singing from her tender infancy and has been working relentlessly ever since. All her efforts and dedication paid off when she was awarded the prize Andalucía Joven a las Artes (Andalusia Youth for the Arts) for being an example of work and talent, and contributing to the dissemination of Andalusian flamenco throughout the world.
Since Marina’s first recording experience at the age of thirteen, making a flamenco CD for children called Malgre la Nuit, her artistic career began to take on a dizzying rhythm, when she participated in a new children’s CD, with a world music focus, representing flamenco to the world.
Her artistic commitments grew year by year. At fifteen, she collaborated as a singer in a group formed by guitarist Miguel Ángel Cortés and performed in various flamenco shows. This was when her international tours began and she performed with the flamenco dancer La China in Switzerland, France, Portugal, Spain and the London presentation of El Legado Andalusí (the Andalusian Legacy). In her search for new ways of understanding the flamenco of her roots, Marina has been experimenting with her musical ideas and shared the stage with gipsy performers from both Hungary and Pakistan in the Festival Madrid Sur.
Just a year later, she received critical acclaim for her performance on the stage of Espárrago 98 festival and began performing with well-established artists such as the dancer Maria Pagés and guitar maestro José María Gallardo. At the 10th Seville Flamenco Biennial, she was applauded triumphantly for her performance with Eva Yerbabuena at the Lope de Vega Theater.
With a growing reputation as one of the important young voices of flamenco, Marina took part in the Flamenco Adventure program, which took place during the late night concerts at the International Festival of Music and Dance in Granada. Also in 1998, Marina Heredia Ríos took part in the tribute concert for the legendary flamenco singer Camarón De La Isla in San Fernando, Cadiz.
Marina’s most flamenco side opened up to other kinds of music when she was involved with the opera De Amore by the composer Mauricio Sotelo and produced by the Munich Biennial and Madrid’s Zarzuela Theatre, premiering in the prestigious Carl Orff auditorium in Munich. Later that year, she performed in the concert Modus Novus again by Mauricio Sotelo for the Injuve 99 program for young composers at the Circulo de Bellas Artes (Academy of Fine Arts), Madrid.
Since the turn of the millennium Marina’s career has gone from strength to strength, appearing on main stages in Spain, France and Portugal. She has graced with her presence all the major Spanish festivals such as Madrid’s Autumn Festival, Seville’s Flamenco Biennial, and the festivals of Jerez, Ronda and of course the well-established International Festival of Music and Dance of Granada. Moreover, Marina has appeared in international festivals such as De Single of Antwerp, Strasbourg and the Nimes Flamenco Week. In 2002, she made her New York debut at the New York Flamenco Festival, where she also illustrated a conference by the critic and flamenco specialist Ángel Álvarez Caballero.
In 2001, she recorded her first solo album Me Duele, Me Duele, produced by Pepe de Lucia. Marina was accompanied by José Maria Cañizares and other great flamenco voices of today. That same year, she contributed to recording collaborations with Hougui B along with José Mercé creating a particular form of flamenco. Her interest in other artistic disciplines has led her to work with the dancer and choreographer Blanca Li in France and played a co-starring role alongside her father El Parrón in a documentary directed by Dominique Bel about the transmission of flamenco within the family.
This same restlessness brought her to poetry, which is especially present in her record La voz del agua (The voice of water), and clearly demonstrated in her performances both at the 7th Women Poets meeting in 2002 and at the International Solidarity Poetry Festival of Granada in 2005. Her poetic inclinations also brought her onto the stage in a UNESCO gala in Seville in solidarity with Afghan women.
In 2006, she opened the Seville Flamenco Biennial at the famous Lope de Vega Theater, but the most important work of that year was the recording of La voz del agua (The voice of water), her second solo album, under her own label.
In 2010 she performing together with Chekara Arab-Andalusian Orchestra of Tetuan that has collaborated with many of flamenco’s leading singers.
Flamenco vocalists Soleá and Kiki Morente are set to perform at Teatro Góngora in Cordoba on Thursday, March 23, 2017.
The siblings will present their show “Dos corazones a un tiempo”. The lineup includes Soleá and Kiki Morente on vocals; Jj Machuca on piano; David Carmona on flamenco guitar; Pedro Gabarre on background vocals, percussion and dance.
Elsa Rovayo, “La Shica”, was born in Ceuta, Spain, in 1972. La Shica learned flamenco, Spanish dance and classical ballet. She performs a hybrid form of flamenco and copla (Spanish song) with pop and urban influences.
Her unique style blends traditional dance with a more modern aesthetic. She received two Music Awards as Upcoming Artist for her second album, Supercop (2010).
La Shica has collaborated with various Spanish and international artist, including the following albums: El Evangelio según mi jardinero (2005) by Martín Buscaglia; De ayer a mañana (2005) by Eliseo Parra; Adelantando (2007) by Jarabe de Palo; Agua misteriosa (2010) by Javier Limón’s Mujeres de agua; El vecindario (2010) by Macaco; ¿A dónde vas? (2014) by Jarabe de Palo and Ximena Sariñana; Ome – Dos (2014) by Jenny and the Mexicats.
The SGAE Foundation will present a new edition of its much-admired Flamencos and Mestizos series March 9-12, 2017 at Sala Berlanga in Madrid.
The showcase will feature performances by La Shica, Pablo Rubén Maldonado & La Susi; Enrique Heredia ‘Negri’, Genara Cortés, Toñi Fernández and the bailaoras (dancers) Macarena Ramírez, Leilah Broukhim and Antonio Molina ‘El Choro’.
Flamencos and mestizos will open on Thursday, March 9th with two shows that defy tradition. First, with the heterogeneous style of La Shica, which will present a form of flamenco fused with alternative genres such as punk, rock or funk. She will be joined by the young bailaora (dancer) Macarena Ramírez, whose wild performances steer away from orthodoxy.
On March 10, the Berlanga Hall will host Pablo Rubén Maldonado (piano) & La Susi (vocals). They play flamenco that rather than fusion is evolution. The double bill will also feature Enrique Heredia ‘Negri’, one of the finest vocalists of new flamenco.
Singer-songwriter Toñi Fernández and bailaor (dancer) Antonio Molina ‘El Choro’ will dive into Flamenco roots to endow them with new meanings on Saturday, March 11.
Vocalist Genara Cortés and dancer Leilah Broukhim will present the final performance of the current edition of the Flamencos and Mestizos series on Sunday, March 12 with a show that demonstrates that flamenco does not recognize borders.
Flamencos and mestizos is a showcase series created to provide a window to emerging artists who straddle the border between deep flamenco and mestizo flamenco through music and dance. This is the fifth installment of this series started in 2015, directed by producer, composer and singer Paco Ortega.
Sala Berlanga is located at Calle de Andres Mellado, 53, 28015 Madrid.
Time 21:00 (9:00 pm).
Tickets: €5.50 euros
Ultra High Flamenco Quartet will perform in New York City in March 18th as part of the international Flamenco Eñe tour. “It is inevitable to feel that this is a special occasion. UHF is a band in which each musician embraces a different genre; to show it at Joe’s Pub is a joy“, reveals Pablo Martín Caminero, bass player of the ensemble. The next day, the Adrienne Arsht Center Carnival Studio in Miami will present this avant-garde sound.
“Playing at Flamenco Eñe was an incredible opportunity. It has allowed us to make our debut in the United States, to travel to the most important markets of
the world and to evolve as a band. All that we owe to Flamenco Eñe“, adds Caminero.
The Flamenco Viene del Sur 2017 series will present flamenco vocalist El Pele on Tuesday, March 7, 2017 at 9:00 pm at Teatro Central in Seville.
El Pele learned flamenco from his family. He performed as a Young child at flamenco gatherings and nightclubs. He won the Premio Cayetano Muriel en Cabra (Córdoba) award at 15. Other awards followed, including Melón de Oro (Montalbán, 1970), Premio La Serneta, por soleá, and Pastora Pavón, por bulerías, at the National Flamenco At Contest in Córdoba.
Lineup: El Pele on vocals; Niño Seve on guitar; José Moreno on percussion; and Bobote y Torombo on palmas.
No one knows for sure why flamenco legend Pastora Pavón was known as La Niña de los Peines (the Girl with the Hair Combs). Some say that when she was 8, she sang in a Madrid cafe, wearing two large combs in her hair. Others believe that her nickname came from one of he most popular songs:
“Peinate tú con mis peines Mis peines son de canela”
(Comb your hair with my combs,
My combs are made of cinnamon…)
Pastora Pavon was the sister of the great cantaor Tomas Pavon and she married cantaor Pepe Pinto. She was born in 1890 in Sevilla and started performing at a very early age.
La Niña de los Peines recorded many songs, including a wide-range of genres, from the deepest cante jondo to very commercial songs. La Niña de los Peines was so popular in Spain that the Sevilla city council had a statue built in her honor and placed in a main square.
La Barberia del Sur was a Madrid-based group formed by some of the foremost talents of the 1980s Flamenco scene, descendants of the purest dynasties. The youngsters dared to venture out and experiment with their traditional music combining it with a variety of musical forms: pop, jazz, salsa, etc.
The members of were:
Pepe Luis Carmona, nephew of the well known flamenco guitarist Pepe Habichuela Pepe Luis is a flamenco singer in the strictest sense of the word: a master of all the traditional forms of the art.
Enrique Heredia: another heir to a family tradition, that of the Montoyita dinasty, who throughout the years have demonstrated their mastery of all sides of flamenco: guitar, song and dance. He has worked with both the most esteemed flamenco artists and some of Spain’s leading pop musicians.
Juan Jose Suarez in the son of Ramon El Portugues, nephew of Porrina and a first cousin of Gypsy rumba group Los Chunguitos. During his youth, he already served his dues as guitar player in the top tablaos of Madrid. He was also, together with Enrique Heredia, the usual accompanist of one of the great masters of the flamenco cante: the late Enrique Morente.
The group reunited in 2009 for a series of concerts.