Gerardo Núñez & Chano Domínguez - Jazzpaña II (2000)

Jazz and flamenco? At first glance these are two worlds that have nothing to do with each other. At a closer look there emerge numerous striking parallels. Jazz is considered by many to be the music of the 20th century. Although it has seldom been a music for the masses, it has contributed to and had a lasting influence on virtually every form of popular music. Flamenco has had a similar influence on Iberian music. They say that the cradle of jazz lies in the hot and humid climate of the Mississippi Delta, in the mystery-shrouded city of New Orleans. When you separate jazz’s various forms, you find rhythms and melodies from Africa and the Caribbean, Old World harmonies, even syncopation from the Scottish Highlands. Flamenco is one of the oldest known forms of folk music in Europe. Within it are a mixture of old Iberian, Jewish, Moorish, Arabic, Byzantine and last, even Indian colors; the Gypsies or Gitanos, as they are called in Spain, acknowledge their origins to be within the enormous Asiatic realm. They came to Spain in the 15th century where they had a lasting influence on the culture, although they remained a hunted and oppressed minority. In its present form flamenco is approximately 100 years old, as is jazz. Their emotional similarities are easy to detect: neither music functions without passion, without inner fire. Flamenco and jazz come from the heart, from unbearable melancholy. Blues is a fundamental part of jazz, and flamenco can be thought of as Spanish blues.

So many parallels - and yet it took a small eternity before two jazz icons attracted attention to flamenco. The legendary composer-arranger Gil Evans and the idolized trumpeter Miles Davis sensitized the jazz listeners to flamenco, or at least to Iberian-tinged music. Their 1959-60 recording of Sketches of Spain did without Spanish musicians, while capturing the Spanish mentality. In 1961 the shining light of jazz, tenor saxophonist John Coltrane, made a much-heralded excursion into the Iberian musical landscape with his album Olé. Later in the USA, stars such as Chick Corea with his 1976 album My Spanish Heart, declared their belief in the music of this Southern European land.

Likewise, in Spain in the early 70’s saxophonist Pedro Iturralde and the famous flamenco guitarist Paco de Lucia were the first to enter into a liaison with jazz.

For a long time producer Siegfried Loch had carried around the idea of bringing jazz and flamenco together again. In 1989 Loch wanted Gil Evans for his planned project Jazzpaña, but Evans, who was enthusiastic about the project, unfortunately died before the realization of Jazzpaña. Eventually, Siegfried Loch was able to trust to the enormous talent of the young American composer and arranger Vince Mendoza as well as producer-mogul Arif Mardin. Jazzpaña, which was released in 1993 and later decorated with several Grammy nominations, was recorded with the involvement of such jazz-aces as Michael Brecker, Al Di Meola, Steve Khan, and Peter Erskine. The flamenco side was represented with the likes of singer Ramon "El Portugues", guitarist Juan Manuel Canizares, Jorge Pardo, and Carles Benavent. The soloists had the amazing WDR Big Band backing them up. There is no question as to the album’s artistic success, as the numerous international reviews attest.

Now seven years later comes Jazzpaña II. The new project is much more a consistent continuation and further evolution of Jazzpaña. In the summer 2000 an imposing troup came together at Madrid’s Sonoland Studio. This time there was a clear Spanish dominance: the bassist Carles Benavent and saxophonist Jorge Pardo were already present on the first recording. New to the mix are flamenco guitarist Gerado Nuñez who was born in Jerez, Andalusia, pianist Chano Dominquez, drummer and percussionist Tino Di Geraldo, celebrated Spanish bebop alto and soprano saxophonist Perico Sambeat, the amazing Franco-Spanish bassist Renaud Garcia-Fons, and finally the Gitano singer Esperanza Fernandez from Seville. All of these musicians have been involved over the years with the endeavor to build an alliance between jazz and flamenco, but they have never all played together. They are given support: for one, by six distinguished men and women known as Las Corraleras, who sing and dance the so-called Sevillanas, and then from three "foreign" musicians. Guitarist Fareed Haque who was born and lives in Chicago, creates an interesting contrast to the playing of Gerardo Nuñez. The American Michael Brecker is not only the most documented but also the most imitated saxophonist of his generation. His prolific studio work has not dampened the fire in his playing, as one can clearly hear on Jazzpaña II. Englander Colin Towns takes care for some atmospheric arrangements.

Jazzpaña II is an album that wishes to finally place the importance of the current Spanish jazz scene in the right light. Authenticity is so important that it prevails in the musical foreground like a vision. The music signals the versatility and multi-faceted richness of flamenco and jazz. Both music styles are worthless without the receptivity of their protagonists. The openness extended by all involved with Jazzpaña II has resulted in a music that sounds as if flamenco and jazz have somehow always belonged together.

Gerardo Núñez - acoustic guitar
Chano Dominguez - piano
Fareed Haque - acoustic & electric guitar
Jorge Pardo - tenor & soprano sax, flute
Perico Sambeat - alto & soprano sax
Carles Benavent - electric bass
Renaud Garcia-Fons - acoustic bass
Tino Di Geraldo - percussion & drums
Cepillo - cajón
Esperanza Fernandez - vocals
Las Corraleras - vocals & percussion

Special Guest:
Michael Brecker - tenor sax