Flamenco Jazz Festival
May 31, 2025
Body and Soul
Nino de los Reyes--dance
Josemi Carmona -- guitar
Reinier ‘El Negrón’ Elizarde– bass
Alex Conde -- piano
Israel ‘Piraña’ Suarez – cajon, percussion
Sandra Carrasco -- vocals
Antonio Serrano -- harmonica
The audience at Body and Soul was given a rare treat with the Flamenco Jazz Festival. Pulling together top-tier musicians from Spain, they stormed the stage for an evening of flamenco jazz that had the audience excited by getting two shows—flamenco and jazz—for the price of one. Starting out with a number from Paco de Lucia, with whom the harmonica player Serrano toured for years, the stage was set for flamenco, but jazz was not left out as each of the players delivered appealing, sophisticated solos one after the next.
Once vocalist Carrasco joined everyone on stage, the group mixed in more jazz, with a stunning version of “Autumn Leaves,” sung in Spanish. Carrasco is a charismatic and powerful singer, whose subtle, breathy phrasing is just as powerful as her full-throated, energetic melodies. She knows just how to sing each part of the melody, when to soar, when to hold back, how to deliver real feeling. Guitarist Carmona shifted easily from pure flamenco to jazz solo, and his solo was one of the highlights of the evening.
“Etude #1” was a more contemporary, neatly formal composition from Serrano that nonetheless let everyone flow into rich solos tinged with that special style of European melancholy, bringing all the emotion of Spanish cities to Tokyo. Serrano is a master of the chromatic harmonica, and he uses it to expand each of the tunes and add harmonies and coloring to each of the songs.
The group rotated through featuring every one of the members. Pianist Conde chose one of the jazzier songs of the evening from his own trio release entitled “El Trio.” Conde kept an undertow of vital American-style jazz, but with a unique Spanish flavor. His fleet, nimble piano was pulled into rhythmic intensity by flamenco dancer de los Reyes. They both worked through quick switches of tempo and direction. Suarez’s percussion added further depth and complexity.
The group’s rendition of Chick Corea’s “Spain” was a highlight. It grew from a slow, steady start until it burst into a full-on, orchestral rendition with great solos from everyone. Everyone kept the tempo unhurried, as if showing everyone how Spanish musicians like to play the song, without the showy speed at which jazz musicians often take the song. This was “Spain” from the inside, flamenco-ized, by Spanish musicians, and it was a beautiful lesson in how to play and how to listen, in how to cross and re-cross musical borders.
The festival’s marvelous collection of Spain’s top musicians played with joy and enthusiasm. They were serious, yes, but by putting the pleasure of just making music front and center, and by combining musical traditions, by entreating the audience to respond, and by enjoying themselves to the maximum, their joy in making music was infectious. Hopefully, they’ll be back next year again. That’s what festivals are for, after all.
