Search - Tomas De Utrera :: Con Guasa (With Attitude)

Enthusiastically recommended to flamenco aficionados

Ramon G. Castaneda | Northern California, USA | 08/18/2001

(5 out of 5 stars)

"Ever since I bought this CD recently, I?ve been listening to it over and over again. This has confirmed and magnified my already very favorable first impression. This is a tour de force by Tomás de Utrera, showcasing his talents as flamenco guitarist, singer, composer and (in one cut) jazz clarinettist. The various cuts in this CD fall into four distinct categories: (I) traditional and historical recordings Tomás de Utrera made in Spain between 1968 and 1979; (II) traditional song and guitar recordings made by Tomás for this 1997 CD; (III) flamenco experiments in which Tomás is just plain having fun; and (IV) jazz and film score stuff. ***** Groups I and II by themselves would make up a complete CD worth the entire purchase price. ***** There?s no danger of questioning to which group each of the cuts belongs; this is by no means a unified CD with pretensions of leading the art of Flamenco along new paths; quite the opposite. Group I: Cut 13 is a wonderful "soleá" sung by Fernando Gálvez accompanied by Tomás. 14 is a "siguiriya cabal" masterfully sung with great feeling by Juan de la Loma ("El Niño de la Loma") accompanied by Tomás. 15 is a splendid "cante por bulerías" sung by Agustín Ríos (a famed guitarist in his own right and nephew of the legendary Diego del Gastor") and accompanied by Tomás. 16 is a very moving masterpiece of a "soleá" sung by Rancapino, one of the greatest Flamenco singers of all times, accompanied by a particularly inspired Tomás de Utrera. This was recorded around 1968-69, when Rancapino was about 23 or 24 years old. 17 is an imposing "siguiriya gitana" sung by El Diamante Negro, whose voice and phrasing reach the depths of our souls. Perfect, very flamenco accompaniment by Tomás. 18 is a truly extraordinary "granaína" sung by Miguel Vargas accompanied by Tomás. This is a jewel that has received praise from critics in Spain. Group II: Cut 2 is a fabulous guitar solo, a "siguiriya y cabal" dedicated to guitarist Melchor de Marchena. On cut 3, Tomás sets aside his guitar and sings a "soleá" for us, accompanied by his student Héctor Fernández. 7 is an exquisite guitar solo, a "toque por cantiñas" dedicated to Rancapino. The rest of the cuts can be considered a free bonus; they are different, pleasant, varied, fresh and well worth listening. Cut number 1 is a "milonga" and "rumba gitana" with an instrumental arrangement, sung in English by jazz singer Joannie Pallato. Number 4 is a jazz piece with a Gypsy guitar introduction suddenly interrupted by the piano. 5 is a rhumba based on the taranto form, featuring very modern playing and hints of avantgarde music. 6 consists of jazz improvisation by several musicians, including a violinist from the Chicago jazz scene. Tomás describes cut number 8 as "contemporary music with flamenco influences" and it features a mixture of the guitar playing of Tomás and a piano. Number 9 is a family affair in which nephew Paco El Jama quotes Pata Negra and is just having a grand time. 10 is an unsettling and dark number titled "Alegrías de Miraflores", after the Seville mental-health hospital. 11 is from the score of the film "Waiting for the man" and 12 is from the prize-winning film "La Cigüeña Bondadosa" ("The Stork"). In sum, amply recommended."