'Almanj?yar': Flamenco With a Jazz Pulse

The guitar might be the instrument most associated with flamenco, but the piano took center stage Friday and Saturday at the start of GALA Hispanic Theatre's second annual flamenco festival with Pablo Rub?n Maldonado's "Almanj?yar."

The Granada-born classical pianist's fusion of Spanish Gypsy tradition and jazz is hardly new, but Maldonado's contemporary compositions take it to a new level. The engaging performer played superbly, as did percussionist Mois?s Natenzon and bassist Jorge Luis Cerrato M?ndez, although the flamenco root was at times elusive.

Fortunately, singer Ismael Fern?ndez and dancer Jose Manuel Flores Mac?as provided a steadier connection to the Gypsy source. Fern?ndez, perhaps the program's most charismatic performer, overlaid jazz harmonics with an edgy but authentic flamenco style.

Flores Mac?as, impeccably schooled in the form's strictly accented rhythmic phrases, adapted well to the pulsations of jazz, relying on upper-body fluidity in the opening "Cautivo de Mi Destino," whose configurations limited the footwork that is usually the meat of a dancer's interpretation. But he gave an explosive display in "Invocaci?n," a composition quoting more explicitly from flamenco.

Flores Mac?as returned in "Anhelo de Tus Besos," a joyous finale that showcased the entire ensemble to stunning effect. In a memorable sequence, Maldonado's tinkling high notes played off the dancer's rhythms. Later, Flores Mac?as stamped his cadences "a palo seco," that is, accompanied only by the clapping of the other four men. This was flamenco distilled to its essence, sober and enthralling.

-- Paula Durbin