Saura’s Flamenco, Flamenco

Carlos Saura is sort of like the Busby Berkeley of flamenco and other traditional Iberian musical forms, except he stages musical numbers with Spartan elegance. There will be no talking whatsoever, just singing, dancing, and playing in his latest intimate musical performance film. Saura follows up his 1995 art house hit Flamenco with the aptly titled Flamenco, Flamenco (trailer here), which opens this Friday in New York.

Saura will not even cheapen his visually gorgeous film with a lot of inter-titles identifying the many accomplished musicians making up his all-star flamenco ensembles. In a way, that is unfortunate for them, because their performances would make converts out of any non-fan who just happened to wander into Flamenco-squared. Indeed, the Flamenco choreography framed by Saura and revered cinematographer Vittorio Storaro is particularly cinematic, emphasizing the dancers’ long vertical lines and their whirling garments.

There is no question Saura is one of the best filmmakers in the world when it comes to capturing dance on film. He also has an intuitive sense of how to best use the inherent tension of flamenco percussion. Although flamenco costuming is traditionally rather modest, several of the younger singers and dancer convey quite a bit of passion through their performances. However, when María Bala steps forward for her solo, the audience is transported to the Andalusian caves.

In terms of quality, Flamenco, Flamenco is remarkably consistent, but there are still notable standouts. Surprisingly, one of the best is a two piano duet for Dorantes and Diego Amador. They both have spectacular technique, but what really distinguishes “Cartagenera y Bulerías” is just the sheer contagious fun they are having playing together.

This time around, Saura’s approach will be somewhat controversial for purists, because he includes several younger, fusionistic performers, such as Rocío Molina. However, when she dances “Garrotín” with a cigarillo clenched in her lips, she looks like she could have been Bizet’s inspiration for Carmen. Yet perhaps the most striking choreography comes on the sacred-themed “Holy Week,” which also stretches our conceptions of flamenco in a different way.

Shot entirely within the Seville Pavilion for 1992 Expo, F-F has a real sense of flowing space, accentuated by Storaro’s swooping camera that often matches the dancers’ dramatic moves. At times, Saura uses gallery motifs for his backdrops, but he often just employs warm primary colors to set-off the performers. Aside from his previous films (such as Tango and Fados), the most logical comparative would be Trueba’s Calle 54, which is high praise indeed. A rich feast for eyes and ears alike, Flamenco, Flamenco is highly recommended for general audiences, whether they think they like flamenco or not, when it opens this Friday (11/21) in New York at the Lincoln Plaza Cinemas.

DWF ’13: Kumpania Flamenco Los Angeles

Maybe there’s yet still hope for Los Angeles.  The city is home to a small but vibrant flamenco scene.  Of course, nobody is making much money—quite the contrary.  The musicians, vocalists, and dancers all simply share a passion for the music.  Katina Dunn documents their musical camaraderie in Kumpanía Flamenco Los Angeles (trailer here), which screens this afternoon during the “Sweet Sixteen” edition of Dances With Films.

Flamenco originated in the tightly knit Roma community of Seventeenth Century Spain.  Musicians and dancers from other cultures have been drawn to the music, but according to one vocalist, only Spaniards can sing Flamenco with the right accent.  Yes, he happens to be a Spanish expat.  Regardless of authenticity issues, the Los Angeles Flamenco community is distinctly diverse.  Many local Hispanic musicians have adopted the music as their own, including Joey Heredia, a professional drummer comfortable crossing stylistic lines, whose impressive credits include work with Tania Maria, Poncho Sanchez, and Diane Reeves.

Japanese artists are also well represented in KFLA.  Kyoto native Jose Tanaka is not just a leading guitarrista and composer, but clearly serves as a leader holding the community together.  However, if one star truly emerges from the film, it would have to be Bailaora (dancer) Mizuho Sato.  A striking performer with flawless technique, her sequences will hold viewers spellbound.  She also provides real insight into the Flamenco aesthetic, especially when explaining how the demur nature of the presentation is part of what makes it all smolder.

Dunn nicely conveys the scene’s vibe and gives interested viewers an easy starting point to check out the assembled artists live—namely, the Fountain Theatre.  Her selective but clever use of archival footage adds fitting context as well.  She does right by the music, which is the most important thing.

While not reaching the lofty heights of Fernando Trueba’s Calle 54 (the true gold standard of music performance docs), KFLA is still quite a dynamic and engaging film.  At just a whisker over an hour, it will leave most viewers wanting more.  Appealing to the eyes and ears, Kumpanía Flamenco Los Angeles is recommended for general audiences when it screens this afternoon (5/31) as part of the 2013 edition of Dances With Films, in Hollywood, California.

DOC NYC ’12: Gypsy Davy

Rachel Leah Jones has issues with her father.  She is not the only one.  Flamenco guitarist David Serva [Jones] is only good at playing music and reproducing.  Disingenuous apologies come in a distant third when Jones takes on her more or less absentee father in Gypsy Davy (trailer here), her documentary profile-slash-examination of family dysfunction, which screens during the still on-schedule 2012 DOC NYC at the IFC Center.

Born the blond David Jones of Alabama, Serva transformed himself into the first American flamenco guitarist accepted by the Spanish old guard.  He did it by abandoning his wife and two children (the director-co-producer-co-everything and an older brother from a previous marriage).  Serva is a self-absorbed creep, who displays almost no redeeming virtues throughout Davy.  For obvious reasons, Jones openly questions whether she should be documenting her irresponsible father, yet persists, clearly hoping the exercise will have a therapeutic effect.

Shockingly inarticulate, Serva Jones only buries himself deeper as the film continues.  Nonetheless, it is fascinating to trace the five women and five children (that he knows of) whose fates would become intertwined with his.  There is some stylish flamenco and Roma-influenced guitar music as well, but Serva Jones’ undeniable musical gifts are not impressive enough to compensate for his boorishness.

It is impossible to turn away from the uncomfortable messiness of Gypsy Davy, just like traffic accident or a Joe Biden stump speech.  Jones raises family disorder to the level of performance art, but there is never any question where the blame lies.  The only real surprise is the relative emotional health displayed by many of Serva’s grown children.

Gypsy Davy is almost unique among music-related documentaries because it leaves viewers less kindly disposed to its subject after a full viewing.  However, many critics and programmers will probably play up the Counting Crows hook.  Yes, David Serva Jones is the inspiration for that Mr. Jones.  In fact, his son Martin co-founded the band, but walked away from a career in music out of fear he would become like his father. 

While it looks rather DIY, Gypsy Davy is scathingly honest and quite shrewdly constructed.  Recommended for viewers in the mood for an anti-musical doc, Gypsy Davy screens this Friday (11/9) and the following Monday (11/12) as part of this year’s DOC NYC, which is still proceeding on course.

NY Roma-Gypsy Film Fest ’09: Gypsy Caravan

Life on the road is a fact of life for musicians of all genres, not just Roma artists. Yet, when the World Music Institute put together the Gypsy Caravan Tour of “five bands from four countries speaking nine languages” it posed some obvious logistical challenges. However, as documented in Jasmine Dellal’s documentary, Gypsy Caravan: When the Road Bends (trailer here), the resulting headaches apparently were confined to the producers and promoters, with a spirit of camaraderie prevailing among the musicians, which makes it a fitting film to close the NY Roma-Gypsy Film Festival on Friday evening.

Over the course of their American tour, the Caravan ensembles learned to mix their diverse styles from three European countries and the original Roma homeland, India, into a new fusion of Roma music. Having been officially awarded the title: “Queen of Gypsy Music,” Macedonian Esma Redzepova was arguably the senior member of the tour. She was joined by the Romanian groups, Fanfare Ciocarlia, a brass band with a hint of klezmer, and Taraf de Haïdouks (Band of Brigands), a somewhat jazz-influenced string and accordion band, led at the time by the distinguished violinist Nicolae Neascu. Antonio El Pipa’s Ensemble also added to the tour’s diversity representing Roma-rooted flamenco music, eventually collaborating with the Indian company Maharaja for some quite distinctive Spanish-Indian flamenco—world music indeed.

If there was any backstage drama, Dellal declined to show it. Instead, she focuses on the music, which is what the tour was all about anyway. There are some great musical sequences, including vintage groovy 1960’s television footage of Redzepova. Sadly, the charming Neascu, who seemed to greatly enjoy his late-in-life popularity, passed away shortly after returning from the Caravan tour. As a result, probably the most emotional scenes in Caravan come as his fellow musicians pay their respects during his memorial.

In filming Caravan, Dellal attained the services of both an aspiring documentarian and an acclaimed master. George Eli whose debut film Searching for the 4th Nail again previews at this year’s NY Roma-Gypsy FF on Wednesday, provided translation services and on-screen commentary. Remarkably, Dellal’s primary cinematographer was the celebrated Albert Maysles of Grey Gardens and Gimme Shelter fame.

Caravan does indeed look and sound great. It is a spirited film that has become a closing night tradition for the festival. It wraps up the NY Roma-Gypsy Film Fest this Friday (10/9) at Mehanata Bulgarian Bar, concluding a full week of screenings.

Canadian World Frontiers

Frontiers
By Jesse Cook
Koch Records

No disrespect to Jesse Cook, but ordinarily I would not pick up a disk with this cover. It just looks too “sensitive singer-songwriter” for my tastes. Fortunately, the back photo of Cook’s guitar in close-up is a better depiction of the contents, as Cook’s music is more gypsy camp than Chelsea Hotel. The Canadian Cook’s latest, Frontiers (on-sale domestically today), is a pleasing set of flamenco-rumba that while not exactly jazz per se, will often appeal to jazz ears.

As a youth, Cook discovered the guitar while living in the Camargue region of France. Later, he would immerse himself in Seville, the fount of flamenco. Since then, he has played jazz festivals and opened for countryman Diana Krall. His label categorizes Cook as world music, which is probably a good enough rubric for the various styles and traditions he synthesizes.

Cook has tremendous technique, heard to best effect on what he refers to as “upbeat rumba flamenco,” for which he has already achieved a good following. Frontiers is actually considered a bit of a departure by including slower pieces. However, Cook is still at his strongest here on such flamenco swingers like “Matisse the Cat” (great title) and “Vamos.” While still not really jazz, these tunes sound closest in tone to the flamenco-jazz fusions of Louis Winsberg.

Although Frontiers would have benefited from more such high-octane selections, there are some nice late-night Latin flavored pieces like “Café Mocha” and “Havana.” At times there is an overly new age-ish sound on some tunes, like “Rain” and “El Cri.” However, the rumba version of Dylan’s “It Ain’t Me Babe” is a nice surprise. A great arrangement, it is one of those commercial guest vocalist features—in this case for Canadian Melissa McClelland—that really does work.

Always pleasant, Frontiers is best when Cook displays his fiery chops to full effect. Given his frequent jazz fest bookings, jazz listeners will likely be hearing more from him in the future. More often than not, they should dig his impressive facility for flamenco.