"your desire is not enough, earth's fist,

because, earth, you become pure soul.

The man, this product of the seed looking for the soul,

must suffer incurable torments.

The balm for this pain? The same pain.

The Erranza

From the native seed since quì,

look how much the walk is long!

The heart solicited by the Search is,

up to the resurrezione madly ebro.

I have crossed every place.

In the whole country it is the same fate"

 

Compañia of Music and Dance with an instrumental set inusuale, brings entirely in scene a bright and suggestive show in which the sounds, the images and the rhythm evoke the colors and the atmospheres typical of the Andalusia offering a testimony of that is the more truth and genuine spirit of the Flamenco to the public.
An art been born by the confluence between east and west, an admixture of the Arabic music, of the Greek ways, of the African drums, of joy and pain, of theaters and of party.
The music sefardita is a vital part of the Jewish diaspora in the same way according to which Jazz is a vital part of the African-American diaspora. In both the styles of music, the syncretism is a testimony to the elasticity of people that they fought for holding back their cultural inheritance and they embraced the cultures of others, also when faced with the great oppression and struggle. It is ironically, beauty been born by the tragedy.

This unique combination of the song of Sephardic, Jazz and rhythm of flamenco it makes an ardent, different and original show with repertoire of traditional Sephardic and original compositions and music of the Spanish popular tradition.

Alejandra is of Spanish origin and song, sound the cajon and the harmonium mixing tradition popular Spaniard and Sefardita with innovation of the flamenco respecting his classical "palòs" (the rhythmics) representing the mean westerner to translate a melodic root Andalusa and Arab as a fusion of different languages in an only language melting in her improvisation elements of the musical Orientalismo andaluso and her gipsy expressions with Arab-Indian mielismi.

She has assimilated with naturalness different languages because she hasn’t sought them, but she has chosen to welcome what she has met. In the quiet, She annotate every note of my shade, every mielisma of her heart. The soul drives her, hook every note of the music that is dance and it is music, of a line ancient and been just born as the same flamenco.

Rosalyn Mazzola You more original bailaora of our days handed in scene his/her energetic and experimental style that melts different plastic languages as the contemporary dance, the oriental dances but also the word or the use of the a little conventional music.The essence of the dance is the expression of forms in the time and in the space - a sketch that traces the line dictated by the music, following every breath of his falling in love herself of every note.
Music, voice and dance are woven naked in an intimacy: Rosalyn introduces a composizone of dances developed during her artistic career.
A many colored whole traditional movements in which new creations are rhythmically melted with the incisive and perfect sound some taconeo, of the palmas and the sensuality of the monvimentis. Rosalyn is so intense and of such emotional impact that with an only gesture can create a world.

There is no dance better than that that comes from the deepest love, that is born from the quiet.

And there is no good way to make free to those people who have preceded us that reinventare their memory, for this the dance is pure present, impassioned and exact translation of a feeling existed in a space and in once other, that however it revives in this instant as a treasure for our eyes and our hearts.

The unequivocal one and delineated sound of this compañia it derives from the artistic collaboration among all the artists and we introduce passages that space from those classical as a "Tiento" and "Zorongo" to passages less known as "Locura" and "Gelem, Gelem" the hymn of the Gipsies and to other Sefarditi as "Nani Nani", elaborated again in Buleria and "Porquè llorax Blanca Nina" etc...

An art been born by the confluence between east and west, an admixture of the Arabic music, of the Greek ways, of the African drums, of joy and pain, of theaters and of party.

Languages that are codified after having absorbed the best of different civilizations exist. One of these are the culture flamenca that arrives to us after a long trip, that departing from India and embracing then the whole whole basin of the Mediterranean coagulates, finally, in today's Spain, without losing nothing of the native chromosome.

It deals with a trip that is not exhausted and of which we do part.

It has not been everything this wanted, or rationalized, it has arrived to us.It has crossed us, Or alive inside of us. And' the Duende, The spirit of the World.

Everything of our job is inspired to the world Mediterranean to which we are deeply tied up, not only from an artistic interest, but also from a desperate necessity to rediscover the depths of our culture of our feelings and of our common roots. We also feel this centralità in sense of responsibility for the events that trouble the countries that lean out on this sea.

The history teaches how much the necessities and the expressions of the man, in its long walk, you/they have found equilibrium, synthesis and fullness drawing from different cultures when these have known and wanted to cohabit. If this is true, then these are also expression of a culture of peace.
A trip of the reason, of is complementary of rhythm and of word toward a to coexist of diversified rituals. of voices different revolts to the same desire.

The "Mediterranean" it seems to more ever constitute today, a galaxy of meanings, of symbols with codes that are outlined endless to loss of eyes, of confinements that don't exactly fall never on same and to whose inside every culture postpones to other cultures, to other idioms, to other categories, all conceive ones as common mothers, from common fathers / denominators.

The “Mediterranean” seems to be a plural planet but, with a temperature that is the same one on all the differences, with a color of the sky that is similar from the first tree of ulivo that grows on the gnaws, to actually become less frequent of the palmetis of the Sahara and from the earths of Abramo to the sea of Gibilterra.

For us "Mediterranean" it is word / suggestion for his/her transversal nature for definition: multiculturale; it is abstract sign; it is body: it is place of cloths, of nets, of knots; it is place still suspended between memory and future, between ancient world and differential modernity, between archaic world and computer technology. And' place crossed by a philosophical thought that he/she knows of "new" because magically pre / postindustrial.

And then, if "modern" today it means contamination, then Mediterranean is, for a long time, for his/her cultural structure, a contaminated singleness: and therefore a pre / figuration of the modern one.

"The Erranza", it is a clear example of as is possible to interpret in modern key a music with deep and mysterious roots, that he/she knows about sea and nostalgia. This way, departing from the Flamenco and from the Sefardì, the voice of Alejandra detaches him some tradition and flies from Sicily to Spain, it grazes therefore Portugal with the Fado for then to cross the Mediterranean one and to look to east Israele, Turkei and outskirts with Sefardì.

The listening becomes a way to travel with the mind and to imagine fascinating distant worlds in the space and in the time. This way in "Flamenjazz" we don't find again mirrored an only culture, because this music lives of different colors as those that camp in the meaningful scenography of scene.

We were not able not to devote a part of this concert to another expression of the Erranza, expression and culture that it absorbs the best of the Mediterranean cohabitations to become voice only of it: The "Cante Sefardì", the Jewish people sent away in 1492 from Spain, expresses the whole ardor and the desperation of a people in escape from the persecution and the hope to build a new and best life.

In the long Erranza, the Cante Sefardì becomes a so Mediterranean language that independently waves inside of us from any I believe, country and culture, making us feel part of an only people.

Erranza: characterized by the intense dramatic expression and accompanied, in this concert show, from the suggestions of the dance, of the music and from the words.

Afar from whatever seriously academic attitude he/she is wanted in the simplest and synthetic way to inspire the idea to surrender him to this expression and at the same time to drip a drop of passion as is proper of the souls and of the feelings of the Mediterranean people.

Alejandra with the vocal enarmonismis that go from the Jazz to the Cante Jondo with Arab-oriental mielismi and with Indian sonority accompanying herself with the Harmonium, The eclectic Silvio born them with the guitar flamenca, the oriental stamps of the Oud and those medieval of the Viella, Dario Sulis with the impetuous one and powerful person rhythmic with percussions Afro-Arab and Spanish, Romina incisive and precise with the Lower part, bright Anthony to the Piano that spaces from the Jazz to the World-music and in the “Nane” (Dwarf) ones it is an exceptional poet, Rosalyn to the baile Flamenco, in the movements sensual but at the same time with rhythms of the taconeo sincopatici and in incident perfect.

All this ago make of Flamenjazz an unique show in his kind!The company FlamenJazz brings in scene the roots of a song that it has ancient origins and it is born from the meeting of the Spanish musical culture with that Sefardita, Sicula / Arab, Indies and the Jazz.

Component FLAMENJAZZ

Alejandra Bertolino Garcia: Voice. Cajon - Harmonium - Duduk
Dario Sulis : Percussions and Voice
Anthony Zarcone : Piano
Silvio Natoli:Oud(ancestor of the Spanish guitar)or Lute/ Classic Guitar,Viella & Duduk
Romina Denaro : Elettric Bass
Rosalyn Mazzola : Dance Flamenco

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