Sergio Pamies (p), Julián Sánchez (tp), Víctor de Diego (sax & fl), Marko Lohikari (b), Gonzalo del Val (d), Sergio Gómez 'El Coloraíto' & José Cortés 'El Pirata' (vcl). Guest Christian Scott (tp), Antonio Serrano (harmonica), Diego Amador (p)
01. Borrachito [Intro] (Pamies) 1:41
02. Borrachito [Bulería] (Pamies) 8:37
03. Ask Me Now (Monk, arr. Pamies) 6:32
04. 1312 Kendolph Drive
[Soleá Por Bulerías](Pamies) 6:36
05. Alegrías De La Paquita (Pamies) 4:55
06. Te Espero En El Eshavira (Pamies) 5:12
07. Cuando Dos Personas Bailan (Pamies) 5:16
08. Isfahan [Intro] (Pamies) 1:49
09. Isfahan (Strayhorn-Ellington, arr. Pamies) 7:06
10. En Estado De Ruina (Pamies) 6:36
11. Fandango In Boskovice (Pamies) 9:26
12. Por Si Te Entra La Manía [Bulería] (Pamies) 7:12
Total time: 71:00 min. aprox.
Sergio Pamies (piano), Julián Sánchez (trumpet), Víctor de Diego (saxophones & flute), Marko Lohikari (bass), Gonzalo del Val (drums), Sergio Gómez 'El Coloraíto' & José Cortés 'El Pirata' (vocals), Benjamín Santiago 'El Moreno' & Miguel Fernández 'El Cheyenne' (percussion).
Guest Stars: Christian Scott (trumpet), Antonio Serrano (harmonica), Diego Amador (piano), Rubem dants (percussion), and Pepe Luis Carmona 'Habichuela' (vocals).
Recorded by Cheluis Salmerón at FJR Studios, Granada, July 16 & 17, 2010.
Mixed by Oscar herrador at Ms Studio, Madrid, January 10-12, 2011.
Additional recordings by José Cortés at Cuajareta Studios, Granada, July 2010.
Jazz background vocals, strings, woodwinds & brass recorded by Patrick Peringer, Denton, Texas, USA.
Produced by Sergio & Antonio Pamies.
Production assistant: José Cortés 'El Pirata'
Cover art by Mariscal
The album begins with Borrachito (Tipsy), the title song of the disc, allowing the key of the very personal synthesis of jazz and flamenco to enter, a synthesis that characterizes this artist. The song is a very catchy one in which the piano improvisation supports the subtle and exciting background of hand clapping, cajón, and drums. The elegant voice of José Cortés The Pirate creates a perfect counterpoint that finishes with an exhilarating celebration by way of the bulerías: borrachito, borrachito/ tu amor a mí me tiene borrachito (Tipsy, tipsy/ your love has got me tipsy).
Borrachito is followed by Ask Me Now, an inspired Hispanic arrangement of the standard by Thelonius Monk, balancing the classic bebop of saxophonist, Víctor de Diego and trumpet player, Julián Sánchez, with the Latin percussion of Rubem Dantas and Benjamín Santiago El Moreno.
The tension builds with the touching soleá about the street, Kendolph, a composition that pays tribute to the first works of flamenco-jazz, but with a truly soleá meter, in which the lyricism of the improvisations (especially those of the saxophone and trumpet) and the spectacular arrangement set the bar very high such that the typically Gypsy voice of Pepe Luis Carmona Habichuela weaves in a song both modern and jondura: quisiera ser prisionero/ de la cárcel de tus labios/ y cumplir toas las condenas/ que nos echen por amarnos (I wish I were a captive/ in the prison of your lips/ to endure all of the punishment/ that they inflict on us for loving one another).
A change of palo brings us to the Alegrías de la Paquita, demonstrating that all of the genres of flamenco lend themselves to the piano without losing even an ounce of its purity or authenticity. It follows the rumba dedicated to the legendary bar in Granada, remembering the smoky quality of the Eshavira with an overdose of swing that culminates in a surge of percussion by Gonzalo de Val, El Cheyenne, El Moreno, and José Aponte.
In order to calm the spirits a little, the album next leads us to a bolero, a genre in which the pianist and the magnificent singer, Sergio Gómez El Coloraíto, having already shown themselves to be great experts (with Amnesia), in this case play Cuando dos personas bailan (When Two People Dance). This composition by Sergio Pamies himself depends, moreover, on the collaboration with one of the greatest harmonica masters worldwide, Antonio Serrano, who alone is truly impressive. Indeed this bolero might have merited an entire album of its own.
The following song is a super Latin version of Isfahan by Duke Ellington, in which, after its oriental introduction of distorted piano, the cajón of Rubem Dantas and the batá drums of José Aponte weave a complex plot under the pianists surging interpretation of this little-known song by Ellington. The battle between piano and tenor sax finishes in a mysterious flute riff, whose original roughness and dissonance possesses an attractive sort of insanity, not unlike the style of Hermeto Pascoal.
The powerful Estado de ruina allows the young trumpet player, Julián Sánchez, to shine once again with his virtuosity, which is answered by none other than the virtuosic piano playing. The response is that of a solo which incorporates a percussive waterfall of notes and chords in the ternary rhythm and flirts with the styles of Ketama and Bill Evans, as well as with that of free jazz.
The finale of the disc would have to be Fandango en Boskovice, a ballad whose ingenious melody lends itself to the interpretation alla Miles Davis, when fate should have it that none other than Christian Scott himself would appear at this moment, a musician that is, for many, the clearest successor of Miles Davis in the new generation of trumpet players, and who lacked precisely some type of Sketches in Spain in order to complete his collection. The duel between both musicians, which combines the vocals of el Pirata and el Coloraíto, is an incredible display of improvisation, unequaled in its execution of the theme. The mood seems intended especially for Scott, who seems to launch his twisted trumpet at the challenge of reinventing the universal language of jazz and flamenco with his unmistakable whisper technique.
As at the end of all flamenco fiestas, we find a lively bulería in which Sergio enthusiastically creates a musical dialogue with his teacher and idol from childhood, the great Diego Amador, in a piano duet of extraordinary swing. To this, the incredibly young Julián Heredia El Pipote (the best protégé of Carles Benavent) contributes his electric bass and creates a provocative funky flamenco in contrast with the sophisticated arrangement for strings, while the Gypsy voices sing the leitmotif: piedrecitas, piedrecitas/ yo tiraba -prima mía- a tu ventana/ por si te entraba la manía / y algún día tú te asomabas (Pebbles, pebbles/ I threw at your window/ in case you should feel the urge/ and some day, lean out your window).
Born in Granada in 1983, Sergio Pamies is one of the most promising young Spanish musicians of the present day. Having published his first album in 2008, Entre amigos (Between Friends), which was included among the 10 best recordings of the year by the Jazz Granada magazine and was considered a finalist as The Best Project of the Year by the magazine, Jaç, and the Enderrock group, Sergio Pamies will now present his second album in December of 2011, called Borrachito (A Little Tipsy) , edited by Bebyne Records. This second installment of his project, Entre amigos, consists of the development of the same concept, in the words of the artist himself, based on his experience in the United States.
Sergio Pamies began his musical studies in the Conservatory of Granada at 10 years of age, later moving to Barcelona, where, in 2007, he became one of the first students to graduate from the Liceo Conservatory in Jazz piano, having studied with Iñaki Sandoval and Mariano Díaz. During those years of formation, Pamies recorded his first CD alongside the group, Yakaré. With this group, he later toured throughout Colombia, playing in international festivals such as Jazz al Parque (Jazz in the Park) and conducting various Masters classes in renowned universities all across the country. In the last year of his undergraduate work, he participated in Joan Albert Amargós work, Transformacions (Transformations) at the Liceo Theatre in Barcelona.
Pamies then traveled to the United States, where he currently resides, in order to study with Stefan Karlsson and complete a Masters degree in Jazz Piano at the University of North Texas (UNT), where he has been awarded the honorable distinction of Most Outstanding Student. He produced, arranged, and directed the recordings found on the album, Flamenco Jazz Project, for North Texas Jazz.
Despite his young age, Pamies already possesses a wealth of international experience as the leader of his own band, having performed in festivals in Austria, the Czech Republic, Poland, Slovakia, Colombia, and China. Throughout his projects, he has also collaborated with outstanding artists, such as Horacio Fumero, Víctor de Diego, Matthew Simon, Gonzalo del Val, Michael Miskiewicz, and Zbigniew Wegehaupt, even including stars of international acclaim such as Christian Scott, Rubem Dantas, Antonio Serrano, Diego Amador, and Pepe Luis Carmona Habichuela (all of whom collaborated in the making of Borrachito).
In addition to his constant dedication to composition and performing, Pamies simultaneously continues to develop his teaching career, having taught jazz piano classes en LAULA de Música Moderna de Barcelona (The Classroom of Modern Music in Barcelona) for three years. He currently serves as Teaching Assistant in the University of North Texas, teaching piano and band classes, and directing the group, The Zebras, while also studying a Doctorate in Jazz Piano under the direction of Stefan Karlsson and Dr. John Murphy.