New World Flamenco
Tierra Negra & Muriel Anderson
Muriel Anderson is something of a musical chameleon. You never know where she will show up but she always manages to blend in with the musical environment. She is a respected fingerstyle guitarist as well as a noted classical player; a harp guitarist as well as singer; and has played duets with some of the finest guitarists in each of these fields. Her admirers include Chet Atkins and Les Paul, to name just two.
The CD New World Flamenco pairs Muriel with the group Tierra Negra. The core of the group are Raughi Ebert and Leo Hendrichs, a very influential German flamenco duo who play guitars of their own design. Rounding out the band are Helmuth Fass on bass, Daniel Sanleandro Fernandes on drums and percussion, and Felipe Rangifo Jr. on latin percussion. Tierra Negra is considered to be at the forefront of Flamenco Nuevo, or the new wave of flamenco, and this is definitely not the flamenco of, say, Paco de Lucia.
I was unsure of what to expect of "new world flamenco" but having listened to the CD it strikes me as flamenco for a new world or perhaps a new age of the world. In fact I might have referred to it as "New Age Flamenco" except for the somewhat negative connotations that might have, so "new wave" it is. The drawback to calling anything new wave is that this label has been applied to so much music in the past - from the "Ars Nova" of the 14th century through Bossa Nova and the New Wave of the 1980's to pick just a few. Still, this is a new direction for flamenco which you will appreciate on first hearing. In general I hear it as a more relaxed version of flamenco, less the fiery "strong cup of morning coffee" and more "relaxing tea after a hard day". I have been listening to this CD to unwind from some long days and it fits the bill admirably.
The CD opens with Raughi Ebert's song White Horses. Here the lush accompaniment keeps the gentle melody moving along without upping the tension. This song was composed while enjoying a glass of wine in the sun of a southern French village, and it certainly captures that ambience.
L'Air du Camargue by Leo Hendrichs captures the clean flower-scented air of the Mediterranean with a melody and accompaniment that are both a bit livelier but still completely accessible.
Nosotros is Muriel Anderson's first song on the CD and as befits the title ("us" in Spanish) it is an ensemble piece very similar in style to the two previous songs. Once again the "musical chameleon" is able to accommodate her playing to a new style and fit perfectly into the group.
Muriel's next song, Cloud Cover, was composed in Seattle but with the guitars of Raughi and Leo in mind. This one is a bit more introspective, a bit less lush with a little dissonance creeping in here and there. A nice change of pace.
Raughi's Cafe au Lait follows, another song written outside. It seems that the players all draw inspiration al fresco and this gives their songs a freshness that translates into their playing. Here we are sitting with our coffee in a small bar watching boats go in and out of the harbour.
En el Bosque de Cristal was inspired by a dream that Leo had. The open sonorities of the guitar and the spare accompaniment illustrate this forest of crystal very well indeed.
Leo's On the Marketplace picks up the tempo and moves a little less leisurely through the marketplace, in this case in Arles, France. Less leisurely but still with an easy grace and style, that is.
Another Leo song, Mighty Days, is dedicated to jazz trombonist and singer Gene "Mighty Flea" Connors. This quietly intense piece is a fine expression of respect and gratitude.
Summer Morning Rain is Muriel's song inspired by a warm rain shower in Nashville as she was preparing to leave for Germany, written on her harp guitar. She plays this one solo.
Entre Dos Riojas is another gentle yet lush song, this time investigating what happens between two glasses of wine. It must have been a good time!
See You in the Bar is a happy, carefree tune (by Leo) where the whole band seem to let loose. The dialogue between the guitars here is the most effective on the CD. This must have been great fun to play.
Sara la Noire is named after a statue of "Black Sara" the saint of the Gypsies. Learning that this statue had been stolen, Raughi composed this song as a tribute. This track is a bit more reverential in style, as befits its subject.
Muriel's Fantasia de Fuego picks up the pace again, some quicker melodic played and insistent castanets (or are those "flamenco feet"?) that drive it along. This song is a great illustration of this new wave of flamenco playing, with much of the same technique as the older style and yet with a new attitude and feel to it.
For View From Space Muriel was inspired by astronaut Susan Helms taking one of her recordings on her mission to the space shuttle Discovery. Thinking of her music up in space she composed this lovely piece on her harp guitar. Another solo, this one shows how beautiful a harp guitar can sound.
Muriel's Midnight Solo rounds off the CD with finely understated guitar accompanied by nuanced percussion. A gentle ending to this new wave recording.
You do not have to be a flamenco fan to enjoy this CD. Anyone who enjoys a clear melody over a full acoustic accompaniment will want to check this one out. Fortunately, you can listen to samples as well as order the CD directly from Muriel Anderson's site at http://murielanderson.com/music.html