Contemporary flamenco is how & where Arrebato Ensemble describes and, presumably, sees itself. It's as good a starting-point as any, in approaching Arrebato's progressive, original music, which undeniably draws upon the fundamentals of flamenco, right down to its roots.Leader, composer & guitarist, Greg Alfonzetti's passionate connection to this music is palpable: when he smiles, or enthuses, in Spanish, one senses his visceral, pulse-quickened response to the rhythms and dynamics of the form and, on occasion, the edge of a tear seems to form in the corner of his eye; an emotional empathy as much in credit as his bond with his instrument.
Alfonzetti is the flamenco heart of the ensemble; the addition of the word ensemble implying a classicism brought by his multi-instrumental compositional cohort, Damian de Boos-Smith, who fronted on guitar, 'cello & oud. The ensemble tag also allows flexibility of lineup, which, this time, deviated quite considerably, from the last, happy occasion I was invited to attend.
If you can imagine what 'cello would sound like played by, say Jimmy Page, you're in the right neighbourhood. De Boos-Smith's rule-breaking oud-playing, too, steps beyond the usual boundaries and expectations applicable to the instrument.
It's Dave Ellis and his sumptuous suite of 'bullnosed' bass sounds, that underpins the muscular jazz influence brought to bear, bolstered, in no small measure, by Andrew Poniris' relentless attacks on, especially, his saxophones (taking a more somewhat more genteel, Adlerian approach to harmonica). There are more than a few moments when even a card-carrying member of Australian Skeptics would swear he's divining 'trane, at his epically explosive, coke-fuelled zenith.
Lloyd Gyi, a showy, charismatic and skilled percussionist, sporting a highly-individualised kit, shows profound sensitivity, responding in just the right measure to the fluctuations and punctuations that so richly and redolently characterise flamenco. He's the epitome of an ensemble player and antithesis of the kind of heavy-handed percussionists that have left such a lengthy legacy of drummer jokes.
All of these flavours are melded as smoothly as a stirred sangria; like life itself, a potent, intoxicating blend of the sweet, tart and heady.
Featuring, chiefly, material from their lauded debut album and one work-in-progress from their forthcoming opus, their generous, uninterrupted set made time stand, veritably, still, allowing the music to weave its magic, exercising and exorcising the spirit, in releasing rushes of unbridled excitement; yet, affording moments of tremulous sadness.
Mostly unannounced, Arrebato opened with a farruca, a form attributed to Galicia, which, if you know your geography, equates to northwestern Spain. It's, in turn, a 'diet' form of cante chico, traditionally danced (as the name implies) only by men. Cante, or song, of course, is one of the three key components, if I may put it so mechanistically, of flamenco; the others being, obviously, toque (guitar-playing) & baile (dance); speaking of which, it would be remiss of me not to note the commanding guest presence of one Ana, who carried herself with such panache & pride; the very quintessence of this age-old cultural expression.
To persist with my historical digression, for a moment, interestingly, farrucas were, originally, villancicos, or Christmas songs; which, I suppose, makes Arrebato's delivery all the more timely. All the more interesting is the fact that farruca derives from the popular and commonplace Arabic name, faruk, meaning 'discerning truth'. Arrebato, accordingly, through the medium of flamenco, discern the authenticity, depth and breadth of the human emotional palette.
The point of all this backgrounding is, when one looks past the emotive power of the music, the histories and cultures of several peoples begin to unfurl; just in case you were scratching for something, to complete a musicological thesis.
Rather than notate a blow-by-blow description of the baker's dozen pieces played, I, instead, implore you to stay tuned, for announcements of Arrebato's first engagements, for 2009.
Again, Arrebato delivers, on its name, meaning 'a sudden & intense burst of emotion'. Ole!
Arrebato Ensemble
The Sound Lounge, Seymour Centre | City Road, Cnr Cleveland St, Chippendale
Thursday 27 November 8.30pm
Tickets: Seymour Centre Box Office 02 9351 7940
$Adult $25, Concession $23
