HUELLAS XL. Flamenco Big Band Project.

San Sebastián web

HUELLAS XL (Traces/ Flamenco BB Project) was performed for the first time in July 2013 during the celebration of the three most important Summer Festivals of our country (Spain) having a huge success with regard to the reviews and opinion of the public.


The performance didn’t disappoint anybody as its versatility included a lot of guests and surprises.

The following people have participated in Huellas XL; Jorge Pardo (Sx, Fl), Josemi Carmona(G), José Manuel Ruiz Motos “Bandolero”(P), Marc Miralta(Bat y Marimba), Diego Guerrero(G), David Pastor (T y Direc), La Original Jazz Orquesta del Taller de Músics compuesta pos; Trompetas;Pablo Fernández, Leonardo Torres, Oscar Latorre, Jordi Fontanillas. Trombones; Albert Costa, Vladimir Peña, Eduard Prats, Eva Garin, Raul Castro: Tuba. Saxos; Victor Verge (T), Roger Martínez (A), Nil Mujal (T), Paula Carrillo (b) Roser Monforte: (S & Fl). Alvaro Barco (Sound), Ángel Vicente, Producction. have participated too: EN ETNOSUR (Jaén); Pablo Báez (CB), Los Mellis (Palmas coros), Nasrin (P), La Agrupación Musical Pep Ventura, Dirigida por; Jorge Molina y el Ensamble Cofrade dirigido por Abraham Mesas. EN FESTIVAL GREC. (Barcelona);  Marco Boi (CB) Jose “El Tobalo” y Juan Mateos (palmas), El Salao (Cante), Gayathri kesavan (Voz). EN DONOSTI; Pablo M. Caminéro (CB), Urko y Eki (Palmas), Odei Lisazo (P).Etnosur

Jorge Pardo is one of the most internationally recognised musicians of melodic instruments in the history of modern Flamenco. He created a language himself which is nowadays a referent for the Flamenco musicians in Spain and abroad as well.

He is a persistent researcher of articulations and deep Flamenco vocal styles in order to transfer them to his instrument. Artists like Camarón, El Chaqueta or los Zambos and many more have inspired him. At the same time his closeness to the maestros of Jazz like Lou Bennet, Jean Luc Vallet or Chick Corea has made him musically bilingual. Also, thanks to his co-operation in several World tours together with Paco de Lucia (his big brother) and to the possibility of reaching with no strings attached all kind of musicians and music of the world. He has been enriched musically and, those who really know him, on a personal level.

Jorge is one of the best examples for the union between the Flamenco and other types of music in the world, being without a doubt one of the founders of what we today call JazzFlamenco.

The above-mentioned is reflected in current project of the Big Band Flamenca: The representation of orchestral arrangements, by Vince Mendoza, Diego Guerrero, Gil Goldstein and Vicens Martín, concerning prominent themes of Huellas (2012) in which his most prolific and risky compositor period is passed on through 18 of his own themes. As a result thereof, the representation can be considered as a composition instead of a concert. It is the most important history ever about the musical wealth of Flamenco that comes and goes.

In HUELLAS XL the typical sounds of Flamenco like guitars, hand claps,  folk signing or box drum are combined with the most characteristic timbres of Jazz; Contrabass, Marimba and trombones, saxophones and trumpets of a Big Band. There are two traditions on only one stage representing the same music. There are twenty-five musicians on the stage who reaffirm the inexistence of barriers in music.

Huellas XL is the original idea of Jorge Pardo and Pedro Melguizo, director of Etnosur. The piece has been performed in Alcalá la Real on the 19/07/13, at the festival of Grec in Barcelona on the 22/07/13 and on the principal stage of the “Decano festival” in Donosti (Plaza de la Trinidad): Jazzaldia on the 25/07/13.

Huellas. 2012.

Sextet / Trío.

Huellas represents the staging of 18 compositions which are included in the homonymous album in co-operation with a lot of Jazz and Flamenco musicians, in order to offer the most complete and representative pieces created over the last decade by this prolific and remarkable artist.


The innovative production of “Huellas” was introduced back in 2012 as a double recording work. And as of that moment it is performed in accordance with the space available on the stages.

Huellas has been represented at the most important Jazz and Flamenco festivals in Spain; Madrid, Barcelone, Granada, Fest Jazz San Sebastian, Fest Flamenco de Jerez, Theatre Circo Murcia, Fest Jazz Almeria, at several Jazz Clubs throughout Spain; Clamores, Segundo Jazz, Bulebar (Soria), La Bilbaina (Bilbao) Jhymy Glass (Valencia), Cafe Latino (Gijón), Jamboree (Barcelona), etc … and at numerous European sites; amongst others Oslo Jazz Fest, Berlin B_Flat, Reduta Jazz in Prague, Paris Theatre du Chatelet, Jazz Festival of Warsaw, Summer Festival of Vilnius (Lithuania), Iberica Flamenco Fest in Czech Republic, Summer Festival of Varna (Bulgaria). All these festivals have counted with an enormous success approved in reviews and by the public.

sextet Granada

The representing group is focused on a section of melodic instruments, Jorge Pardo; Saxophones and flutes with the possibility to add several soloists like: trumpet, trombone, accordion, etc, and together with the guitar, percussions/drum as principal trio. The contrabass and marimba hereto added give a wide range of chromatic in the magnificent compositions of Huellas and in this way offers an impressive music event. Up until six musicians with a repertoire of approximately 90 minutes leave an important impression behind because of the freshness, passion and excess of a piece of music which makes history in the called JazzFlamenco, thanks to the founder of this genre who has been around the world inspiring himself in order to launch his own musical message on stage.

 “Huellas” tastes like Jazz and flamenco winds, it is full of freshness and vitality, and somehow, brings together leading composer with the distilled and concentrated Flamenco essence. An overview of this art seen from the outside to inside and from inside out. A flamenco feeling between the sound of a jazz band. A vision of improvisation with new references. Meeting and dispersion at the same compass. An execution for those who feel, breathe and know these fundamentals, which are none others than the deepest soul where there is no time or place …

Vientos Flamencos.

This performance has got the name of two of his most recent recordings. Flutes and saxophones are turned into Flamenco voices and “quejíos” (stylised form of crying out). It’s a collection of chants starting from the study of articulations and deep Flamenco vocal styles as those of Camarón, El Chaqueta or los Zambos, for example. Jorge interprets these items following the occurrences of the winds.

In this particular soundtrack, which lends itself perfectly to dancing, the saxophone and flute are played on a high stool, and not on a reed chair. Then they start singing with “alegría” de Camarón, soleares of Chaqueta, rumba, tangos of Repompa… zambra caracoleras, accompanied by guitars and percussions.

A glance is given towards the Spanish music tradition from the “alegría” to the solear and from the pasodoble to the joropo using bulerias, Albéniz, Falla or Camarón. It’s a performance which is compatible with dancing, which obtains in this way a musical expression and aesthetic items of the modern Flamenco.



Jorge, Francis Posé (bass) and Jose Vazquez “Roper” drums are D3. An explosion of jazz and flamenco.

After three albums, the recent passage of the trio for the recording studio has led to their fourth album, perhaps the most mature of the released so far by this great Spanish jazz trio. “Sobre la marcha”(On the road), is another twist to its unique musical approach in which, like all good fansalready know, the jazz improvisation, the flamenco sounds and certain touches of other parts, twin as well and with such intensity and technical skill that mixes styles toachieve a clearly amazing and addictive.



The trio of Carles Benavent, Tino di Geraldo and Jorge Pardo, is a natural union after serving Pardo and Benavent years of commitment to Paco de Lucia Sextet and making history in flamenco. The summer of 98, closed the cycle with a tour of apotheosis major jazzfestivals that took them from Vitoria to Montreal. Following Hence the need for expression and creation of an own language leads them to join since then have not stopped playing.Currently preparing for this new album 2012, the first two have left no one indifferent. No strings attached, no limits, no precedents and no comments.


Vida en Catedrales.

Next to San Miguel Tomas. Once, someone asked how long they had spent rehearsing theirduets. The answer is still obvious (known for over twenty years), is a lifetime, because somehow their individual experiences and our musical experiences are reflected in thesongs that make up a duo.

An ideal project for unusual performance spaces.




Jorge Pardo Sinfónico.

Under the direction and arrangements by composer Toni Cuenca, Brown’s music takes on a new dimension in both scenarios “jazz” as symphonic.

A proposal that Jorge performing solo training with a variable-style jazz, bass, piano, drumsintegrated into a symphony orchestra, a concert given at the conclusion flamenco-jazz-symphonic.

The two musicians have been found in different musical projects, sharing the stage and ideas about this great music format as a need to share and grow in the journey of musicthrough time.



Master class.

 Jorge Pardo’s condition as ”master of himself” based on the observation of his own intuitionand improvisation led him to develop a language now consolidated basis for many of today’s musicians and jazz flamenco in Spain.

For years, coinciding in time with the release of his collection of “Vientos Flamencos” Jorge has been studying and transcribing the joints and turns of throats “jondo” like Shrimp, TheJacket or The Zambos, among others. Thus completing a personal and unique to this part oftraditional Spanish music.

Possible sessions of 4 hours on days adjacent to the concerts.