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 | |  | | Lloyd Bradford (Brad) Syke, Australian Stage Online
(The) Vanguard is the best of venues. And the worst. It’s the best, if you have the obsessive-compulsive, anal-retentive foresight to get there when it opens, to secure a seat, in the narrow front row, of the soon-to-be-crowded upstairs balcony. Or, for the better-heeled, a table, downstairs, for dinner. If you’re adopting the pretence of laidback, fashionably late-ish cool, however, you’ll pay the price, with nary a view or vantage-point. Unhappily, on this occasion, my partner & I fell into the latter category (I should’ve known I couldn’t pull it off). It’s almost unbearably hot ‘n’ stuffy back there, too; never mind the brisk air on King Street. Still, it’s a notch or three up from its main rival, the age-old Basement. And this sort of discomfort usually masquerades as atmosphere, ambience, chic; and the like. Still, good on John Cass, for giving us a venue, any venue, for quality live music, as Greg Alfonzetti, leader, composer and guitarist extraordinaire said, at the outset.
That off-chested, down to the business of the evening: contemporary adaptations of classic(al) flamenco rhythms, figures, motifs, characteristics and idiosyncrasies, that crossover, fluidly and unselfconsciously, into jazz & world.
Arrebato, we’re told, translates from rarely-used Spanish as ‘a sudden & intense burst of emotion’, of which I experienced more than a few, if not a continuous gush, across two blissful sets. Luckily, some weaker beings succumbed, presumably, to the uber-clemency of the loft and left us to crush lesser mortals, in an unseemly scurry toward two thus-emptied bentwood chairs, of considerable hardness. This yielded a front-row, overhanging, full-frontal view, enabling full appreciation and awe for the all-round superlative musicianship in evidence.
Thankfully, too, the disappointing distortion, muddiness and feedback all-too-evident through much of the first set was ironed-out, pretty much, by the second.
Alfonzetti’s technique is blindingly good enough to knock the socks off the most demanding and hypercritical aficionado, while stepping beyond even that into his own stylistic realm. Profoundly dramatic, dynamic and, almost incongruously, subtle and sensitive (such is the sublime paradox of flamenco), his compositions span the gamut of Latino emotions; from unbridled lust to aching heartbreak.
It often seems as if nothing can halt, or even dull, the constant hum of inane chatterboxing, from those plainly vain enough to believe their vacuous utterances can surpass renditions from one of the greatest, most virile repertoires the world has ever known. But, by, say, halfway through the second set, even the cabernet Kevins and merlot Marys were enchanted, entreated & seduced, by this most romantic of musics.
‘Twas impossible to separate so very many affecting moments of veritable genius.
Damian De Boos-Smith, effectively co-leader of the ensemble, astonishes with his cello; on this occasion, particularly, due to the unwellness of scheduled violinist Maja Pertovski, taking her parts, as well! His oud playing is among the finest & most tasteful that’s met my ears; as restrained & inventive as his mandolin. Moreover, the oud is a somewhat surprisingly compatible bedfellow to the Spanish guitar.
It wouldn’t be hard to find a more sympathetic percussionist than Lloyd G; it’s be practically bloody impossible.
Dave Ellis is the quintessentially brilliant, if largely unheralded, jazz bassist; eeking out some beautiful chords, for one piece, especially.
Andrew Poniris is a similarly neglected saxophonist; taking his moments to dizzying heights of playful, witty, improvisational virtuosity. He well-deserves more than 15 minutes of fame.
Special guest, Adriana Rodriguez amply embodies all the charm, power, nuance and grace of the contemporary dancer, while Rafael Alcolea sings up a storm, if not a tsunami of pain and passion.
Arrebato fires the imagination, soothes the savage beast & stirs the soul.
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| Phil Vendy, Fine Music 2MBS FM
It is amazing sometimes, how wrong you can be about a CD. The idea of reviewing eight tracks of contemporary Spanish flamenco did not exactly beckon me, but how rewarding it turned out to be! Greg Alfozetti's guitar playing is simply marvellous - fluid, expressive, resonant and melodic, and the half-expected, half-feared hand clapping rhythms are firmly restricted to a supporting role when appropriate. Rather, the guitar is enriched by some expectionally fine bowed work on cello, and thoughtful, sparing sax and bass. A most attractive combination, Arrebato's music is arresting, often hauntingly beautiful and full of atmosphere.
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| Anthony Clarke, Limelight
Arrebato, headed by Australian guitarist Greg Alfonzetti, pursue a traditional line of flamenco-fusion, with jazz the main explorative medium, but within a very solid flamenco structure. Greg Alfonzetti’s studies in Spain are clear as we listen. He is an accomplished guitarist, but on show is far more than just technique – he is obviously imbued with the spirit of flamenco…An impressive debut.
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| Fiona Cameron, Drum Media
Tucked away in the cosy basement of a bar down a Kings Cross side street, Arrebato somehow managed to fit six musicians and all of their instruments onto a tiny stage where the prime real estate belongs to a baby grand. Throughout the two-set show the audience was treated to music that evoked sultry days, dark nights, stormy passions and deep longing. The band successfully meld traditional rhythms and strictly adhered to forms with contemporary influences. It is this blend that allows for adventure and invention in harmonies and improvised solos.
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| John Shand, The Sydney Morning Herald
No matter how far Sydney flamenco guitarist Greg Alfonzetti moves from pure flamenco in favour of a contemporary style, the sprit, a dramatic, sexually charged and haughty sadness remains intact. Alfonzetti’s spitfire guitar is sensationally captured by composer Damian De Boos-Smith, who not only recorded the music but contributed to cello, guitar and mandolin. Other players include saxophonist Andrew Poniris, percussionist Lloyd G and veteran bassist Dave Ellis.
**** (four and a half stars)
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