Ford Theatres Kicks Off 2018 Season With Chano Domínguez's FLAMENCO SKETCHES

The Ford Theatres 2018 Season and the IGNITE @ the FORD! series will commence on Friday, June 1 with Chano Domínguez's Flamenco Sketches, a reimagining of Miles Davis' Kind of Blue, the best-selling jazz album in the world, featuring GRAMMY nominee Chano on piano, Latin GRAMMY-nominated singer Blas Cordoba, and award-winning flamenco dancer Daniel Navarro.

Presented in association with LA's Fountain Theatre, California's famed Stanford Live and the Musical Instruments Museum in Phoenix, Arizona, Chano Domínguez's Flamenco Sketches pays homage to Miles Davis through Chano Domínguez's interpretations of the classic Miles Davis 1959 album Kind of Blue. Titled for one of the album's iconic pieces, this performance explores the album's tracks in a setting that is equal parts jazz and flamenco. In addition, Chano will debut Piano Iberico, a new piece commissioned by Chamber Music America (CMA).

Led by Chano on piano, the ensemble consists of palmas and cantaor (flamenco singer) Blas Córdoba, whose 2016 Latin GRAMMY-nominated album Bendito was produced by Domínguez, National Flamenco Contest (Córdoba, Spain)-winner Daniel Navarro, dancer and palmas; Alexis Cuadrado, bass; and Henry Cole, drums and percussion. This project won a prestigious Chamber Music America Presenters Consortium grant award, a component of the Doris Duke Jazz Ensembles Project.

This event is part of IGNITE @ the FORD!, a series presented by the Ford Theatre Foundation comprised of world-renowned contemporary artists whose work is thought-provoking and reflects the world in which we live. For this IGNITE performance, in addition to seating in the house, a limited number of on stage seats are available for audiences to experience the seamless integration of these two iconic musical traditions up close.

Tickets are available by visiting FordTheatres.org or by calling 323.461.3673.

Chano's GRAMMY-nominated album, Flamenco Sketches, was released in 2012. Jazz Times said of the record, "Expertly infusing all five of Davis' tunes from the canonical Kind of Blue with the harmonies, flamenco rhythms, instrumentation and dance inventions of his native Spain, Domínguez delivers his own kind of jazz that is equally emotive and fun."

In an interview with All About Jazz, Chano explained his inspiration behind reinterpreting Davis' timeless masterpiece: "I wanted to find with my quintet the same freedom that Miles and his musicians found when recording the record and interpret the music with the same feeling. Therefore, I don't have too many premeditated ideas, while still knowing that there is pianistic and harmonic freedom." Although Chano's quintet does not include a trumpet, he doesn't see it as an issue. He continues, "Music is music, and if you really have something to tell, you can tell it in many ways - with a trumpet, clarinet, piano, guitar or dancing. [Kind of Blue] is a record in which I have rediscovered myself many times and to return to that is very rewarding. I think that I understand the philosophy more than ever, so much so that I feel more capable than ever to interpret the music through the prism of musicians that I work with today."

Miles Davis' Kind of Blue is number twelve on Rolling Stone's 500 Greatest Albums of All Time. Rolling Stone says "one of the most important, influential and popular albums in jazz. Kind of Blue was a revolution all its own." Bill Evans, the pianist on the record said in the liner notes, "Miles conceived these settings only hours before the recording dates and arrived with sketches...therefore, you will hear something close to pure spontaneity in these performances."

In addition to Bill Evans on piano, Kind of Blue brought together seven legendary musicians in the prime of their respective careers: John Coltrane on tenor sax, Julian "Cannonball" Adderley on alto saxophone, Wynton Kelly on piano, Paul Chambers on bass, Jimmy Cobb on drums and, of course, Miles Davis on the trumpet.

ABOUT THE ARTISTS
Chano Domínguez (Piano) For over four decades, the award-winning , Spanish-born pianist, composer, bandleader and educator Chano Domínguez has synthesized the blues-based, African-American improvisations of jazz with the dynamic, duende-flavored, Afro-Gitano/Moorish inventions and dimensions of flamenco into a profound and personal artistic expression. With over twenty recordings as a leader, and his collaborations with a wide variety of stars including Paquito D'Rivera, Gonzalo Rubalcaba, Joe Lovano, Chucho Valdes, Martiro, and Wynton Marsalis and the Lincoln Center Jazz Orchestra, Domínguez has extended, elaborated and redefined the artistic boundaries of jazz and flamenco, performing his own compositions, as well as the music of Harold Arlen, Thelonious Monk, Miles Davis and the Spanish classical composer, Joaquin Rodrigo.

Born Sebastian Domínguez Lozano on March 26, 1960 in Cadiz, in Andalusia in southern Spain, the birthplace of flamenco, Domínguez's first instrument was the guitar, which he started playing at the age of eight. He listened to his father's extensive recording of flamenco LPs, and taught himself the rudiments of the instrument and the genre. He later took up the piano, and his first major gig was with the Spanish rock group, CAI (a slang word for a native of Cadiz) where he played keyboards. His interest in jazz came from listening to the fusion bands, Weather Report, Return to Forever, and the Mahavishnu Orchestra, and he also studied other jazz greats including Bill Evans, Thelonious Monk, Chick Corea, and Herbie Hancock. But it was the legendary guitarist Paco de Lucia's trailblazing, jazz-based improvisations that served as an inspiration for Domínguez.

His numerous recordings include: Chano (Nuba 1993), 10 de Paco ( Nuevos Medios 1994), Hecho a Mano (Nuba 1996), New Flamenco Sound (Verve 2007), Piano Ibérico (Blue Note 2010) and his GRAMMY-nominated Flamenco Sketches (Blue Note 2011). His music has been played by many different ensembles and orchestras including: the Orquesta Nacional de España, WDR Big band, and Lincoln Center Jazz Orchestra among others.

Blas Córdoba AKA "El Kejio" (Singer & Palmas) is a self-taught flamenco singer who displays an original style of his own, influenced by flamenco masters such as Manolo Caracol, Antonio Mairena and especially Camarón de la Isla. He started out in 1998 and, after releasing his debut album Viejos Maestros, he played at Grec Festival in Barcelona supported by Taller de Músics. Blas is a researcher of the different styles and genres in flamenco. He is interested in its origin and continues to innovate within the genre using new musical resources. His voice (kejío) stands out with its rich natural timber, excellent technique and unquestionable soul (duende). He displays such a great sensitivity and charm in his live shows that he makes the audience accomplices straight away.

"El Kejio" also demonstrates a personal creativity in writing his own material, songs of great beauty full of character, temperament and poetry. His voice has merged with Bulgarian and flamenco singers at Barcelona cathedral conducted by Enrique Morente and arranged by Joan Albert Amargós.

Discovered by Chano Domínguez, the Cadiz-born pianist invited "El Kejio" to participate on his album Imán (Nuba Records, 2000). Shortly after, he crossed the Atlantic with Chano to take part in Calle 54, a film directed by Fernando Trueba.

"El Kejio" has accompanied Chano on tour ever since. They have played at jazz festivals around the world. Chano and "El Kejio" opened the 30 Nits de Sabadell Festival with a piano and singing concert. In 2000, "El Kejio" became a member of the line-up of flamenco guitarist Vicente Amigo, with whom he worked until 2007, later on participating as a guest vocalist on the album Paseo de Gracia (Sony, 2009). He has also worked with Wynton Marsalis at Lincoln Center, Jack DeJohnette, WDR Big Band Köln Orchestra, Perico Sambeat, and participated in Carlos Saura's theatrical play Flamenco Hoy.

Daniel Navarro (Dancer & Palmas) is a performer (bailaor) and choreographer from Córdoba, Spain with a degree in Spanish Dance and six years of classical ballet. He has danced with companies such as Javier Latorre, Antonio Canales, Cristina Hoyos, Los Ulen (Theater Company), Aída Gómez, Javier Barón, Ballet Flamenco de Andalucía, and Ballet de Murcia. Navarro collaborated with Vicente Amigo from 2007 to 2015 and with Chano Domínguez from 2007 to the present, touring the world with both artists and at the same time working with the likes of Wynton Marsalis at the Lincoln Center, Paquito de Ribera, Michel Camilo, Metropole Amsterdam Orchestra, Gonzalo Rubalcaba, Manuela Carrasco, Antonio Sánchez, el Pele and many more.

His recordings include El Viento with the Metropole Orchestra, conducted by Vince Mendoza, with the WDR Big Band of Colonia and Chano Domínguez (both works awarded or nominated for Latin GRAMMY Awards). He's also appeared in the films Porque Se Frotan Las Patitas by Alvaro Begines, The 7th Day of Carlos Saura with music by Roque Baños, the television series, Buscando a Carmen, and the award-winning (Los Angeles Film Festival) documentary Tiempo de Leyenda by TVE.

Navarro started his own company in 2009 with the show Calida Hondura, featuring music by Juan Requena and a collaboration with Vicente Amigo and Javier Latorre. He also has choreographed shows such as Asómate, Un Ramito de Suspiros and Piano y Duende. He obtained the National Flamenco Award "Mario Maya" in 2001 and the "Desplante" in the International Competition of Cante de las Minas in 2005.

Alexis Cuadrado (Bass) is an award-winning composer, producer, bandleader, bassist and educator. Born in Barcelona, Cuadrado has become one of the most sought-after musicians in the New York scene. NPR music says, "Listen to Cuadrado's compositions and you'll find every reason to take him seriously." New York Magazine adds, "His intricate and sharply defined compositions show that he's tapped into something much deeper."

Cuadrado's compositions show a unique voice that draws from the crossover of jazz, flamenco and new music, exploring the confluence of the Spanish and American cultures, as well as embracing a deep commitment to comment on social issues. His recent output is a restless exploration of cross-disciplinary works that embrace poetry, film, radio and design.

Henry Cole (Drums) is at the forefront of a growing wave of jazz innovation and cross-cultural rhythm in the 21st century. With his flexibility, grace and sheer power, he has proven indispensable to some of the world's most acclaimed jazz groups, including the GRAMMY-nominated Miguel Zenón Quartet, GRAMMY-winner David Sánchez, the Alfredo Rodriguez Trio, and the quartet 90 Miles featuring Sánchez, Stefon Harris, and Nicholas Payton.

Cole has also asserted himself as leader of the Afro-Beat Collective, striving to integrate all his varied influences, including Puerto Rican folklore, funk, R&B, jazz and Afro-Caribbean rhythmic traditions. The San Jose Mercury News praises Cole's "explosively detailed" playing, and All About Jazz notes his ability to "make instantaneous, organic adjustments at every turn." In a Modern Drummer article, Cole was cited as an outstanding young player to watch by illustrious drummers Alex Acuña, John Riley and Antonio Sanchez, and his visionary approach was highlighted in a JazzTimes feature.

About the Ford Theatres
At 1,200 seats, the Ford Theatres creates an intimate concert experience that is a favorite among Angelenos. Each summer, the Ford hosts music, dance, theatre, film and family events reflective of the communities that comprise Los Angeles County. Proceeds from IGNITE @ the FORD! events benefit the Ford Theatre Foundation. The Ford is owned by the County of Los Angeles and operated in partnership with the Department of Parks and Recreation and the Ford Theatre Foundation. Nestled in a canyon of a County regional park in the Cahuenga Pass, the Ford Theatres has a rich history dating back to the 1920s. Audiences attending the 2018 Season will enjoy a fully revitalized Ford after the completion of a nearly three-year renovation project, including improved lighting and sound and the Ford Terrace Café on the new terrace - dubbed The Zev - with a menu by Crumble Catering.

The 2018 Season at the Ford Theatres is made possible through the support of the Los Angeles County Board of Supervisors. Additional support provided by Los Angeles County Supervisor Sheila Kuehl, along with ABC7; the Caruso Family Foundation; the Department of Cultural Affairs, City of Los Angeles; Chamber Music America; City National Bank; Discover Hollywood; First 5 LA; Fusicology; The James Irvine Foundation; KCETLink; KCRW; LAArtsOnline.com; Motev; The National Endowment for the Arts; NBC Universal; Southern California Edison; Union Bank; Univision; The Wasserman Foundation; Wells Fargo; and Yelp.com.

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