Eduardo Niebla has been celebrating the gipsy spirit, and Amira El-Naqeeb was watching Jazz lovers all over Egypt were thrilled when the Cairo Jazz Festival went ahead this year at its regular time of 15 to 17 March�ê�,�ê� and in its usual venue. Although Egypt is going through a transitional period, with various political events stealing the spotlight from other events, the festival auditorium was surprisingly packed full of jazz lovers.. The event was hosted by the Sawy Cultural Wheel, and featured an eclectic lineup of artists hailing from Portugal, Holland, Austria and Spain all the way to Japan, Australia and the United States. There was of course a heavy presence of Egyptian jazz artists. One of the most interesting performers was Eduardo Niebla from Spain. Apart from his charisma, he demonstrated a unique mastery over his instrument in terms of confidence and graceful technique. "I started playing Spanish guitar at the age of five, so I've been laying for 50 years now," Niebla told Al-Ahram Weekly.. It was difficult to categorise his music; indeed I was somewhat preoccupied with trying to do so. Some compositions struck me as Latin Jazz or Jazz Flamenco, while others made me nostalgic for the days of the Gipsy Kings. Niebla catered for all tastes. His Calle De La Tiña had some African tempo to it, with predominant beats of what sounded like conga drums. In an attempt to resolve the conflict in my head, I asked Niebla how he himself categorised his music?. "I don't," he said. "It's a fusion, this is what music means to me," he stressed. I found Flamenco guitarist Mohamed Farouk sitting in the audience, and asked him what he felt. Farouk said that for him Niebla's music ay within the boundaries of Modern Flamenco and Jazz Flamenco, which is an extension/evolution of the work started by the legendary Flamenco guitarist Paco de Lucia. On a more technical note, Farouk said, "His right hand [the plucking hand] technique is essentially a Flamenco technique, but he has developed some innovations of his own like this versatile use of his strong thumb finger in different ways that produce hard, solid notes.". Niebla was on stage this time with his brother Salvador Niebla on drums and Carl Herring from the United Kingdom on the other classical Spanish guitar. Niebla does not lay with a fixed group, but performs with different artists from all over the world�ê�.�ê� His composition My Gipsy Waltz was different from most of the other pieces he played. It had a different energy; it had passion, anger, and rebellious beats to it. Although for me it came off as a bit out of tune, the audience appraised and appreciated it. Niebla admits that he grew up among Gypsies and loved their way of life. He loved the way they did not abide by social rules, or conform to the traditional way of life. It bolstered the free spirit in him, he says.. Farouk said that his only take on the performance was that as the guitars were not acoustic, the sound was not exactly to the satisfaction of aficionados of the natural sound of the Spanish flamenco guitar. "Amplification using plug ins makes for a metallic sound and rather does away with the acoustic rawness and gipsy flavour," he said. The composition Para Margarita (For Margarita) wafted over like a sea breeze taking the edge off a hot summer's day. It had a soft, melancholic melody, yet full of hope. "This song is dedicated to the soul of my mother, who has passed away," he said. "Although I had a deprived childhood, my mum always seemed to make my life wonderful; cooking me some simple treats and pleasing me even with the little we had. She was a very happy person, always singing, and filled my life with joy," Niebla recalled.. Niebla�ê�s music teems with passion and memories, and every composition is a story. "My music always carries my emotions, it's my safe heaven where I can be free," Niebla explained. The great chemistry between him and the other two artists helped him in convey these feelings. Overall it was a strong and vibrant performance that kept the audience attentive with its catchy, rhythmic expression. At the end of his performance Niebla thanked the two guest musicians, the Egyptian technical team, and his audience, saying how much he felt at home in Egypt..
