Recordings

 

Flamenco Cat – Potaje Music – 2008

  1. Con Alma

            A- Por Fin (Finally), B- Nacimiento (Birth), C- El Vito

  1. Puentes
  1. Zorongo
  1. Como Plumas en el Viento (Like Feathers in the Wind)
  1. Hasta el Hierro se Funde (Even Iron Melts)

            A- Intro, B- Siguiriyas rápidas, C- Siguiriyas lentas, D- Tangos de Invierno, E- Tangos Nuevos

  1. Lunares

            A- Flores en su Boca (Flowers in her Mouth), B- Tormenta en el Lago (Storm at the Lake), C- Fuego Interno (Internal Fire)

  1. Flamenco Cat (Lamento)
  1. Fragments from the Suite Flamenca concert

           A- Homenaje, B- El Monte, C- Castillo de Sonidos (Castle of Sounds), D- Soleá por Bulerías, E- Ven por Aquí

                            Listen to “Soleá por Bulerías” from Suite Flamenca

 

Musicians: Chus Alonso, flute, laúd, bandurria, tres, cajón, and palmas; Tregar Otton, violins; Monica Scott, cello; Mark Taylor, guitar; Paula Dreyer, piano; Steve Senft-Herrera, bass; Brian Rice, pandeiro, cajón, palmas, darbuka, yunque (anvil), and güiro; Sage Baggott, cajón, congas, djembe, and palmas; Omar Ledezma, congas, palmas, and timbales; and members of the Community Music Center Orchestra, including Urs Steiner, conductor; Chie Takeuchi, flute; Kathleen Conner, oboe; Loretta Taylor, violin; and Stephanie Blandino, cello

All Compositions and arrangements by Chus Alonso

 

Charanga Flamenca – Potaje – 1999

1.- Como el Humo (Like Smoke), bulerías
2.- Tarareando (Humming), transatlantic rumba, includes an arrangement of  “La Tarara,” an Andalusian folkloric melody
3.- Zapatos con Tacón (Shoes with Heels), tangos

4.- Cálida Brisa (Warm Breeze),  bolero
5.- Migajas (Crumbs), this piece is conceived as a musical collage, using a variety of melodies; from compositions by Guillermo Rios, Joaquín Rodrigo, Paco de Lucía, Orquesta Aragón, and folkloric melodies such  “Garrotín” and “Zorongo”
6.- Tangos de Tía Juana (Aunt Juana’s Tangos), tangos
7.- Travesía (Journey)
8.- Raíces (Roots)

9.- Tertulia (Dialogue)
10.- Ay, Qué Me Voy! (I Am Leaving), bolero-son-tangos
11.- Y Nada Más (And Nothing Else), transatlantic rumba

Musicians: Chus Alonso (flute), Tregar Otton (violin), Jorge Liceaga ( guitar), Steve Senft-Herrera (bass) and Sage Baggott (percussion).

All compositions by Chus Alonso except “Tangos de la Tía Juana” by Jorge Liceaga and “Zapatos con Tacón” by Jorge Liceaga and Chus Alonso.

All arrangements by Chus Alonso, with the collaboration of Guillermo Céspedes on “Tarareando” and “Tertulia”.

  En Canto – Orquesta la Moderna Tradición – 2006

1. Cenizas
2. Rumba pa’ Changó
3. En el Tiempo de la Colonia
4. Soy Matancero
5. Canta la Ceiba, Baila la Palma Real
6. Contrólate
7. Carnegie Hall
8. Amor Fugaz
9. Compay
10. Te Llevo Bajo Mi Piel

 Personnel: Eduardo Herrera, lead vocals, coro; Edgardo Cambn, coro; Monchy Estevez, coro; Chus Alonso, flute; Don Gardner, clarinet; Tregar Otton, musical director, arranger, violin; Sandy Poindexter, violin; Rachel Durling, violin; Bob Karty, piano, coro; Steve, Senft-Herrera, bass; Michael Spiro, congas, batá, rumba vocal; Carlos Caro, timbales and quinto; Sage Baggott, coro, guiro, bongo and batá.

 

  Goza Conmigo – Orquesta la Moderna Tradición – 2001

1. Mi Cha cha chá
2. Popurrí a Francia
3. Mayeya, no Juegues con los Santos
4. Goza Conmigo
5. Compay, ven a Guarachar
6. Los Tres Bailadores
7. Canta la Ceiba
8. Sol de Verdad
9. Juarez
10. Sociedad Antonio Maceo de Camagüey

Personnel: Eduardo Herrera, coro; Edgardo Cambn, coro; Chus Alonso, flute; Don Gardner, clarinet; Tregar Otton, musical co-direction, arranger, violin; Sandy Poindexter, violin; Kash Killion, cello; Jorge, Liceaga, tres and guitar; Bob Karty, piano; Steve, Senft-Herrera, bass; Roberto Borrell, tumbadoras, batá, musical co-direction; Michael Spiro, timbales, batá; Sage Baggott, güiro and batá; Brian Rice, bongó

 

  Danzonemos – Orquesta la Moderna Tradición – 1997

1. Tema
2. El Bombín de Barretto (Danzón)
3. Su Majestad el Danzón (Danzón-Cha)

4. Los Sitios Llaman (Danzón-Cha)
5. Sí Envidia (Danzón-Cha)
6. Que se Fuñan (Montuno-Cha)
7. Cuerdas de Amor (Danzón-Cha)
8. Casablanca (Danzón-Cha)
9. Clavelitos (Danzón-Cha)
10. Circunstancia (Danzón-Cha)
11. Recreo Estudiantil (Danzón-Cha)
12. Barco Velero (Danzón-Cha)

Personnel: Chus Alonso, flute; Don Gardner, clarinet; Tregar Otton, musical co-direction, arranger, violin; Sandy Poindexter, violin; Kash Killion, cello; Jorge, Liceaga, tres and guitar; Bob Karty, piano; Steve, Senft-Herrera, bass; Roberto Borrell, tumbadoras and musical co-direction; Michael Spiro, timbales; Sage Baggott, güiro

 

 Jota Segoviana

Contributions to Other Recording Projects

 

 

 

New Nocturnes – Allison Lovejoy – 2013

The Nocturne evokes passion for the night; its beauty, mystery and melancholy. Some of the great composers explored this genre for piano. This form inspires varied colors and intimate emotional landscapes. New Nocturnes is a collaboration project between pianist Allison Lovejoy and notable contemporary composers in the San Francisco Bay Area. These new interpretations of this musical form recall the Romantic and Impressionist works of Chopin, Debussy and Bartok, while the influences of jazz, flamenco and contemporary styles combine to create uniquely modern music.

Allison Lovejoy commissioned me to write a nocturne for this project.

Nocturno de la Ventana by Chus Alonso (FRAGMENT)

 

 In and About the City – Bernall Hill Players- 2012

“San Francisco: In and About the City” was a musical project about the neighborhoods of San Francisco by The Bernal Hill Players (Martha Rodrguez-Salazar on flute and voice, Leah diTullio on clarinet, and Jennifer Peringer on piano).

The Bernal Hill Players commissioned me to compose ten minutes of music depicting San Francisco. I wrote a suite in three movements about three neighborhoods.

Suite de los Barrios by Chus Alonso

  1. Olas del Pacífico (Waves of the Pacific)
  2. Downtown
  3. The Mission

                                Downtown (FRAGMENT)

 

Harana Kings / Florante Aguilar – 2012

Harana Kings is the result of Florante Aguilar’s search for haranistas as chronicled in the documentary film HARANA. They represent the truest practitioners of the vanished custom of Filipino serenading when men sang underneath the window at night to introduce themselves to a maiden. About fifty years ago, Felipe Alonzo, Celestino Aniel and Romeo Bergunio were active participants of this once-popular courtship ritual and are among its last surviving practitioners.

I  played laud in a few pieces in this wonderful tribute to the Filipino harana tradition.

 

 

 Los Santos / Zamalloa – 2002

Music from the Coastal Region of Peru.

A live recording at La Peña Cultural Center in Berkeley by singer Rosa Los Santos with the Daniel Zamalloa Ensemble (Daniel Zamalloa, lead guitar, musical direction and arrangements; Lalo Izquierdo, cajón; Pedro Rosales, percussion; Fugio Uechi, bass; Fernanda Bustamante, vocals and violin; Tessa Tognarelli, vocals; Chus Alonso, flute, laüd; and Lain Mann, vocals, guitar)

I played laüd and flute in a couple of pieces

                                   La Picantera

 

 

 

  En el Lejano Bosque  – Colibrí – 1997

Lichi Fuentes and Alisa Peres with guest musicians

Latin American folkloric music for children

 

Aires de Ida y Vuelta  – Aidavú – 1996

Latin American music

Lichi Fuentes, voice and guitar; Guillermo Céspedes, tres and chékere; Chus Alonso, flute; Sage Baggott, percussion; and Steve Senft-Herrera, bass

Encuentros y Despedidas, by Milton Nascimento

El Necio, by Silvio Rodrguez

 

 

Orquesta Ritmo y Armona – 1995

Chachachá a Jorin

 

Soul of Spain – Guillermo Rios – 1994

I arranged a piece by Guillermo Rios, I produced its recording and played flute. Entitled Ventolera (Morning Mountain Air), it appeared on Guillermo Rios’ flamenco CD, Soul of Spain.

Ventolera (FRAGMENT)

 

  Una Sola Casa – Conjunto Céspedes- 1993

Tumbando Coco (FRAGMENT)

 

 

 

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