Paco Cepero “Corazón Flamenco” Thursday, October 21, 2004. 9:00h. Centro Cultural el Monte de Sevilla

Text : Kiko Valle

Guitar: Paco Cepero, Miguel Salado, José Ignacio Franco. Percussion: Carlos Merino. Palmas: Ali, Luis de la Tota.

His guitar draws you in and seduces you

The strings reverberate and already it sounds like Cepero. The up-front picado, that special sound which is part and parcel of a “Corazón flamenco” (flamenco heart). Seville is celebrating and the crisp punchy guitar of Paco fills every corner with its aroma. Round and dry, the sounds are as incisive at as bee-stings, clipped, powerful, sure and straightforward.

The cultural center El Monte brought Paco “for his friends”. Cepero gives everything and offers an intimate recital as in the living-room of his house. He plays with decision and works the silences leaving the audience breathlessly hanging on each note. He is inspired and enjoys himself. His fingers stroll up and down the strings feeling the vibrations in his skin and in his soul. He plays softly and reigns in at just the right moment, shading masterfully. Cepero is a magician.

Photo by Estela Zatania

Two back-up guitars, palmas and a cajón. All discreet, never upstaging the star, creating a rhythmic base upon which Cepero can develop. Always melodic but profound and tasteful. Without overdoing the embellishment, but with clean, sure technique. His guitar draws you in and seduces you.

An intimate recital, as in the living-room of his house

He gets going with tangos and the guitar is good enough to eat. He seeks and finds the dark sounds of a seguiriya, the lament, the weeping, a minimalist arpeggio... The deep strings hurt and “Lola se va a los puertos”. “La Niña de Fuego” sets fire to the guitar, and then Cepero relaxes with rumba and the neck of the guitar seems to run out of room to accommodate him. His bulerías are distinctive, and Cepero knows it. What a maestro!...and what fine taste. Then sevillanas, and why not? He does a picado run to show he means business: the first, second and third strings have his name on them. A concise soleá, straight from the heart, clipped bulerías, colombiana and then he retunes the fifth string to play the festive forms once again, damping the strings before they can rebel, having a ball with counterpoint, robbing time from time itself and running his nails down to the quick with lightning-fast alzapúas that round everything out just right. “Aguamarina” to finish. Lots of good style and flavor. That’s what this guitarist has, and it’s not to be taken lightly.

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