Miguel Poveda’s new record, “Tierra de Calma”, has
several powerful moments and one true jewel. The jewel is the “Toná
de la Resignación” with music by Juan Carlos Romero, who
composed all the entire record, and poetry by José Luis Ortiz Nuevo.
A simple melody, inspired in the so-called tonás campesinas. It
is a cante which situates itself on the other side of tragedy, in an intimate,
reflexive, stoical terrain. A short melody with the feeling of melancholy
and nostalgia.
Poveda is in top form with elegrant phrasing, strength and a solid base.
He’s brilliant without overwhelming because everything flows naturally.
Other noteworthy moments: the tangos “Buenas Intenciones”.
Fresh, natural, healthful, energetic with a sassy bit in major key and
a nod to the Triana of Betis and el Titi. Also the bulería “Alfileres
de Colores”, a bullfight poem from texts of Pedro Rivera and music
by Diego Carrasco who sings it with Poveda. Jokes and fun, serious business.
Having a ball within the rhythm of twelve beats. Poveda’s light
and Carrasco’s pure need. A verse of Quintero/León/Quiroga,
the sentimental journey of a forgetful country. With a free-form guitar
introduction full of color.
1 Buenas intenciones – Tangos
2 Tierra de calma – Farruca
3 Como la luna en el agua – Bulerías
4 Calle del mar – Malagueña
5 Y en medio el río – Sevillanas
6 Naúfragos del hambre – Soleá
7 Alfileres de colores – Bulerías
8 Detrás de la memoria – Seguirilla
9 La radio de mi madre
10 Canto de la resignación – Toná
Juan Carlos Romero has embarked on a journey to renew classic forms with
new melodies and lyrics. Malagueña, soleá, farruca, seguiriya,
etc. The outcome tips in favor of rhythm rather than melody. Soleá
for example loses some of its necessary question and answer logic in the
phrasing. Or perhaps I just don’t hear it. Something similar happens
in the malagueña, very rhythmic. Some of the cantes lose their
starting point until it’s hard to tell what’s coming and what’s
going, and they don’t have an equilibrium, but rather remain in
their own pure, delicate, precious, hermetic melisma.
Farruca plays out its novelty in a tonal see-saw and sevillanas is a
pure flirtation with the city it names, with the classic and beautiful
piano of Dorantes.
The fine rhythmic work is most noteworthy, both in the body percussion
(Bo, Luis Cantarote, Carlos Grilo), and the instrumental (Paquito González,
and an Antonio Coronel in top form). Elegantly woven threads which sustain
and push forward the musical discourse of “Tierra de Calma”.
A friendly piece of work, an attempt on the part of the composer to amplify
the repertoire of traditional cante, rejuvenating it, giving it new life.
With an interpreter whose last three recordings showed what he could do.
If he ever decides to apply his talents to straight tradition, we’ll
have the Poveda record which for now we continue to await.
