‘Trimilenaria’ – David Palomar.

Palomar has put out a wonderful first recording.  You can tell it was a long time brewing because although this Cádiz singer has been around for years, especially singing for dance (from Javie Latorre to Mercedes Ruiz, and a long list of other companies), it’s only now, with years of profession under his belt, that he has finally gone to the recording studio.  A record of mainly traditional flamenco styles, although there are also concessions to the unavoidable flamenco pop.  These are pulled off quickly as tangos and bulerías with conventional choruses.

Produced by DP-Dezza Producciones. David Palomar (voz) Moraíto Chico, Santiago Lara, Keko Baldomero, Ricardo Rivera, Rafael Rodríguez (guitars) Javier Katumba, Paquito González and Manuel Muñoz 'El Pájaro' (percussion) José Manuel Posada (Bass) Anabel Rivera, Toñi Nogaredo, Marce and Rafa (coros) 'El Kukurucho', 'El arquitecto de la viña' and 'El Junco' (palmas) José Amosa (keyboard) Mercedes Ruiz (dance) Trimilenaria (tangos) Francisca Méndez (bulería) El Niño del Mentidero (alegrías) Siguirilla La calle Priego (bulería) Santo Domingo (malagueña) Miradas perdidas (tangos) Fandango Palomar Suerte de varas (Pregón) Soleá Taberna Casa Manteca (fiesta por bulerías) Information, on-line sale, Real Audio

The most interesting part is the classic styles, or when he shows his ease with bulerías, especially in the ending fiesta without guitar which closes out the work.  Also in cantiñas, classic and one hundred percent refinded.  Of the deeper styles, two stand out: the malagueña, fine, stylized and subte, and soleá, with references to Chozas de Jerez and Fernanda de Utrera.  In my opinion, the latter is the most moving cut of the record, with the sublime guitar of Rafael Rodríguez, who also plays for the malagueña, with both artists believing in every bit of it.  The work finishes with seguiriyas, with the Jerez guitar of Moraíto Chico, cantes a capella (pregones and fandangos) of Macandé, the crazed candy vender of Cádiz.  And fandangos of his own: Palomar created a melody with a classic feel, surprising melodic turns and a certain technical difficulty.

An excellent debut recording, a work which shines brightly in the current meagre record market, particularly as far as cante goes.  The work is a faithful reflection of this singer’s voice, one of the richest of the current scene, his sense of rhythm and his knowledge of styles.  Just one complaint, in addition to the aforementioned pop incursions: the verses.  Palomar the poet seems only to be inspired by the flamenco of Cádiz, its history and artists.  Perhaps the search for more universal themes that could be appreciated in any part of the world would be more powerful.  That said, it’s admirable that someone tries to create and expand the poetry of flamenco.

• Information, on-line sale, Real Audio

• All the information about David Palomar at DeFlamenco.com