Festival Flamenco Pa'tos 5. Pepe Habichuela, Josemi Carmona, Pitingo, Salomé Pavón, Antonio El Pipa

All in the family

The third day of the Flamenco Pa Tos festival was a family
affair with the Habichuelas, the Pavóns and the Antonio el
Pipa family.

As is customary, the evening opened with a guitar recital of two
guitars, those of Josemi Carmona and his father Pepe Habichuela.
First the son offered a piece with bass, keyboard and percussion.
The tangos and bulerías were full of rhythm and music. A
more upbeat kind of flamenco, lite but flamenco-sounding in the
end, especially considering the level of these musicians. We expect
Josemi’s career will follow this sort of line since leaving
Ketama – more flamenco.

Josemi Carmona	Pepe Habichuela

A change of pace. Dad comes out, Pepe Habichuela. First, the essence.
A solo of siguiriyas. Pure flamenco. Rich in texture and musicality,
played with the authority of someone who is accustomed to playing
this way. It is profound, but innovative as well. His guitar explores
and grows as in the soleá por bulería. Father and
son joined talents for the last two pieces, both tangos, but with
a variety of layers. This is where the true generational encounter
takes place, quality, freshness, flamenco guitar for today and for
tomorrow.

The
Pavón family was in charge of the cante department. Unfortunately
Arturo Pavón who was originally announced was unable to attend
as he was in the hospital due to health problems – we wish
him a speedy recovery. Antonio Pitingo dedicated the first song
to his uncle Arturo. This young singer is beginning to make a name
for himself in flamenco – being from the Pavón family
there’s no shortage of background. To show his knowledge he
began with a soleá of Juanito Mojama and it can certainly
be said he has a very flamenco delivery for singing the classics.
With each cante he grew, especially in malagueñas or in the
granaína of Chacón popularized by Tomás Pavón
and which he interpreted with great respect. Antonio Pitingo stretches
out the phrases to the limit and sings with great depth of expression.
After a bit of compás por bulerías he captivated the
audience with fandangos and for a curtain call he did alegrías.
High marks for this singer who has a career waiting for him.

Salomé
who was concerned about her father’s absence dedicated a song
to him a capella with a very flamenco voice. It was only two years
ago she decided to devote herself to cante and she is more comfortable
with each performance. She can’t help but remember her family
ties to uncle Caracol, great-uncle Tomás Pavón and
great-aunt la Niña de los Peines. She sang the Romance de
Osuna to tientos with great feeling and ended with some Caracol
fandangos

Antonio el Pipa put the final touch with his dancing full of grace
and wit. Being from Jerez, bulerías is his great specialty,
and with bulerías he began, in silence, without any accompaniment,
showing his command of compás. With his aunt Juana la de
la Pipa the rapport is sublime. She sings with her hoarse voice
and he dances. Pipa’s movements, his saucy tricks and his
fresh attitude won over the audience. With soleá he demonstrated
that there’s much more to him than fiesta dancing, and his
technique goes a long way. Juana is depth, not only in her cante,
but dancing as well, and Pipa made her take a bow by herself. Original
and strong for bulerías, Pipa followed his aunt Juana and
they danced as a couple. We are accustomed to that rapport the two
enjoy, but on this occasion it was even warmer and more enjoyable,
and the audience showed its gratitude with a heartfelt ovation.
They asked for more and that brought bulerías with the whole
group, one last dose of Jerez to wrap up the night.

Text: Sonia
Martínez Pariente

Photos: Rafael Manjavacas

Otras reseñas Flamenco Pa Tos 5

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