Capullo de Jerez presented his new recording at Madrid's Caracol
last Friday, October 24th. The place was nearly filled to capacity
with an audience anxious to experience the Jerez singer's compás
firsthand.
After Miguel Carbonell's performance with Las Negris doing
chorus (taranto, tango and bulerías), Miguel Flores
«El Capullo de Jerez» made his appearance along
with Niño Jero and his guitar, and Tequila de Jerez
for backup palmas and jaleo. Although at first it seemed there
would be a small turnout, people were starting to stream in
at this point. The singer began with soleá, with a
well-defined compás, moving afterwards into fandangos.
It's true that Miguel doesn't have a great voice, but his
rhythm and sense of timing are undeniable…and like any self-respecting
person from Jerez, his command of compás is absolute.
Moreover, Miguel possesses that undefineable quality that
everyone feels and which sums up all his characteristics in
an original personality that wins over audiences.
Perhaps it was precisely for this reason, when he began with
tangos, that almost everyone in the room already knew the
words and joined in for the chorus. After «Esto no es
vivir» he went on to sing a verse to be included in his
next record, something created by the daughter of Tequila
de Jerez….»no me gusta el pan, no me gusta el queso».
He closed out the tangos with another well-known verse of
his which he claims no responsibility for.
After a stylized martinete, he requested silence in order
to sing a set of verses that began with the essence of soleá
and gradually pumped up the tempo until it became bulerías,
with «la vida es una mentira».
After a break he came back with rumba, «La vida es una
rutina». At this point the audience was thoroughly hooked
on Miguel Flores. In the first row you could see people like
Rafael Riqueni and the young singer Antorrín Heredia.
One group showed off their T-shirts adorned with Capullo's
likeness and tried to get the attention of the easy-going
singer from Jerez, while the rest of the audience danced to
«Apágame la luz, enciéndeme la luz».
The famous guitar variation heard on recordings at the end
of the chorus wasn't played and was missed.
Finally it was bulerías time, and at one point Miguel
stood up, took hold of the mike and stood at the edge of the
stage. It was primarily to remember Camarón and afterwards
Caracol, with the second part of the Romance de Juan de Osuna
('los tormentos de mis grandes duquelas') which he interpreted
to bulerias de Jerez. El Capullo took advantage of Periquín's
(Niño Jero's) variations to carry out his famous dance.
After the official ending came the audience's plea for more,
which brought tangos in which he repeated the verse about
«pan y queso».
Without a doubt, we took in the hour-long performance without
any notion of the passage of time, and yet it left a tangible
memory, and they say when time flies it's a clear sign that
you've had good time.
Jacinto
González
Photos: Estela
Zatania
Interview
with 'Capullo de Jerez'
Reseña
discográfica 'Capullo de Jerez en Directo'
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