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XLI Saturday, July 28th, 2007. 10:30pm. Plaza de Toros, Morón de la Frontera (Sevilla) |
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Text & photos: Estela Zatania With a lovely full moon peeking over the edge of the Morón de la Frontera bullring, the 41st edition of the venerable Gazpacho Andaluz got under way. One of the oldest cante festivals, which in its first edition featured the likes of Antonio Mairena, Juan Talega, Fernanda y Bernarda de Utrera, Perrate de Utrera, El Lebrijano, Manolito de María and Joselero de Morón among others, continues to defend classic flamenco in a traditional format, with gazpacho included, just as the first year.
Young Chiclana singer Antonio Reyes opened the program with guitarist Manuel Herrera. With the capo at seven “por arriba” (E position), and despite the odd psychodelic forms projected on the backdrop, Reyes used his velvety voice to conjure up an aire of cante the way it used to be, savoring each word and risking more than on other occasions.His cante reveals knowledge of the art, and many hours of study, and he selects styles with exquisite taste. Herrera’s accompaniment is respectful and mature, two very correct and inspiring young artists.The tangos that wrap up tientos include a fandango, and why not, tangos are almost as flexible as bulerías. In siguiriyas, an original interpretation of Torre’s Santiago and Santana is noteworthy, and in bulerías the singer juggles fragments of intelligently combined popular Spanish songs. After some fandangos, he offers the Caracol zambra he likes to end wih, and the histrionic dancing provided by his wife is the final note of a long, but varied performance. Wearing the badge of “I am not a gypsy” without complexes Next, the stage is filled with the presence of Calixto Sánchez. This is a singer who wears the badge of “I am not a gypsy” without complexes, and over the years, his particular vision of cante has justified itself. With the splendid Manolo Franco accompanying, he interprets a series of seldom-heard malagueñas, and you sense his love for the art in every turn of the melody, every syllable. He announces “a tribute to don Fernando Villalón”, the famous poet from Morón, “Diligencia de Carmona” set to tientos; with Calixto you never get a standard repertoire.A milonga, and Manolo Franco works wonders with this relatively limited form. In cantiñas, Calixto gives a lesson in the importance of seeking out the flavor of each cante. He is visibly enjoying himself and captivates the audience with his sincere interpretation and the obvious respect he has for everything he does. The bulerías in minor key with old verses connects especially well with the Morón audience; bulerías in this key was cultivated by Diego del Gastor and has its own distinct feel of times past.In general, and contrary to what most people think, bulería “cuplé”, or popular songs, require an especially well-developed command of compás; each line is a world unto itself that the singer must design and construct. The people go wild and demand more, and Calixto responds with some fandangos reminiscent of Caracol.
Rubito de Pará hijo, from the neighboring town of Puebla de Cazalla, is the first to resume action after intermission, and once again it’s Manolo Franco on the guitar.Malagueña with abandolao, siguiriyas: “I can’t conceive of singing at a festival without including siguiriyas” says the young winner of the Lámpara Minera in 2003.His tanguillos de Cádiz capture the specific feeling with a diverse set of classic tanguillos with updated verses. Bulerías and fandangos neatly wrap up his performance. A social phenomenon… like anchovies, you either like him or you don’t Next up, a social phenomenon, a charismatic singer in the most literal sense: José Domínguez “El Cabrero”. He’s like anchovies, you either like him or you don’t. Cabrero has legions of faithful followers throughout Andalusia, people attracted by his expansive, anarchic personality, his habit of dressing like Clint Eastwood and the political content of his verses.The interesting Rafael Rodríguez on guitar, manoeuvers the singer’s special needs with apparent ease. Soleá taken at quite a clip accommodates inland styles that recall Juaniquí, Serneta and Joselero de Morón, closing out with a Cádiz style of Paquirri’s, very popular in these parts. “A Borges sonnet I want to dedicate to my dear friend Paco del Gastor”, the Morón guitar maestro who accompanied Cabrero for years. Siguiriyas, once again with the extremely upbeat tempo Cabrero is so fond of, but without haste in the vocal delivery and phrasing, “por arriba”, E-position, giving a feeling of fields and mountains without actually becoming “serranas”. At 63, Cabrero is in fine form and his voice is clean and powerful. Bulerías, once again in the unaccustomed E-position, and Rafael Rodríguez takes advantage of the sound to send out numerous winks and nods to Morón-style guitar-playing. When the microphone stand causes problems, Cabrero shouts out “Is there a veterinarian in the house?” His impertinence and spontaneity drive the audience wild. Caracol’s “Carcelero”, credible tonás and fandangos de Alosno “por medio”, A-position, as decreed by tradition. And all the while, a large number of young men, between 18 and 22 years old, who plunked their plastic chairs down in the front row as soon as Cabrero came on, without so much as a backward glance, have broad smiles as they admire their idol from up close: not many of today’s traditional singers command that kind of awe from the youthful crowd.
The grand finale of the festival is Juana Amaya, a Morón native with an absolutely international projection. The backup is strong and varied: singers Enrique el Extremeño, David Sánchez “El Galli”, el Canastero and Jesús Flores, and guitarists Rafael Rodríguez and Mariano Campallo.Juana’s young daughter Nazaret attacks the stage with vehement passion and a dangerous gleam in her eyes.It’s scary to see such a young girl so decidedly savage, about to explode in a million pieces at any moment, but she controls herself just enough to deliver an alegrías that is frankly and unforgivingly flamenco.Her mother Juana exhibits the same psychic and physical strength, with the mystery and subtlety that come with age. Visceral and intense por soleá, she gives you no time to react and takes no prisoners. With her dramatic dance, the Gazpacho Andaluz of 2007 comes to its close, and already people are talking about next year’s edition with 2008 having been officially declared “The Year of Diego del Gastor” in honor of the birth of Diego del Gastor who put Morón on the flamenco map some 40 years ago thanks to the admiration of flamenco fans from abroad. More information: XL Gazpacho andaluz de Morón de la Frontera – 2006 |
Psychic and physical strength, with the mystery and subtlety that comes with age
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XLI Saturday, July 28th, 2007. 10:30pm. Plaza de Toros, Morón de la Frontera (Sevilla) |
|||||||
|
Text & photos: Estela Zatania With a lovely full moon peeking over the edge of the Morón de la Frontera bullring, the 41st edition of the venerable Gazpacho Andaluz got under way. One of the oldest cante festivals, which in its first edition featured the likes of Antonio Mairena, Juan Talega, Fernanda y Bernarda de Utrera, Perrate de Utrera, El Lebrijano, Manolito de María and Joselero de Morón among others, continues to defend classic flamenco in a traditional format, with gazpacho included, just as the first year.
Young Chiclana singer Antonio Reyes opened the program with guitarist Manuel Herrera. With the capo at seven “por arriba” (E position), and despite the odd psychodelic forms projected on the backdrop, Reyes used his velvety voice to conjure up an aire of cante the way it used to be, savoring each word and risking more than on other occasions.His cante reveals knowledge of the art, and many hours of study, and he selects styles with exquisite taste. Herrera’s accompaniment is respectful and mature, two very correct and inspiring young artists.The tangos that wrap up tientos include a fandango, and why not, tangos are almost as flexible as bulerías. In siguiriyas, an original interpretation of Torre’s Santiago and Santana is noteworthy, and in bulerías the singer juggles fragments of intelligently combined popular Spanish songs. After some fandangos, he offers the Caracol zambra he likes to end wih, and the histrionic dancing provided by his wife is the final note of a long, but varied performance. Wearing the badge of “I am not a gypsy” without complexes Next, the stage is filled with the presence of Calixto Sánchez. This is a singer who wears the badge of “I am not a gypsy” without complexes, and over the years, his particular vision of cante has justified itself. With the splendid Manolo Franco accompanying, he interprets a series of seldom-heard malagueñas, and you sense his love for the art in every turn of the melody, every syllable. He announces “a tribute to don Fernando Villalón”, the famous poet from Morón, “Diligencia de Carmona” set to tientos; with Calixto you never get a standard repertoire.A milonga, and Manolo Franco works wonders with this relatively limited form. In cantiñas, Calixto gives a lesson in the importance of seeking out the flavor of each cante. He is visibly enjoying himself and captivates the audience with his sincere interpretation and the obvious respect he has for everything he does. The bulerías in minor key with old verses connects especially well with the Morón audience; bulerías in this key was cultivated by Diego del Gastor and has its own distinct feel of times past.In general, and contrary to what most people think, bulería “cuplé”, or popular songs, require an especially well-developed command of compás; each line is a world unto itself that the singer must design and construct. The people go wild and demand more, and Calixto responds with some fandangos reminiscent of Caracol.
Rubito de Pará hijo, from the neighboring town of Puebla de Cazalla, is the first to resume action after intermission, and once again it’s Manolo Franco on the guitar.Malagueña with abandolao, siguiriyas: “I can’t conceive of singing at a festival without including siguiriyas” says the young winner of the Lámpara Minera in 2003.His tanguillos de Cádiz capture the specific feeling with a diverse set of classic tanguillos with updated verses. Bulerías and fandangos neatly wrap up his performance. A social phenomenon… like anchovies, you either like him or you don’t Next up, a social phenomenon, a charismatic singer in the most literal sense: José Domínguez “El Cabrero”. He’s like anchovies, you either like him or you don’t. Cabrero has legions of faithful followers throughout Andalusia, people attracted by his expansive, anarchic personality, his habit of dressing like Clint Eastwood and the political content of his verses.The interesting Rafael Rodríguez on guitar, manoeuvers the singer’s special needs with apparent ease. Soleá taken at quite a clip accommodates inland styles that recall Juaniquí, Serneta and Joselero de Morón, closing out with a Cádiz style of Paquirri’s, very popular in these parts. “A Borges sonnet I want to dedicate to my dear friend Paco del Gastor”, the Morón guitar maestro who accompanied Cabrero for years. Siguiriyas, once again with the extremely upbeat tempo Cabrero is so fond of, but without haste in the vocal delivery and phrasing, “por arriba”, E-position, giving a feeling of fields and mountains without actually becoming “serranas”. At 63, Cabrero is in fine form and his voice is clean and powerful. Bulerías, once again in the unaccustomed E-position, and Rafael Rodríguez takes advantage of the sound to send out numerous winks and nods to Morón-style guitar-playing. When the microphone stand causes problems, Cabrero shouts out “Is there a veterinarian in the house?” His impertinence and spontaneity drive the audience wild. Caracol’s “Carcelero”, credible tonás and fandangos de Alosno “por medio”, A-position, as decreed by tradition. And all the while, a large number of young men, between 18 and 22 years old, who plunked their plastic chairs down in the front row as soon as Cabrero came on, without so much as a backward glance, have broad smiles as they admire their idol from up close: not many of today’s traditional singers command that kind of awe from the youthful crowd.
The grand finale of the festival is Juana Amaya, a Morón native with an absolutely international projection. The backup is strong and varied: singers Enrique el Extremeño, David Sánchez “El Galli”, el Canastero and Jesús Flores, and guitarists Rafael Rodríguez and Mariano Campallo.Juana’s young daughter Nazaret attacks the stage with vehement passion and a dangerous gleam in her eyes.It’s scary to see such a young girl so decidedly savage, about to explode in a million pieces at any moment, but she controls herself just enough to deliver an alegrías that is frankly and unforgivingly flamenco.Her mother Juana exhibits the same psychic and physical strength, with the mystery and subtlety that come with age. Visceral and intense por soleá, she gives you no time to react and takes no prisoners. With her dramatic dance, the Gazpacho Andaluz of 2007 comes to its close, and already people are talking about next year’s edition with 2008 having been officially declared “The Year of Diego del Gastor” in honor of the birth of Diego del Gastor who put Morón on the flamenco map some 40 years ago thanks to the admiration of flamenco fans from abroad. More information: XL Gazpacho andaluz de Morón de la Frontera – 2006 |
