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(article translated from original on
deflamenco.com)
LOS FARAONES
Friday, December 5th, 2003.
Isabel la Catolica Theater, Granada. 9:30pm
Singers: Jaime Heredia "El Parron", Antonio Campos,
Juan Tirado, Victor Quero "El Charico", Antonio
"El Manzana" Guitarists: Emilio Maya, Rafael Santiago
"Habichuela"
A concept that is as novel as it
is ancient. Five flamenco singers and two guitarists
entertaining one another remembering verses of
cante, some sung without music, others in group.
Seven men from Granada, professionals without
being superstars, because with very few exceptions,
and for reasons we are unaware of, this area is
not inclined to yield flamenco superstars, honorably
and intelligently doing what they do best: sing
and play flamenco.
The
reaction is immediate ... flamenco is bigger than
any superstar.
Instead of the usual circle, they are sitting
in a semicircle open to the audience at the Isabel
la Catolica Theater to involve us in their intimate
gathering. One feels privileged, because this
isn’t your typical recital, nor is it a
festive finale with would-be child prodigies getting
in stage time, nor is it all limited to festive
cante.
A guitar solo of granainas to open is the only
structural concession, and five singers appear
for quite a respectable round of ‘tonas’
with dramatic finale of superimposed voices. The
reaction is immediate…flamenco is bigger
than any superstar.
They next take turns with cantes
from the mining area of Levante and little by
little the guitars get rolling into a threes rhythm
to back up some choice inland cantes that taste
of rosemary and thyme, each singer with his particular
verse. Especially beautiful are the jaberas of
Jaime Heredia “El Parron”, father
of singer Marina Heredia.
Alegrias with group chorus is the perfect vehicle
for an assortment of cantiñas that includes
romeras, mirabra and alegrias de Cordoba, and
you begin to notice the excellent rapport between
these men who, to judge from the looks on their
faces, are having a grand time.
Emilio Maya
A
show that is both fresh and traditional
and which can disappoint no fans of flamenco
cante
Tientos with tangos are reminiscent of the
Montoya family's group tangos and bulerias
from the nineteen-seventies.
Solea sung a cappella reinforces the feeling
of being privy to an authentic gathering
of knowledgeable singers. Siguiriyas and
cabales, still adhering to the format of
singing verses by turns, with admiring glances
and words of encouragement being exchanged
Fandangos 'naturales' are finished
off with the rhythmic Huelva variety and a choral
ending with the five voices that is both beautiful
and original. Antonio Campos speaks briefly of
the importance of local support, and the half-empty
theater is mute testimony of the cause for his
concern. If Granada flamenco fans don't turn up
for their own with a show of this quality, something's
not right.
The
ending is bulerias with a strong Jerez flavour,
each singer expressing his individual personality,
all equally proficient, without resorting to the
easy applause brought by suddenly improvised dance
steps.
Hats off to the organizers for having taken a
chance with this group that debuted just last
October at the Feria del Flamenco in Sevilla,
and to the artists themselves for having had the
good taste to put together a show that is both
fresh and traditional and which can disappoint
no fans of flamenco cante.
Antonio Campos
