En Cai, La Lola (Alegrias) – This is a straightforward Alegrias, done very well, very Cadiz. Encarna is accompanied by palmas and the guitar of Chicuelo. Chicuelo’s playing is always fresh, but you know that it’s always him. I am almost at a loss for words just trying to find a metaphor to describe Chicuelo’s playing. Okay, imagine biting into a cool crisp granny smith apple, realizing that “that is exactly what I needed.”

Haciendo por olvidarte (Malaguena y Verdial) – Malaguena can be tricky to convince on a new album. Especially considering that it ends por Verdiales. Verdiales is one of the cantes of the Fandango Abandolao family, which are a variety of many cantes that were traditionally used to end Malaguenas and sometimes Granaina. My personal observation is that flamenco has a short attention span; it always has to end “up.” Well, after a while, it seems to me that singers chose to break them up and to sing them as stand alone cantes, including the abandolaos (there is probably no one better than Fosforito to listen to if you are interested in hearing a very large library of Fandango Abandolaos). Encarna chooses to sing a Malaguena that ends with an abandolao, in this case por Verdiales. Aside from singing it flawlessly, what can she possibly do to prevent the listener from skipping to the next track? She gets Israel Galvan’s guitarist. Yup, Alfredo Lagos makes his one appearance on this track. I have heard a rare recording of Alfredo Lagos playing on what he told me as “his first time in the studio,” and I will tell you his claim to fame is not just playing for Israel Galvan. From the beginning he has been a very inventive yet classy player and composer. But from the moment this Malaguena starts, you know you are in for something special. I feel like laying back and watching the stars inside a planetarium, only to be accosted by the finale laser show that busts into a soundtrack by Blue Oyster Cult.

Tangos del Olivo (Tangos) – This is a great tangos with a catchy chorus. The guitarist is Juan Requena. I have had the opportunity of seeing Juan play at least twice. He is an amazing composer, and in a short time he will be a huge force to recon with.

Dios te compensara (Solea) – This solea has a very different tone to it. This is proof of Encarna’s deep command of cante. The guitarist is Rafael Rodriguez, what we might call “super old school gritty.” Rafael opens up with a falseta, and Encarna comes in with the salida (‘ayayay’), without a moment’s notice she is into the letra, and when you think the letras over, she goes into a more climactic macho letra that most use as a climax to their solo. Before you know it, you are out of breath, only to realize “crap, she’s just begun.”

Dulce Veneno (Buleria) – Talk about a mish-mash of personalities! This track includes guest singer Miguel Poveda, guitarist Diego del Morao, and the footwork of el Farruco. Wow, mish-mash. But ya know what, flamenco is the common language, and it just makes sense. But wow, this is a really fun song to listen to.

Si llegara a suceder (Milonga) – Encarna said that if she had to choose one favorite track, it would be this one, and I wholeheartedly agree. This has Juan Requena’s guitar as well as percussion and string players. I can’t make out how many strings there are, probably just a violin and a cello, maybe more. Bear with me on this example: In classical music, a ‘Piano Quintet’ is not five pianos, but one piano plus a string quartet. Though I highly doubt it’s a string quartet, when I hear this piece, I imagine that it’s a piano quintet where the piano itself has been replaced by a flamenco guitar. The reason I use that example is not because it seems like something inventive, but the role the piano plays in the ensemble is similar to what Juan Requena’s role as a guitarist is on this track. Ya know what I’m talking about? I don’t. But one thing is for sure, Juan Requena’s true genius is displayed beautifully on this track. My most favorite part is towards the end when there is this suspension that feels like the piece is gonna end, only to resolve to a final coda. Its like you get up from your seat to leave the movie theater when the credits role, when all of a sudden, there is this bonus clip being played as the credits roll, like Chris Tucker laughing at how Jackie Chan can’t say “I always wanted to go to Madison Square Garden” during the blooper reel of Rush Hour 2. There’s that awkward moment of “do I go back and sit in my seat or just stand in the aisle?" That split second feeling you have is exactly what you will feel towards the end of this piece. One thing’s for sure, this track is absolutely gorgeous.

No hay tiempo (Buleria) – This track has Chicuelo again doing a cool sexy bulerias in a minor key (as opposed to the usual Phrygian mode, if you are not a musician, just compare it to the first bulerias, you will see what I mean). Chicuelo treats the compas in a way such as a jaleo or a romance. Very sultry.

Carta de una Salvaora (Zambra) – Encarna has no problem doing risky things. And as we had established in the Malaguena y Verdial and the Milonga, the equation that seems to work is a deep command of the cante with a fresh accompaniment. The song opens with what sounds like three overdubbed guitars being played by one of the most musical guitarists out there, Juan Diego. If for a moment you think it’s disingenuous to have three guitars overdubbed using studio technology, it’s a normal thing. If you don’t believe me, listen to track five again paying attention to the separation of your left and right speakers. Yup, there’s two Diego del Morao’s playing. Can Diego do it with just one guitar as if he were live? Yeah, but it’s the studio, it’s a different world, so why not make use of these great opportunities? But wow, kudos to Juan Diego for creating such an amazing sound-scape! The song’s coda is Juan Diego grabbing you from the arm and escorting you out of the living room into the driveway by going upstairs, jumping out the bedroom window, repelling down a rope, getting on a unicycle, and pedaling backwards around the house to the driveway. Umm, dude, couldn’t we have just opened the front door? Yeah, but what’s the fun in that? So basically, Juan’s job in the coda is to change keys for what will be a finale that would be sung by the album’s producer, Jose Anillo, Encarna’s brother. There is probably a more efficient way of getting to Jose’s key, but what’s the fun in that? Let’s pull out that unicycle so we have a story to tell!

Barcas de Plata (Alegrias) – Yes, another Alegrias, this time it’s a bit more of a constructed piece of music. Juan Requena once again creates an amazing palette for which to convey his accompaniment. This track is a bit Impressionistic. Like a Monet, you have to step back to see the picture. So, step back with your ears, that doesn’t mean walk away from the speakers. Great, you just fell over the coffee table.

Homenaje a La Perla (Buleria) – This track is a homage to one of the most important figures to come out of Encarna’s homeland of Cadiz – Perla de Cadiz. She was a very important singer, who was a huge influence for people like Camaron de la Isla, and that’s huge. This track is great, but you have to listen to Perla de Cadiz now. Listen to Perla do bulerias and then listen to Encarna sing those same letras; its fresh but familiar, a true payment of respect to a great singer.

August 2007
Jose Manuel Leon- "Siramusa"

I have always been pleasantly disturbed by the unspoken world of the Spanish Avant-Garde: Picasso, Dali, Gaudi, Ferran Adria, and Flamenco. Flamenco may deny its avant-garde proclivities, as it is difficult to label a folk art as ‘modern.’ Picasso has broken lines and disfigurements, Dali has images that not even dreams can create, Gaudi melts structures, and Ferran Adria dismisses what you ever thought that food should be. Flamenco: broken lines, disfigurements, dreams, melting, and just when you think you know what it is… 

But ask these people if they are fusion, if they are modern. Its art, its beautiful. Modern implies the future; fusion implies the mixing of ingredients that do not naturally belong. Personally, I only see this when it is not implied. The art that I like is the art that doesn’t make me think of an outcome or an excuse for the final product. Art is when you see Picasso and say, “of course this is a woman’s face.” It can sometimes be tricky to find what is actually genuine. This article is a selfish post, because this is for myself. I have come across something that I am not supposed to like. But I can’t stop listening to it. So please allow me to attempt to reason with myself. 

Jose Manuel Leon is a young guitarist from Algeciras. He has amazing technique, amazing sound, and very flamenco. His debut solo album is called “Sirimusa.” The quality of the recording is magnificent, when I listen to it I feel like I am standing right in front of the sound hole on his guitar. The first time I heard this CD, I felt like Patrick Star (Spongebob’s clueless starfish-best friend). I listened to it again, and again, and I couldn’t stop. I was addicted, but I thought I wouldn’t like it. After a while everything started to make sense. 

This album was recorded in the home studio of Pablo Martin-Caminero, upright bassist of the Gerardo Nunez Trio. It was also produced independently, so go out there and support solo guitar records! Also, some may recall that Jose Manuel Leon opened up with three tracks on Gerardo Nunez’ project “The New School of the Flamenco Guitar,” an album that features up-and-coming guitarists. This album thus far has successfully acted as a springboard for both Leon and Jesus de Rosario’s solo albums.   

On “Sirimusa,” all the instruments sound great, the drums and percussion are amazing. When I heard this, I said, “They got it!” The sound of a Cajon, the way it should be. This is a CD for a Cajon player to give to a sound guy and say, “make me sound like this!” As mentioned above, the guitar sounds great, but the compositions can understandably get too ‘cosmic’ for some ears. But I think that’s the attraction. Really, I don’t think I have stressed this enough. For some ears, this is extreme stuff. “An even weirder Canizares” as I tell my guitarist friends. But I don’t want to dwell too much on this subject, because I don’t want to scare you. Picasso is very messed up, but gosh darn beautiful. If I describe ‘Guernica’ to you, you wouldn’t want to see it: “its gray, some black, some white, there’s a horse, I think a bull, a light, a hand with a knife, umm, yeah, its pretty messed up.” But it’s just that words can’t describe some things. Below help you decode some things, otherwise, go out there and buy it, and listen to it a bunch of times, until you are able to at least whistle to it. 

To better understand where Jose Manuel Leon is coming from, I found a few articles.

http://www.flamenco-world.com/resenas/discos/sirimusa17082006.htm

http://www.flamenco-world.com/artists/jose_manuel_leon/leon29062006-1.htm

http://www.flamenco-world.com/artists/jose_manuel_leon/leon29062006-2.htm

            
Ah! American, Drum and Bass, Jungle! Okay, so this album is starting to make sense now. 

Some highlights:

Sirimusa – This bulerias opens the album. The first thing I hear is a synthesizer fading in. “Uh oh.” But no, it totally makes sense. He plays around with themes and rhythms I can’t begin to explain. You have to hear it for yourself. Special mention must be made to the Cajon, played by Cepillo. This is on my top list of Cajon recordings. So classy, with an amazing sound. Cepillo is great, and this is one of the best his Cajon has ever sounded. The makers of DG Cajons should refer all clients to this recording: “This is exactly what your Cajon will sound like.” That’s a great sales pitch. Anyways, this first song will give you the feel of what Jose Manuel Leon is all about. (Side note: If you hear a really fast racing motorcycle zipping by you, it’s on the CD. It tricks me every time though.)

Rejas de Bronce – The album does not list the palos, usually you just listen and figure it out. Or perhaps it’s for you to decide? Here’s a little secret, we guitarists ‘repackage’ a lot of our material. Think about it, why should a guitarist have separate falsetas for Alegrias and Cantinas? Remember kids, multi-taskers save time and money. Anyway, this song takes you on quite a little journey. To my ears, if I had to label this song, it would be a “Tanguillos-Tientos-Tangos/Rumba-y-Bulerias.” Let me recite the 50 states while I’m at it. But really, its actually pretty cool, and one flows into the other, slipping under the radar if you don’t listen to attentively. I really enjoyed the Tientos section, and the “maximalist” guitar accompaniment to the cante. I mean, the opposite of minimalism. So there is actually a lot going on. In the words of Martha Stewart: “It’s a good thing.”

Chorroskina – There must be something in the water in Algeciras, because this Alegrias references Paco de Lucia a lot. I mostly hear Paco’s “La Barossa” (Siroco) and “Calle Municion” (Luzia). There is an exaggeration of shapes and ingredients to the original, but it is unmistakably a homage. (Side note: the flamenco-world reviewer in the article linked above says, “…Comes from Algeciras. Must be something in the air down there.” I realize I used a similar saying with the water from Algeciras. But I came up with it before I read this review! Too bad, I ain’t changin’ it.)

Tonga – This is a tangos that is accompanied by a bass and a drummer, playing very much in the style of jungle, drum and bass, etc. This is a very hectic song with a lot of cool stuff, but after a while, I realized the whole thing is practically a huge drum solo. Special mention of this drummer, Borja Barrueta, who manipulates the listener into hearing things differently. Its like he is taunting the compas! For you palmeros, clap to this song, its bound to make you laugh! I hope to hear this drummer more in the realm of flamenco.

Hay Que Ser Positivo – This song will mess you up. Trance-electronica-drum-n-bass-jungle, what ever you want to call it, this piece is definitely outside of the box. If its anything that will make you dislike this album, it would probably be this song. But again, I think that is the attraction! Its so different, maybe we need to have examples like this to show us flamenco’s limits, or lack there of, perhaps to help put things in perspective.

Travesia De La Solea – This Solea has a lot going on. I am left gasping for air by the end. It’s a true exploration of the guitar, taking you on a ride within the constraints of Solea. 

I hope I have made you curious enough to purchase this CD (really, I hope you have bought all the CDs I have been talking about. If you haven’t then why am I writing this?) I have some info here, and those links have a lot of info as well. There were much more popular choices for me to write about, but this seems like an unlikely underdog, as this album is self-produced, and Jose Manuel Leon puts himself out there taking huge risks. Writing this piece has helped me understand what I find appealing about this album, but it has also broadened my scope and has even brought back some old memories. A natural progression for me would be to go to Canizares, but I think I will venture through some jungle, trance, get reconnected with some friends from high school who were into drum and bass. Who knows, maybe a dip into some acid jazz. Or maybe I’ll just look at some Picasso paintings and contemplate my existence. But contemplating Sirimusa, for all its broken lines, disfigurements, dreams and melting – just when you think you know what it is…of course, this is flamenco.

March 2007
Potito's “Barrio Alto”

In order to fully appreciate how brilliantly Potito brings the contemporary and tradition full circle on his latest album, let’s first look at where he comes from.

Antonio Vargas “El Potito” is considered one of the ultimate examples of a flamenco child prodigy. Born in Sevilla, He is the son of Changuito and the nephew of Angelita Vargas. Click here for a picture of a 7-year-old Potito with his late father  .

Potito is a singer from the Camaronero school, a style cante that is heavily and directly influenced by Camaron de la Isla. At an early age, he was taught and supported by the family of Paco de Lucia, including father Antonio and brother Pepe de Lucia. Some other names within this “school” are singers such as Duquende, Diego el Cigala, Jose Parra, and Montse Cortes. While still a little boy, Potito recorded with flamenco giants Vicente Amigo on “De Mi Corazon el Aire” and with Paco de Lucia on “Soniquete.” He can also be seen in Carlos Saura’s movie “Flamenco,” in his late teens wearing a white shirt and tie, sitting between Tomatito and Duquende singing the first letra of the bulerias. At the age of 14, he recorded “Andando por los Caminos,” then went on to record “Mia Pa’ Los Restos,” and “Ultimo Cantaor,” all amazing albums. In addition to Camaron, Potito’s other influences include other masterful singers such as Manuel Torres and Antonio “el Chaqueta.” Potito is well known for a way of fitting many syllables into a line, creating amazing tongue twisters, which is a direct influence of Camaron and before him, Antonio “el Chaqueta.”

In 2006, he released the much-anticipated “Barrio Alto,” In my opinion, this work is one of the best new-flamenco albums to have come out in the new millennium. The producer is Diego Amador “El Churri,” the younger brother of “Pata Negra” who is a multi-instrumentalist in his own right, having produced two of his own albums that include him playing guitar, bass, piano, and even vocals. Ironically, Diego Amador is also a Camaronero, though not a full-time singer. Diego contributes some of his musical talents to “Barrio Alto.” On main guitar is Diego del Morao, son of guitarist Moraito. Diego del Morao is quickly become a leading member in the modern flamenco guitar movement, especially in his accompaniment. This man is pure Jerezano and frequently accompanies hometown singers such as La Macanita, El Torta, Luis el Zambo and Vicente Soto. While upholding the traditional of flamenco guitar accompaniment from Jerez, he has become a major figure in revolutionizing the role of the guitar accompaniment, for such modern artists as Montse Cortes, Nina Pastori, as well as Potito. The melding of Potito’s singing and Diego’s accompaniment in “Barrio Alto” has resulted in a dangerously good album.

From the outside it seems like a very “modern” album, but hidden behind the revolutionary guitar playing and production value, is a hidden treasure of traditional flamenco. It just shows that now matter how far flamenco has gone, it hasn’t changed that much. I guess you could say it’s a great example of modernity without the loss of traditional flamenco roots.

Some highlights from Potito’s “Barrio Alto:”

“Rosa de Amor” (Rumba) – This rumba is a remake of “Rose de Amor” from Tomatito’s CD of the same name, which also includes the voice of Camaron on the original. This song is clearly a tribute to both Tomatito and Camaron.

“Rematailla” (Bulerias) – This is one of the most amazing bulerias I have ever heard. It displays Potito’s abilities in bulerias, as well as Diego del Morao accompanying in a way that simultaneously blends traditional accompaniment to modern accompaniment. You hear Diego play many contras (“upbeats”) as well as anticipating chords before Potito has even sung them. The most remarkable aspect is how Diego resolves everything a half compas early. It is a very advanced way of playing. Although you can hear a bit of this on Luis el Zambo’s CD “Gloria Bendita,” where Diego as well as his father Moraito play every letra in this same peculiar way, Diego takes it up a notch on “Barrio Alto” with his chord anticipation and the intricate contratiempo.

“A Mi Malena” (Taranta) – This piece is an amazing example of a Taranta, and one of the best I have ever heard. Again, this piece is arranged in the style of Camaron. The first letra is  Taranta and the second is it’s cousin Cartagenera. As much as I wanted to believe that this was borrowed from Camaron, I was wrong. If you listen to  Manuel Torres album “Leyenda del Cante” an archive recording of the maestro between 1909-1930, you will see that two recordings of the same song, after nearly a century remind us how flamenco is one big circle.  

“A Mi Compadre ‘Pepe’” (Seguiriyas) – While in essence, this is the same seguiriyas as Camaron’s “A Los Santos Del Cielo” from his 1970 recording “Cada Vez Que Nos Miramos” one major difference in this version the way Diego del Morao chooses to interpret the accompaniment. The accompaniment is rather fast compared to most seguiriyas. But it is actually a throwback to a very old way of playing, such as Borrull did for Manuel Torres in the early 1900’s. Diego of course adds one of his signature flavors by down-tuning to create a darker sound.

“A La Fragua el Tio Monje” (Solea) – This is a solea sung in the same way as Camaron’s 1986 album “Te Lo Dice Camaron” with a solea called “Homenaje a Chaqueta.” (ah, “Chaqueta.” Why does that name sound so familiar? Hmm…). It is even produced the same way with no guitar accompaniment.

I hope you enjoy this album as much as I have. Potito and Diego del Morao come together to create a work where old and new flamenco live in perfect harmony – a vast evolutionary circle. Above all else, it’s a hell of an album, and a great soundtrack to your Sunday afternoon drive.