A true embarrassment of riches in the Flamenco world this month! Still getting my breath back after Estrella’s having broken her six year silence and José Mercé comes along with a new album.
There was me thinking that 2012 was shaping up to be something of a fallow year – how wrong can a man be? Dorantes, the Flamenco pianist, has also come up with the goods. I was too busy to share it with you but keep an ear out in this year’s Festive ‘Spill – there’s at least one on that album that is going to take a lot to be relegated out of my top three for the year. But back to the matter in hand.
José Mercé is a Cantaor from Jerez and can trace his Flamenco pedigree back to the mid nineteenth century. He is the great-grandson of Francisco Valencia, the best singer of seguiriyas the world has probably ever seen. His uncle is Manuel Soto “Sordera”. But that’s almost by the by. He has been doing his thing for decades now and is, in my opinion, the best Gypsy Cantaor (barring Camarón) that we have seen in many, many years. I have posted individual tracks in the past and he was prominent in one of our mopping up (The ones we couldn’t leave out) posts in FNF. But this album deserves a review of its own.
If there’s one thing I have always liked about Mercé it’s the fact that he can sing a wide range of palos and make them all his own. He has a strong voice with a rich, deep resonance that is inherently Gitano. His intonation, his vowel sounds and his accent, for want of a better word, are all unmistakable and yet his respect for the forms and the conventions of the genre mean that whatever he does the palo, the way the music is meant to sound, always shines through. He doesn’t need to add unnecessary twists, he can do it the way it’s always been done – just doing it better than so many of the rest. This album is a case in point.
The album has twelve songs. The first half dozen are much more traditional and the following six are more experimental. It’s almost as if we had six tracks from Camarón and six from Enrique Morente. And that’s what makes it so delicious. Here are a few of examples from the first part:
Moraíto was a guitairst from Jerez who died last year. He accompanied Mercé and many others and was widely respected. One of the best Flamenco concerts in Madrid so far this year was the tribute paid to him by musicians from all corners of the genre and beyond. The Bulería del Morao, with Diego del Morao (Moraíto’s son) on guitar, is as traditional as they come. As traditional and as beautiful.
Jerez is in the province of Cadiz and nothing sums up Cadiz quite as well as a good Alegrías. They really don’t come much better than Si Tú No Estás.
No run through the traditional palos would be complete without a Soleá. José has always got it just right. No surprises here, then.
The album is produced by Javier Limón (Concha Buika, Sandra Carrasco, Enrique Morente, Diego “El Cigala”, etc.) and consequently the arrangements on some songs do move away from the purely traditional. From the second part of the album the standouts for me (so far I’ve only had the album for a day or so) are a beautiful, slow and melodic Zambra and the Fandangos that give their name to the album. Here are both:
‘Ole !
A pleasant listen for a dull Saturday, thanks.
Maki: I’ve mentioned before my appreciation for the way the Spanish seemingly revere their traditional musical culture in ways that are not common. You mention a flamenco concert in Madrid, I assume you were there, can you describe it, the location, the audience, the dress etc: what I’m interested in is who’s the audience and what’s the general level of interest? I can’t imagine anything similar in UK or US.
Hi GF
Sorry to take so long to get back to you.
Unfortunately we didn’t get to see the concert in question. Tickets were at a premium and we were too late.
I can describe Estrella Morente’s concert this summer, though.
It was in the palace gardens here in Madrid. A beautiful open air setting with the palace as the back drop, so to speak. The stage itself was sparse.That is pretty much the case for any Flamenco show. Chairs set out in a semi circle for the singers and musicians. At times the singer will move centre stage, especially of course if they dance while singing.
The traditional dress is limited pretty much to those on stage. the audience, on this occasion, dressed quite formally. Men will typically wear a jacket, but not a tie. Women tend to dress up a little more and may wear flowers or combs in their hair.
If you go to an indoor show the audience tend to be a little smarter than your average rock or blues crowd but only just.
The big stars sell out regularly. It’s hard to get into Casa Patas (one of our favourite venues) without having booked, so the level of interest is high. Audiences also tend to be quite knowledgeable too which is good because it means they keep quiet when they have to and you can really enjoy the show.
Moraito has gone? Damnitall . . .
Beautiful music Maki, from the heart and soul. I am familiar with Merce’s music, so it’s a real privilege to be allowed to hear what he’s only just released. This is fantastic. I just adore traditional music; hearing artists stick closely to their roots is everything to me. Thank you.
I’ve listened to these in the kitchen today, during breakfast, packed lunch and washing up duties – not quite the intended setting and a criminal lack of red wine. He has quite a voice, it sounds well lived-in, not only by Mercé himself but by several generations before. I know what Webcore means by sticking to his roots – not sticking to every convention and tradition, but still uncompromising and even defiant. Lovely music, thanks Maki.