Chimes for Cante Grande (07/17/2021)
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Zalamea la Real lived a night of excellence cantaora with a firmament of guitars
With the backpack loaded with good intentions to listen to a good flamenco away from the squad and bevel circuits of the Junta de Andalucía, the visual impact between jarales and holm oaks of the mining basin contrasted with the destination, the Paseo Redondo de Zalamea la Real, in front of the church of Nuestra Señora de la Asunción, a space surrounded by pristine and wonderfully paved streets to believe in the jondo and live your dreams.
The dark night reigned, but between the buttresses of the church of Nuestra Señora de la Asunción a firmament of chordophone stars shone, the guitar, an instrument that had a decisive impact on the success of the meeting, where the singers were able to bathe the melodies at their pleasure in her fugitive sounds as Salomé, the daughter of the wise King, did once, to whom legend places her at the origin of Zalamea when she bathed in the source of the Fresno and could not bear the sulfurous fumes that were released from the copper smelting , coppery metal that served to cover the walls of Solomon's temple in Jerusalem.
But the angels of the guitar oratorio flew off at the announced time and with a flawless sound to the sound of the Jerez-born Alba Espert, a concert guitarist who caused a pleasant silence with Manolo Sanlúcar's rondeña, continued with a great granaína. Poetic breath in his right hand and he threw an overflowing passion in the taranta, with what at 24 years old he left a sense of aesthetics and fidelity to the executed styles to the memory.
David Soto, from Almeria living in Huelva, adapted the neatness of his notes to Antonio Fernández, a singer from Herrera who, without being a consecrated professional, knew how to give the atmosphere conducive to styles, as he conferred elegance and very good taste on the malagueña de La Peñaranda with rondeña and the soleares of Alcalá, knew how to insert reasons for complacency between the thirds of the tientos-tangos and showed the charisma of the fandangos of Huelva from the most grateful perspectives.
But mastery of the touch is yet to come. And it is that when the Sevillian Juan Campallo appeared and showed the first chords, the rhythmic elegance took over the strings of the throat of the Jerez-born Tamara Tañé, who was first very convincing in the soleá por bulerías with two luxurious palmeros, then showed that she is equipped with plenty of tools to face the difficulty and gypsyness of the seguiriya, she continued with the caletero flavor of alegrías and culminated her performance with sublime and exciting moments through bulerías, even doing an "encore" with a Manuel fandango. Tower pregnant with strength and depth. Unforgettable.
And at the end, the entity and brilliance of Antonio Carrión, a guitarist with ample experience and solidity who provided all the musicality that Rubito Son demanded, a guaranteed and very serious Moorish cantaor, one of those who does not caricature the cantes and who gave a fabulous performance granaína and half granaína; He gave rotundity, breadth and authority to the tientos-tangos and the bulería, and left everyone astonished with some brave fandangos by Paco Toronjo of creepy, endowed with an intoxicating sound, silky and morbid, at the same time as ductile and transparent in the literary , of a shocking timbral refinement.