On several occasions I have alluded to the importance of the Anthology of the Cante Flamenco from the French label Ducretet-Thomson from 1954. There have been intense battles with the Spanish record label Hispavox, which released it in Spain four years later, in 1958. That dispute doesn't concern me; what fascinates me is the development of art jondo which has been observed in these seven decades since the recording of the anthology was made.
Today, when it is regularly discussed whether the flamenco Contemporary or classical, daring, groundbreaking, derivative, or simply "pure," in this valuable work we can clearly see the evolution that has taken place since this monumental piece. Directed by the guitarist Perico the one with the moleand with the collaboration of the musicologist Tomás Andrade de SilvaThis first anthology of cante It opened a huge window for many thousands of new fans around the world, and the flamenco It started to become fashionable.
Perico had extensive knowledge of flamenco singing, and he himself taught some of the forms, now called palos, to the singers. What stands out most, as you listen to the songs, is the overwhelming reality that overshadows any other element: the dynamic development of guitar playing that has taken place since then. Paco is only seven years old when the anthology is recorded, but he was destined to reinvent the sound – not only of the guitar but of flamenco music in general – in a dramatic and irreversible way, through contemporary harmonies, innovative ways of moving through the rhythm, and a new perspective.
The tientos as he interprets them Hyacinth Almaden in this anthology They are sung with their own distinct character; they are not a prelude to tangos as has been the case for years. The name of this singer who uses a saying from the Girl of the CombsIt hasn't been revealed how he might have done it. The snails he sings about is another song that's been dying for a long time. The tangos sung here by Pericon of Cadiz are canteclassics that are also heard through tientos.
Throughout the anthology, Perico accompanies these singers with all the dignity they deserve, but it’s a dusty sound for contemporary ears.
Sevillanas corraleras de Bernardo of the Little Wolves…in an anthology of canteIf Perico includes them in his great anthology, we must consider them legitimate in his day, taking into account the exclusive Gypsy authority of Antonio Mairenawho nine years later wrote his book World and forms of the cante flamencowhere there is no room for folk songs like Sevillanas.
"Nowadays, when it is regularly discussed whether the flamenco Contemporary or classic, daring, groundbreaking, derivative, or "pure"—in this valuable work we can look with a clear eye at the evolution that has taken place since this monumental work. (...) This first anthology of cante It opened a huge window for many thousands of new fans around the world, and the flamenco it started to become fashionable"
Pilgrims of Antonio 'the Jacket'He is undoubtedly the most well-known and admired singer in this anthology. "La romera" is a cantiña from Sanlúcar that has a certain liveliness thanks to the interpretation often offered by the Sanlúcar-born maestro. Maria VargasChaqueta also takes charge of the cables with the force of his genius and original personality.
Rafael Romero 'the Chicken'The man from Jaén is remembered for his vocal range and his unmistakable delivery. He was commissioned to perform six cantes in this anthology: the cane, cante It's rarely performed today, but it had a small boom years ago, thanks to a sober choreography by Pilar Lopez with Alejandro Vega in the documentary Goblin and mystery of the flamenco (1952)Gallina also performs siguiriyas with the Lachernaand with equal skill handles alboreás to the light rhythm of bulerías al golpe, and peteneras in addition to the canteSat palo seco, tonás, debla and martinete. He is the singer who contributes the most to the anthology.
Roque Montoya 'Jarrito' sings some bulerías cante canteAs in the old days, without song or modern touches. The lively joys of Pericón de Cádiz are accompanied by Perico in the key of E, a rare occurrence in the silver cup these days.
The cantes from Malaga: verdiales in the voice of Bernardo el de los lobitos, malagueñas, rondeñas, media granaína and granaína del Child of Almadén, from Malaga Twin sung by Pericón de Cádiz and jaberas of Child of Malaga This section of the anthology is completed without fanfare, and a fresher guitar sound is once again conspicuously absent.
Niño de Almadén sings the polo, a form that is seldom heard, probably because it is little more than a variation of the caña.
Pepe the Matron He takes charge of the soleá. The singer opts for styles from his Triana neighborhood, although they are not labeled as such but simply as “soleares”. When choosing the canteThe styles that would be included were not given importance, even though it was an anthology of this magnitude.
CanteThreshing with Bernardo from Los Lobitos brings back memories of Fernando de la Morena which popularized them in modern times. Without musical accompaniment, the common root of these versions is evident.
CanteThe native songs include Bernardo's sweet lullabies, who also performs Marian hymns with equal delicacy, and the anthology is completed with the saeta of Lolita Triana.
