La Peña Flamenca Eva the Peppermint from Ogíjares (Granada) received a singer from the homeland, specifically from the coast, with a background in flamenco which is beginning to be taken into account and deserves to be part of the interest of fans and programmers. Antonio Gómez el Turry It hasn't just come out of the jar of essences because he has been in the profession for a few years, enough to know what it's all about. cante. That's why, when you listen to him, you can appreciate his artistic talents. He studies the great masters and tries to filter them through his own tonal range to show what his sources are and where he draws from. He already said it. Enrique Morente when he sang those consciously distorted verses: I asked a fountain for shade / I asked an olive tree for waterThe intentions of Ronco del Albaicín were clear, although not everyone is capable of understanding them. Something similar happens to Turry with his canteClear intentions at the expense of the average fan being able to understand the reason for everything from the choice of his repertoire to his singing style.
His voice sounds like a canastero at times, with a certain alcoholic echo, seasoned with melismas that inform the styles he performs in a distinctive way. He's a singer of extremes in that sense; he rises to the highs and falls with ease, never pausing in the mids or sustaining them because his "what to say" is in that league.
He was accompanied by one of the best guitars today, Miguel Ángel Cortés, the cream of Granada, excuse the quasi-redundancy, and the guitars with the most tradition and sensitivity on the scene flamencoIt's a shame that the sound didn't quite match up even though they brought in their own technician, Eloy Heredia, and sound equipment. And it wasn't bad in and of itself, but the excess reverb and volume took their toll, because when Turry reaches the high tones, it's important to appreciate them in their full measure, without any additional sound equipment, because they're not needed.
The recital consisted of two distinct parts. The first consisted of vidalita, cantiñas, soleá, and malagueñas. The vidalita opened the door to an introduction to the composition by Manuel Alejandro I bet you're not leaving that we know in the voice of Dew Sworn This gave way to a personal vidalita with renewed lyrics and at times breaking away from melodic canons. Morente's flamenco influences are evident in it; he is his reference, his guide on the path, and his beacon.
For cantiñas he remembered the Juanaca from Malaga, from Butron and The Mumps. They were not long but they were expressive.
"El Turry's voice sounds like a canastero at times, with a certain alcoholic echo seasoned with melismas that inform the styles he executes in a distinctive way. He's a singer of extremes in that sense; he rises to the highs and falls with ease, never pausing in the mids or sustaining them because his 'what to say' is in that league."
He wanted to remember the teachers of the cante from Granada in the soleá, clarifying that they are cantes of Triana seasoned by the waters of the Genil and of those who drank from the sonorous waters of Sierra Nevada. Cantes of Pinea, Cobitos, Pepe from Jun which in the end are from Serva la Bari, from Portuguese and Paquirri, But today they are almost more from Granada than from the rest of the world, because the imprint of those great performers has remained in the sound memory of Granada's singers. Turry plays with modulations of his echo, moving from low to high without breaking a sweat, leaving the midrange in oblivion.
Miguel Ángel Cortes accompanied masterfully. He knew how to play his role as squire without being able to unconsciously prevent the guitar from sounding glorious and each note standing out respectfully above the rest. cante, and it's very difficult for his guitar to be relegated to a simple accompaniment because it sounds so grandiloquent that you have to uncover yourself before it. Thus, it is worth highlighting that in the malagueñas he played with precision, subtlety and sensitivity. He couldn't play better. Turry sang the Chacon and the Niño Vélez, which ended with a series of abandolaos of Juan Breva, fandango close to the style of Juan María Blanco and finish by Peppermint bottle.
The second half began with a classic farruca. The seguiriyas looked towards Jerez and the Puertos with a cabal of Diego the Lebrijano, which is rarely heard in recitals and is appreciated even when the details are blurred, but we must focus on making a difference.
Where he really exposed and executed with solvency was in the Granada and Granada half. In the half, he again looked at Morente and lorca, And suddenly the bird was not on the branch, and in Granada to the city, to the Genil and to the Moorish aroma that has permeated us so much musically.
I would leave for the end a good batch of tangos from Granada, the usual ones, the Salve gitana, those from the Camino, the Paraos and a good selection of those from Enrique. He masters them perfectly even though he has the cante at the extremes. We miss his playing with mid-tones, his searching for something there. At the request of the devoted audience, he performed a fandango with his own lyrics.
Credits
recital of cante from El Turry
Peña flamenca Eva the Mint (Ogíjares, Granada)
May 16th 2025
Cante: Antonio Gómez el Turry
Guitar: Miguel Angel Cortes
