I like simple guitars. Those that don't bother or interfere with the cante. Those that do not intend to stand out and, for that reason, attract attention. They do so if they are good, of course. And this is the case of Domingo Rubichi's. Flamenco, deep, intense and rancid. An infallible guitar, servile, forceful, with a lot of taste. Full of sharp drones, without fuss, full of arpeggios and old falsetas. It is one of those that enter alone, one of those that penetrate and please due to its apparent simplicity, one of those that draws oles from you without remedy. I like gypsy guitars. I like Domingo's guitar. And how he wrapped up the throat of Jose El Mijita.
And palmeros well dressed, without sneakers, or outlandish clothing. Those who mark the beat without crossing, know how to put their foot in the right place and cheer just the right amount, like Carlos Grilo, which accompanied it luxuriously.
Jose Carpio Fernandez 'El Mijita' He melted in voice five singing dynasties. Those of the Carpios, Rubichis, Agujetas, Moneos y ChalaosAnd he was carried out on the shoulders of the crowd. Peña Flamenca Torres Macarena of Sevilla undoubtedly being, along with Dolores Agujetas, the best that Jerez has brought to the timbers of this sun-drenched house.
He warmed his bronze throat with traditional songs and won over the crowd, who began to shed their cheers. He pierced the silence with echoes of heavy bells. He remembered the one who He left behind a gypsy seguiriya and a well-sung taranto, looking at each other Manuel Torre, warming up the repertoire of Jerez classicism by asking Where could my boy be?And then, with the same style in the bulería, listening to the variations from his homeland. It felt too short, it left me wanting more. He swayed the verses with poise in the tientos. The day I die, let me be a sigh singing through La PlazuelaThus he revered his birthplace, then switching to tangos, asking for doubloons and singing the rintintin to close the first part.
"José Carpio Fernández"El Mijita'He melted into his nut the metals of five singing dynasties: those of the Carpios, Rubichis, Agujetas, Moneos and Chalaos. And he was carried out on the shoulders of Torres Macarena being, along with Dolores Agujetas"the best that Jerez has brought to the timbers of this sun-drenched house"
Far from cooling down during the break, the second was hotter and more forceful. He fought his muscles, clenching his fists and cracking his bones with soleá. Without lightening up with vereas albarizas. Pure soleá. And pressing on the brave highs without stridency with a powerful voice that endorse pellizcos tarnished with gypsyism. Uncontestable by La Andonda, La Serneta or in that of cien años después de muerto y de gusanos comío. The best palo of the night. Although he was not left behind by seguiriya, complaining in the depths of the darkness of a lament without consolation, throwing the asauras in a painful ending. He continued with a string of fandangos that sounded hollow and two big tears of emotion fell from his eyes when he wished que dure una mare lo que dura una palmera. He closed the recital with bulerías, strolling through the corners of Jerez, evoking the wickerwork of Juanito Villar and thanking Undibé for having been born a gypsy. The little kick of grace and the bolt was closed.
José sang to eat it. He left his skin on the boards. The cante rolling over his ribs. He gave it his all. He gave himself until his last breath. As if his life depended on it, squeezing himself until he broke, without breaking his voice but breaking entirely.
Credits
Recital of Jose El Mijita
Peña Flamenca Torres Macarena, Seville
November 2th 2024
Cante: Jose El Mijita
Guitar: Domingo Rubichi
Palmas: Carlos Grilo
