The Hispavox Anthology Seven Decades Later

On several occasions, I‘ve alluded to the importance of the Antología del cante Flamenco by the French label Ducretet-Thomson in 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 flamenco that can be observed over the seven decades since the anthology was released.

Nowadays, when there is frequent debate about whether flamenco is contemporary or traditional, daring, groundbreaking, derivative, or so-called 'pure,' this valuable work allows us to look clearly at the evolution that has taken place in this monumental endeavor. Directed by guitarist Perico el del Lunar, and with the collaboration of musicologist Tomás Andrade de Silva, this first anthology of flamenco singing opened a wide window for many thousands of new fans around the world, and flamenco began to come into fashion.

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 interpreted by Jacinto Almadén on this anthology, are sung with their full identity, not merely a prelude to tangos as has been the case for years now. The name of this flamenco singer, who uses a delivery of La Niña de los Peines, has not become as well-known as it could have. The caracoles he sings is another cantiña that has also been fading away for some time. The tangos sung here by Pericón de Cádiz are classic songs that may also be used for 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 by Bernardo el de los Lobitos…in a cante anthology! If Perico includes them in his great work, we must regard them as legitimate in their time, especially considering the exclusivist, gypsy-centered authority of Antonio Mairena, who, nine years later, would write his book Mundo y formas del cante flamenco, where there is no place for folkloric songs like the sevillanas.

«Nowadays, when there is frequent debate about whether flamenco is contemporary or traditional, daring, groundbreaking, derivative, or so-called 'pure,' this valuable work allows us to look clearly at the evolution that has taken place in this monumental endeavor"

Romeras by Antonio “el Chaqueta,” surely the most well-known and admired singer in this anthology. The romera is a cantiña from Sanlúcar that still has some life in it, thanks in part to performances often delivered by the Sanlúcar-born maestra María Vargas. Chaqueta also takes on the cabales with the strength of his genius and original personality.

Rafael Romero “El Gallina,” from Jaén, is remembered for the texture of his voice and his unmistakable style. He is entrusted with six songs in this anthology: the caña, a rarely performed song today that experienced a small boom years ago thanks to a sober choreography by Pilar López with Alejandro Vega in the documentary Duende y Misterio del Flamenco (1952). El Gallina also performs siguiriyas, including one in the style of Lacherna, and with equal skill handles alboreás in a light bulerías al golpe rhythm, as well as peteneras, in addition to the cantes a palo seco: tonás, debla, and martinete. He is the singer who contributes the most to the anthology.

Roque Montoya “Jarrito” sings some straight-forward bulerías in the traditional way without songs or modern touches. The flavorful alegrías by Pericón de Cádiz are accompanied by Perico in the E position, now seldom used in the Tacita de Plata (Cádiz).

Songs from Málaga: verdiales in the voice of Bernardo el de los Lobitos, malagueñas, rondeñas, media granaína and granaína by Niño de Almadén, malagueñas by El Mellizo sung by Pericón de Cádiz, and jaberas by Niño de Málaga complete this section of the anthology without being noteworthy, once again standing out for the absence of a fresher guitar accompaniment.

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 el de la Matrona takes on the soleá. The singer chooses styles from his neighborhood of Triana, although they are not labeled as such but simply as "soleares". At the time of selecting the songs to be included, little importance seems to have been given to the specific styles, despite being an anthology of this magnitude.

Cantes de trilla with Bernardo el de los Lobitos bring back memories of Fernando de la Morena, who popularized them in more recent times. With no musical accompaniment, the common roots of these versions become evident.

Cantes autóctonos includes traditional sweet lullabies by Bernardo, who also performs the marianas with equal delicacy. The anthology wraps up with saeta of Lolita Triana.