Nobody has given me anything,
I have everything I've earned
that nobody gives anything away,
I have arrived where I have arrived
And I want to achieve more,
I swore it on my mother's grave.
(Fandango)
It has been twenty years since her passing, and it is only right to remember her. Dew Sworn (Chipiona, Cádiz, 1943 – Alcobendas, Madrid, 2006), and especially to the female flamenco singers of his early career. He won several competition prizes. flamencoShe has a prize in her pocket, like the one she won in Jerez de la Frontera when she was only 16. The teenager leaves for Madrid, hand in hand with her mother, with some canteShe had learned songs in her throat and a whole life to discover. The death of her father at that time prompted her to seek to provide for her family and, at the same time, her leap to stardom, in the capital of Spain where so many flamenco singers and fans emigrated to seek their fortune.
What were those years like for young Rocío in the flamenco venue? The goblin, run by Pastora EmpireRocío Jurado began working as a palmero (a type of flamenco dancer) in that tablao, too young to care for, having to hide her true age to avoid legal repercussions. She soon debuted as a flamenco singer, as the beauty of her voice was hard to miss. palos classics of flamenco such as tientos, tangos and bulerías, which he would combine with cuplés and copla, sometimes from the repertoire of the same Pastora Imperio. As a companion in those early days I had the festival organizer, singer and dancer The Cañeta of Malaga.
Her move into the much more commercial realm of copla music would also soon follow, taking her away from the flamenco stage and the flamencoand to launch a dazzling career and international acclaim. However, in Rocío Jurado's heart, the flame of flamenco Learned in his childhood, absorbed from his family, and carried with him until his last breath. Thus the album was born By right, Released by the RCA record label, originally in 1979 and presented within the Chair of FlamencoRocío Jurado, from Jerez, was already an internationally recognized voice in copla, as well as in other musical styles such as boleros and ballads, so fashionable and commercially successful at the time. Rocío was that great flamenco singer and artist capable of fusing contemporary musical trends thanks to her prodigious abilities and talents.
Record the album By right It was a need for reaffirmation by the flamenco artist and proof for history of her classical singing abilities, in case there was any doubt about her knowledge and mastery of the traditional styles of flamenco. flamencoFor the greatest of them all never forgot her roots, her essence, and, most importantly, the capabilities of a woman who made the world vibrate with the power of her voice and her interpretive style. With this album, she added irrefutable proof to her extensive discography that she was a flamenco singer in her own right, as well as a truly complete artist whom life took to other stages and other audiences for the enjoyment of her millions of fans worldwide.
"Recording the album 'Por derecho' (1979) was a need for the flamenco artist to reaffirm herself and a testament to her classical singing abilities, in case there was any doubt about her knowledge and mastery of the traditional styles of flamenco." flamencoThe greatest never forgot her roots, her essence, and, most importantly, the capabilities of a woman who made the world vibrate with the power of her voice and her interpretive style."
By right It contains 19 tracks with cantes por alegrías, bulerías del Piliya, tarantos de Jaén y Almería, fandangos, tientos, bamberas, sevillanas, romeras, media granaína, tangos de Triana, livianas and seguiriyas de María Borrico. A selection of palos skillfully illustrated with letters from the magnificent Antonio Murcianowho not only filled the album with poetry, but also wrote lyrics specifically for Rocío Jurado to showcase. On guitar, she was joined by renowned musicians who only served to further enhance her already impressive performance. canteas the Enrique de Melchor, Niño Ricardo, Paco Cepero and the own Melchor de Marchena.
With that album, Rocío Jurado would silence more than one critic, as her feelings in the canteHer pure, expressive ability and her distinctly flamenco style have left an indelible mark on history. Undoubtedly, Rocío Jurado's great musical talent and her knack for making the songs her own have left their mark on history. canteShe could only manage 19 flamenco pieces of magnificent execution, vocal clarity, mastery of rhythm, expressive capacity, exquisite intonation, and interpretation of the lyrics as she always did, giving her all until the audience felt as intensely as she did. It is undeniable that she was the great lady of emotional expressiveness in the copla, and she imbued it with the same generosity in her cantes.
Years later he decided to record a double LP under the title Mi cante flamenco. Composed of 39 tracks that would house alegrías (1), tientos (5), fandangos (7), rumbas (2), flamenco guaracha (1), malagueña (1), sevillanas (4), jabera (1), zambra (1), villancicos (3), saetas (4), rock flamenco (1), tonadilla (1), pasodoble (1), cantos Romeros (2), lamento (1), canción (1) and carnavalito (1). A compilation album in which Rocío, la Jurado, left us proof of everything she had produced, of her diversity and her origins, of her soul and her reality, of who she was and where she was headed.
The commercial market of the time, the major record labels, the big stages, film, television and the big world tours took Rocío Jurado away from the stage flamencoIn the strictest sense, to definitively make her a queen of the copla, and of other much more commercial musical formulas that she knew how to prodigiously fuse into her repertoires, thus depriving us of a flamenco singer of exceptional talent who was never able to achieve the long and successful career that would have been desirable. palosof styles and lettersBut he lived feeling and being moved by the flamenco like few other artists, and who always accepted a challenge to sing flamenco on as many occasions as they appeared, to the delight of those who were close to her.
Antonio Murciano's fandango, which begins and ends this brief tribute to an immense star of Spanish music, clearly and precisely summarizes who Rocío Jurado the singer was, the consummate professional and queen of the copla. A self-made artist, idolized by the world, who owed nothing to anyone.
To succeed on this path
There's no need to envy
to succeed on this path
What's needed is guts
and a desire to swallow
and may years and years come.
