From time to time, new releases appear on the record market that cause a sensation, not necessarily because they offer contributions or creations to the vast stylistic field of cante but rather to rescue something that seemed nonexistent but was safely preserved by enthusiasts and collectors on old shellac records or wax cylinders. Fortunately, a good portion of these recordings are digitized and available to anyone interested in learning about the origins of flamenco music. Why then is it always the same thing that's recorded: the same lyrics, the same styles, the same versions, and the same references? There must be hundreds of illustrious, forgotten artists whom no one remembers, but they trickle out, rescued by contemporary flamenco singers to demonstrate to the genre that the old is the most modern thing there is. That's why the Granada-born flamenco singer... Alicia Morales He has managed to bring one of those ancient flamenco singers from the 19th century back into fashion. He has thoroughly researched the work of Antonio Pozo The OwlThe flamenco singer who has recorded the most albums on shellac. And there he was, obscured, forgotten, and vilified, but, as she herself said, 'he's a titan.' It's true that he wasn't the flamenco singer with the most pellizco of its time, but it is the one that has best transmitted the primitive forms of cante.
That's why rediscovering her work feels like something new. And it is, because we recognize in Alicia's voice the primitivism of the soleares or guajiras that were sung in those distant years, when the genre was still being forged, something like a renewal of the cante old. This very week his latest album, a tribute to the Sevillian flamenco singer, was released. That's why, in the Peña La Platería, his home, is where he chose to present it.
The flamenco singer came on stage dressed in black with a red shawl, alongside a Jose Quevedo Bolita who was in top form. Alicia started with classic cantiñas. There was no Mochuelo there, nor was he needed. There was personality, period. She played with the timing, the silences, and the pickups of the cante Meanwhile, Bolita played with the compass as if she had invented it. She evoked Enrique Morente in music already José Bergamín and Rafael Alberti in the verses. From there, he unveiled part of his new album, with sonic surprises that, for those familiar with Mochuelo's work, are a delight to the ears. Forgotten by time, he wisely rescued the guajira. My life in all its variations. It began with the primitive and with the lyrics of Lope de Vega to continue with the classic I bought a sweetheart at the love fair/ how beautiful the toy was/ how beautiful the toy was/ and how expensive it was, until Bolita changed the tone and the third version of Mochuelo appeared, Lady, caution. The added difficulty in reworking these canteShe is able to decipher the verses of the old recordings, a monumental task that Alicia has undertaken.
"Alicia Morales has improved the versions of El Mochuelo by adding composure and elongated thirds very much in the Triana style, drawing on the cante upwards, that is, raising the tones and fighting with the thirds, finishing with a little playful touch between the solearilla and the alegrías."
The recurring theme of the recital was the necessity and courage to sing at times in half steps and even quarter steps, given how difficult it is to reach those notes and not stray from them. His own version of the granaína, a personal creation that will eventually become part of the Granada flamenco repertoire, is the one we know from his first album, with its Arabesque touches in the opening, and its temperance, restraint, and tasteful melody. From there he moved on to the classic granaína in his version of Manuel Vallejo with that unmistakable tonal drop in the sixth third to finish in the high notes. To delve deeper into those boundaries, he incorporated Morente's granaína through fandangos abandolaos. At times, my torments.
He also showed us the way Mochuelo sang soleá. He wasn't the best by any means, but he did infuse it with a special character. And Alicia didn't stray from the original script. That's why they're so appealing, because they sound different from the ones we know and that the greats have bequeathed to us. In fact, Alicia has improved Mochuelo's versions, in my opinion, by adding temper and elongated thirds very much in the Triana style, drawing on the cante upwards, that is, raising the tones and fighting with the thirds, finishing with a little play between the solearilla and the alegrías.
The album presentation was a success, because we were also able to hear tarantas from Fernando de Triana and Chilares, and some bulerías created specifically for the singer. He also revived the work of Mochuelo through seguiriyas and poured everything into the old styles of Curro Durse, Francisco la Perla y The Twin In the Morente version, which couldn't be missing. Who knows how they sang and how much Mochuelo contributed personally. Nevertheless, Alicia was personal and powerful in the verses because she can sustain them as long as she wants without distorting the cante or doing it conscientiously.
Where she truly shone was in the tientos. You have to listen to Mochuelo to understand the depth and personality with which Alicia tackled the initial sections before moving on to the classic tangos of the seraphim that she popularized. ChaconAmong others. He closed the recital, as I said, with a personal bulería in homage to the singer, although with nods to Bernardo de los Lobitos.
Bolita's guitar playing was masterful from beginning to end. He played with harmony like a child with a new toy. He was clearly enjoying himself and incredibly personal in his falsetas and rhythmic playing.
I invite the reader to listen to Alicia's album while also looking for the same recordings at El Mochuelo. And appreciate the study and work of the Chinese that both she and Bolita have done to pay tribute to such an unjustly forgotten person who so richly deserved this recognition.
Credits
recital of cante by Alicia Morales
Peña The Silversmith, Granada
May 16th 2026
Cante: Alicia Morales
Guitar: Jose Quevedo Bolita
