The day had struck with tragic news: the guitarist had died. Miguel Saladoat only 44 years old. Last year, around this time, he had been participating in this very cycle Deep Paths of the Flamenco accompanying Aurora VargasSo we begin with a heartfelt tribute to the man from Jerez.
Sebastian Heredia Santiago, Cancanilla (from Málaga or Marbella) came eager to please. His experience, his life experiences, his flamenco roots, all contribute to a depth of feeling in his style that undoubtedly enriches the experience of listening to him. On guitar, one of his guitarists favorites, Chaparro from MalagaThey know each other so well that they understand each other just by looking at each other.
With his characteristic charm, he told us that he enjoyed singing. And that, which might seem like just a simple anecdote, is incredibly important, because he transmits that enjoyment, that appreciation, to those of us listening, achieving that empathy we call... duende o pellizco.
To warm up, Cancanilla chose to begin with a bulería por soleá, warming up his voice and showcasing his skill. Then came a classic in his repertoire, the tientos tangos, which he performed with grace, gentleness, and composure, savoring each one, accompanied by the majestic guitar of Chaparro, masterfully even incorporating a granaína into the tango rhythm.
"And he didn't do his little dance because the patio floor, originally paved with cobblestones, seemed too unstable to him. But Cancanilla danced sitting down, with his feet, with his hands, with his expression, giving a master class in art and rhythm, of which he naturally has plenty, well guided by Chaparro, whom he never stopped cheering on."
He felt so comfortable that he wanted to sing us a song, but not just any song. A song in the Cancanilla style, as he himself said. With his own personality, although drawing from the classic style of Rafael Romero, it set magnificently the cante which, by the way, is rarely or never heard at concerts, so we fans were grateful to have the opportunity to enjoy it.
With her voice nice and warm, she sang beautifully in the soleá style, linking the verses and in full harmony with the guitar playing, exploring styles from Cádiz and Alcalá.
He couldn't leave without singing bulerías, and he didn't do his signature dance step because the patio floor, originally cobbled, seemed too unstable. But he danced sitting down, with his feet, his hands, his expression, giving a masterclass in artistry and rhythm, which he naturally possesses in abundance, expertly guided by Chaparro, whom he constantly cheered on. Someone in the audience had asked him for a cante through siguiriyas, and in the bulería he put it in, seguiriya and its corresponding change of Los Puertos, thus finishing and putting the public on their feet.
Pleased, he responded to the applause with two fandangos, and then, yes, we said goodbye standing, with the feeling that, if the opportunity had arisen, Cancanilla would have been singing for a couple more hours, at least.
Credits
recital of cante from Cancanilla
Cycle Deep Paths of the Flamenco
Unicaja Foundation Museum of Popular Arts and Customs of Malaga
11 June, 2026
Cante: Cancanilla
Guitar: Chaparro from Malaga
