"What he did Camarón It was traditional. We created the New Flamenco"That's how blunt it was." Lole montoya at the round table commemorating the rainy morning of Wednesday, November 5th at the Seville headquarters of Andalusian Institute of Flamenco half a century since the release of the legendary album New day de Lole and ManuelThis gypsy woman has been modern for fifty years. For ten lustrums she's been generating fans who walk through the door of El Tardón to feel the thrill of the jondoBecause this is also revolutionary, however revolutionary it may have been in its time. And now.
They were two young men who had strayed from the norm, venturing into heresy against orthodoxy. Blessed sacrilege they committed. For with their New day The freshness of a voice and a guitar dawned. Forgive me. And the verses "of the finest poet Seville has ever produced." We're talking about Juan Manuel Floreswho didn't write for others "because nobody understands my lyrics like Manuel does." He even shied away from being a songwriter. This trio of artists, friends from the neighborhood, schoolmates, taverns, and good times, formed the band from their first work. Origin of a legendAs they ventured, without knowing what they were writing, in the album's subtitle. Things just flowed naturally. Then they ended up recording almost by accident, performing on the best stages, shaking up mindsets after the dictatorship, marking a before and after in the history of... flamencoBut they naturally enjoyed what they were doing. So did the audience.
Manuel Curao She was in charge of discussing the artists and their work, as well as moderating the panel and masterfully interviewing Lole Montoya. Angelita Montoya, Jesús Molina –manager of Lole and Manuel– and Juan Manuel Flores Jr. Luis Ybarra, current director of The Biennial of Flamenco of Sevilla, joined the meeting.
"Many facts, reflections and anecdotes served as a prelude to the performance on Thursday, November 6th in the sun-drenched Peña Flamenca Torres Macarena from Seville with the cante by Alba Molina, Angelita and Lole Montoya. (…) All this to celebrate the fiftieth anniversary of a New Day that opened the paths of flamenco flooding them with colors"
Lole recounted her beginnings, from when she went to receive dance classes at the academy of Henry the Lame They took their first steps in flamenco venues until they tasted success in their careers. They broke with the prevailing aesthetic by dressing as they were, performing without musicians, calling their recitals concerts, managing their career with their own artistic representative, forming an inseparable partnership—a duo—with Juan Manuel Flores behind the scenes and his delicate pen, and setting stages ablaze with a musical genre steeped in Arabic, Egyptian, and rock influences. Manuel was ahead of his time. He had already tried his hand with the group Smash And he ended up allowing the inclusion of a Mellotron on the album. A kind of synthesizer. Although he wasn't too thrilled about it. The collaboration with Gualbert with the sitar.
"Manuel, who calls himself Pulpón," his mother-in-law told him one day. La Negra“Tell her we’re rehearsing.” To which she replied, “Rehearsals don’t put food on the table.” This was just a gesture that foreshadowed the countless contracts with specific clauses that the renowned manager would sign. “Lole and Manuel were the only ones Pulpón signed with, under the conditions they set,” noted Jesús Molina, who provided details that portrayed the unique nature of the Triana natives, whom he illuminated with a spotlight that only he carried. Jagger in their shows, which cost eight and a half million pesetas. They even laid out their own carpet so there wouldn't be any footprints on the stage, taking care of every last detail.
We enjoyed over an hour and a half of pleasant conversation, questions, laughter and answers, in which there was also no shortage of canteLole began to sing a fandango por soleá in a low voice, recalling the style of Fernanda from Utrera when he was tearing up his version of The Little Priest of Alcalá.
Many facts, reflections and anecdotes served as a prelude to the performance that will take place today, Thursday, November 6, in the sun-drenched Peña Flamenca Torres Macarena from Seville with the cante de Alba MolinaAngelita and Lole Montoya – who will be interviewed by Angels Cruzado—, with no less than five guitars accompanying them: those of Joselito Acedo, Diego del Morao, Manuel de la Luz, Carlos León y Manuel Roja, and the percussion of Francisco MolinaAll this to celebrate the fiftieth anniversary of a New day that opened the paths of flamenco flooding them with colors.
