Enrique Morente, the Picasso curve of the cante

Paths Series with Jose Maria Castaño #91

These days mark the 50th anniversary of the farewell of one of the greatest geniuses of universal painting, the Malaga-born Pablo Ruiz Picasso. To commemorate this event, I suggest you recall some passages from the album Morente, Pablo de Málaga (Discos Próbeticos – BBK, 2008).

Pablo and Enrique, each in their own order, were destined to meet because of their similar sensibilities. In this album, Enrique Morente tries to bring to the cante the sensorial universe of Picasso, even drawing with its echo some works such as Guernica. To do this, the singer used some texts by the painter himself, a facet that was relatively unknown until then and which the Nasrid interpreter adapted with his restless expression.

I begin with the Malagueña de la campana to then pay full attention to the overwhelming composition Guern-Irak, the written hour that Morente dedicates to the well-known Desbandá de Málaga. We hear Picasso's own voice in Autorretrato, which is signed off with a tribute to Pepe de la Matrona in soleá, and I end with Adiós Málaga, which appears as a bonus track on the original album. Enrique Morente, in Pablo de Málaga, traced with his voice the Picasso-like curve of the cante.