De José Esteban Rodríguez Cosano (Casariche, Seville, 1951) With this one, we now have three albums. We've reviewed them all. The first is Feeling and guitar. Flamenco instrumental (2023), to which we dedicate a few words in the words of the libretto, with the title From the spike to the skyThe performer, a former primary school teacher and a great enthusiast, like his much-missed brother Ricardo, uses a pick to play the guitar. Something unusual, certainly, but, as we wrote, Cosano is able to "give it vital breath." Music from earth to heaven, a beautiful staff of beauty and depth. And profound, because Rodríguez Cosano generously offers us, at last, what he knows and communicates so well: the cultured and honorable music of flamenco"He dedicated the album, by the way, to his beloved brother Ricardo."
There, select eight palosFandangos, malagueñas and verdial, granaína, alboreá, campanilleros, nana, petenera and saeta. It was a great undertaking, even more so with the guitar playing. Antonio Carrion, as well as the piano of Juan Antonio Aguilera the Vitito in the introduction of the lullaby.
The second work, 2024, is dedicated to José María Hinojosa Cobacho –1805-1833–, a bandit known as 'El Tempranillo'. He wrote the lyrics for all the canteYes, with the appropriate, perfect metrical and expressive adjustment. The first letter of the alegrías already summarizes the life of this Cordoban from Jauja: The story of a bandit / who was born in Andalusia, / a treacherous hand / came and snatched away his path.
Ten gather here cantes: classic alegrías from Cádiz, tientos-tangos, fandangos from varied sources, martinetes al uso, bamberas, liviana-serrana-abndolao de Perez de GuzmanMalagueña, petenera, zambra (one hundred percent caracolera style), seguiriyas, and cabales. A fine repertoire, and in the voice of the experienced singer, overflowing with knowledge, that he is Juan Soto, everything is very flamenco, deep, in a deep key. The guitars of Luis Calderito in the alegrías and malagueñas –from another previous album by the singer– and by Antonio Carrión in the others cantes embrace the cantes with musical beauty and a touch flamenco accurate.
Here we see him in a recording made at the presentation of a work about El Tempranillo, with lyrics by himself and his brother Ricardo. They sing in the same Pepe Montaraz y Ani Zambrano accompanied on guitar by Juan CarrascoThey offered polos, seguiriyas, alegrías, serranas, etc. Here we heard the serrana.
On my blog The Giraldillo, My full comment.
The third album, which concerns us here, is similar to the first in title, now Feeling flamenco and guitarIt is dedicated to the memory of the flamenco singer Antonio Colchón, a personal friend of the author. We have also written the words for the libretto, which also includes texts by the composer and of Manuel Reina Parrado.
Rodríguez Cosano writes two profiles of the flamenco singer Antonio Mattress –El Viso del Alcor, Seville, 1951-2021– and the guitarist Antonio Carrión. He emphasizes the former's supreme value as an enthusiast and connoisseur of the cantes, a long-time, encyclopedic flamenco singer, with numerous awards in competitions and author of flamenco lyrics that he published in a book entitled Today's lyrics for the flamenco alwaysas well as his human qualities. We see one of his cantes, by milonga, dedicated to the beauty of Andalusia, with the guitar of Manuel Peroles, live in 2016 in Mairena del Alcor:
The second, born in Mairena del Alcor, Seville, in 1964, insists on what fans and critics know and reward: his immense talent as a flamenco guitarist, with awards such as the Latin Grammy accompanying Chocolate, the National Chair of FlamencoJerez logy, Giraldillo of the Seville Biennial, etc. Also his work as a teacher, as a singer, which he is, with a recorded album, as a member of flamenco clubs, and, above all, a good person much loved by flamenco fans.
Here we hear him, singing and playing soleá, with feeling, live on Canal Sur in 2015:
Manuel Reina Parrado appreciates in our performer his relationship with Casariche, the achievement of a record as a journey through the nuances of the flamenco soul, the value of reunion, as a symbol of musical union of trajectories, instruments and generations, his ability to move.
For my part, I write that, delving deeper with the deep plectrum, it adds others palos and styles of the melodic arc of canteFor with the plectrum he truly sings, and the lyrics he embroiders are recognizable. He does so with precision, accompanied once again by Maestro Antonio Carrión and his guitar, as well as a magnificent group of collaborators with other instruments, who enhance the beauty with their nuances, as, for example, in the beautiful violin and saxophone introduction of the canastera or the cello in the martinetes. This time we also find canteSo, another contribution from this work.
We see it here in the basket, one of the palos New, and not without controversy, developments in recent years:
It's impressive how he uses his pick to transport us to the entire musical and experiential atmosphere of each paloThus, to the flavor of the fandango from Huelva, the challenging rhythm of the martinete, the elegance of the tangos, or the sweetness of the milonga, among others. We eagerly await a new installment, which we are sure will arrive to continue expanding our flamenco repertoire.
→ José Esteban Rodríguez Cosano. Feeling flamenco and guitar, Cambaya Records, Antequera (Malaga), 2025.
