Those of us who are considered millennials, Those of us born around 90 grew up in Jerez listening to a generation that soon passed away, leaving behind a lingering sense of nostalgia. Yes, we were lucky enough to share family parties where artists like José Vargas El Mono, Moraíto, Luis de la Pica, El Garbanzo, La Paquera, Tío Sordera, Fernando Terremoto, Rubichi, and Manuel were present. Moneo, El Torta, La Chati, or the unforgettable Curro de la MorenaLooking at it with the glass half full, the truth is that it was lucky to at least brush against them for a while, considering that the next generation unfortunately couldn't do so, because the party started to be celebrated in heaven.
Francisco Carrasco Vargas He died twenty-five years ago. Curro de la Morena lives on, because everyone mentions his name when talking about great flamenco singers from Jerez. This is especially true in the realm of the saeta, to which he was particularly attached, expressing himself with absolute skill and depth, surpassed only by the gypsy spirit of his "leco" (a type of flamenco song), as if "his heart were about to burst from his mouth." Curro was much more than that. He was a father and husband, a natural-born reveler, with an endless smile, a head of rings, and "perfect shirt collars." snail collector and admirer of Fernanda de Utrera, A member of the Tío José social club, which he considered his home, and its founder and president, from Cantarería Street. He was from that era of farmhands and late-night sales, pure and unadulterated, the one who called himself the "damned tinker" on Christmas Eve, a born worker at Bimbo. Curro was and is a role model of the cante from Jerez, who was born in 1948 in a humble house where the courtyard of neighbors, number 10 of the aforementioned street, was the perfect balance between joy and fatigue by bulerías.
La Peña Uncle José de Paula prepared a Poetic Exaltation dedicated to the flamenco singer on the significant anniversary, in which prominent figures of Jerez poetry, great saeta singers, the brotherhoods close to and linked to the singer, and above all, participated. the exciting presence of his familyThe hall of the organization on Merced Street was also filled with good friends who knew Curro, members of the peñaflamenco, also from the Chair of Flamencolodgefans of their cante and many young people.
"Curro de la Morena was and is a benchmark of cante from Jerez, who was born in 1948 in a humble house where the courtyard of neighbors, number 10 on Cantarería street, was the perfect balance between joy and fatigue through bulerías."
The companion Jose Maria Castano He began by discussing the figure of Curro, relying on recordings he had collected at the time, such as a soleá with Periquin Boy Jero at the former headquarters of peñaThat little room that served as a safe room every weekend. We heard the saeta of “the hands of the Arrest are two lilies” lit…”, which left us barely able to continue. The brotherhoods of the Arrest, Good Death, Jesus of Nazareth, the Transport, and the Jews of San Mateo themselves carried banners and tapestries that further enhanced the event. It is worth mentioning the Processional Cross of the Brotherhood of Saint Matthew presiding over the stage. Later came the verses (and prose) of Antonio Gallardo Monje, Ángel Rodríguez Aguilocho y Andres Villagran These performances highlighted the qualities and unique characteristics of Curro de la Morena, especially in the saeta, receiving thunderous applause from the audience. They were small flashes of genius that were heard, which seems easy, but… how difficult it is to write!
Between décimas and romances, the saetas of Abraham El Zambo, Joaquín Fernández and Joaquín El Zamboall with a genuinely moving sense of reverence. But Joaquín, the current president and another of the founders, couldn't contain himself and asked Luis de Pacote (Commander Lara (in his humorous role) that he should join in. He couldn't refuse and was generous, with anecdotes and a saeta (a type of flamenco song) that was hard to finish because of a sobbing throat.
His children – Juan, Carmen, and Luisa – and his granddaughters were invited onto the stage, receiving applause from all those present, many of whom had tears in their eyes and embraced those who carried on the legacy of Santiago's dark voice, to whom he sang White Gypsy Like no one else. They were grateful and full of pride for what had happened, receiving some souvenirs to remember the occasion. ZarzuelaAnother flamenco singer and member of a Jerez brotherhood, put the finishing touch on the performance with another saeta in the seguiriyas style, which pointed us towards the upcoming Holy Week as if it were Saint John's Day. ♦
