The temple flamenco from Granada The Silversmith welcomed the people of Jerez on the night of Saturday, April 25th David Carpio y José GálvezThose who were there knew how to give it warmth, timely cheers, and enjoy the trademark of this area of Andalusia. Warmth from a few, because I don't understand how, being the peña In Andalusia, the silversmiths' guild has the most members of any existing guild, yet the number of attendees compared to the membership is negligible. If we consider that members bring a guest, what remains is a residual membership base that doesn't even reach ten percent. The pride of being a silversmith isn't just about the membership card; it's about keeping alive the flame of what we love, what captivates us, and what brings us together in shared spaces. flamencos.
Having made the criticism of the partners of such a distinguished peñaWe still need to show how a recital of cante The classic style became a mastery for both men from Jerez. On the one hand, José Gálvez is a rara avis In his playing. He plays Jerez without sounding like anyone else, rescuing elements from others while adding his own unique stamp, placing him in a sonic landscape that is both personal and influential. His playing resonates deeply, with a refined technique that is both flamenco and strident. Because he is capable of moving from thunderous strumming to the delicate touch of a sensitive artist without batting an eye.
On the other hand, David Carpio is becoming, if he isn't already, one of the flagships of cante He is from Jerez. He maintains the traditional singing styles of his region, he doesn't deviate from the established norms (he could, but he doesn't want to), and he imitates his teachers with elegance and responsibility.
That's why he started strong, with tonás, bare-chested, with no other embellishment than memory and the echo of the past. Gálvez then stepped in with a soleá to give way to Carpio, who remembered, or rather recalled, Charamusconot by doing his own things, but by remembering him, as he said Antonio Mairena prudently and wisely.
"David Carpio is becoming, if he isn't already, one of the flagships of cante From Jerez. He maintains the traditional singing styles of his region, he doesn't stray from the established norms – he could, but he doesn't want to – and he emulates his teachers with elegance and responsibility."
He wrote his own lyrics for malagueñas, in homage to his mother and a deceased cousin, the first one attributed to Manuel Torre and the second to TwinHe made them short, intense, and flashes of brilliance, as they sing in Jerez. Of course, he can't stray from that path, nor should he. His job is to keep the flame alive.
The performance was very extensive, featuring cantiñas and alegrías, with a long set of the former and finishing with the latter. He repeated. cantes of soleá, with explosive cries, very much in the style of The MoneoEspecially Manuel, who clearly drinks. He made the rounds of Alcalá, Triana, Lebrija, and even a small gathering in the Son which can barely be heard and which rescued Juan Breva at the beginning of the XNUMXth century.
The seguiriya was not missing. Gálvez was outstanding there: the quintessence of remembrance. Xavier Molina already the school of The Morao family. David left his land with the harvest of Beans and his Santolio to travel to Los Puertos del Gran Juanelo and return from the trip with Joaquin Lacherna to the land to revel in the most perfect cabal of all cabals, that of Silverio.
He performed a series of fandangos, Jerez-style, we can call them, because they were the ones from Cepero and those of Manuel Agujetas.
For the end of the party, he invited to the stage Antonio Campos, Miguel the Cheyenne y Miguel Núñez, son of Jose of the Shrimps, who even dared to do a short, short dance, rescuing echoes of cuplés por bulerías from Utrera and of course the cantes of the Plazuela.
Credits
recital of cante by David Carpio
Peña The Silversmith, Granada
April 25th 2026
Cante: David Carpio
Guitar: José Gálvez
