In times when we are somewhat orphaned from flamenco of higher rank in the Sevillian territory, the Provincial Council of Seville has put together a program with the figures of the flamenco contemporary to tour the towns of the province, thus fulfilling one of the aspirations of a total of 15 localities that, in this sense, lead us to think about a more just and egalitarian society.
Y a Bollullos de la Mitacion, nestled in the heart of the Sevillian Aljarafe and land that apparently cradled the mythical Pedro Lacambra (XVIII-XIX), smuggler, patron, resident in Triana and singer of seguiriyas, serrana and liviana, and the peerless Manuel Calero (1947-2024), luck has favored him –as the Councilor for Culture expressed it– with the presence of Jose Merce, whose dedication and depth have played a decisive role in the prestige of the provincial festival.
"Jerezan José Mercé confirmed that he has duende, a term that is used in a crude and dilettante way, but which, as Federico García Lorca aptly defined, alludes to the mysterious power that everyone feels and no philosopher can explain."
In the presence of the provincial deputy, Casimiro Fernandez; the mayor of the town, Clara Monrobé, along with his government team; the Festival coordinator Flamenco Elf, Pedro Chicharro, and a respectful audience that filled the capacity, the Jerez native José Mercé confirmed that he has duende, that term that is used in a crude and dilettante way, but that as he well defined Federico Garcia Lorca It alludes to the “mysterious power that everyone feels and no philosopher explains.”
That is to say, the inexplicable, such that the Granada-Malaga woman of Manuel Torre with the Malaga of The Twin presentation, blended and decisive as always, while also singing excellently afterwards in soleá, applying the variations, from Alcalá to Jerez, with a homogeneous timbre and excellent diction.
The explanation of the inexplicable could be illustrated, precisely, with the way of approaching the seguiriya cante that gives José Mercé a very demanding role, since his degree of exposure in the styles of Cagancho, The Marrurro and the cabal, is very high. I mean that, if he maintains the fall of the thirds in a fairly perceptive register, the rise of the tones does not constitute an insurmountable obstacle, as he then maintained in the fandangos, which he faced with generosity and security, standing out in those of The chocolate y Antonio de la Calza, both in the melodic connection and in the more intimate passages.
Following Lorca's theory of the duende, there is no coherent reason to reveal how his voice, gypsy and warm, was sustained in a perfect support in the Cádiz joys, to which, now gravitating with the whole group, he facilitated an impeccable intonation, without forgetting plaintive nuances that were striking, with the distinction that I underline in my notebook of the song. At dawn, Luis Eduardo Aute, presented by bulerías with expressive ambition in the face of the quality of the bass and sung by the audience, joyful in the face of a cante moving, intense, and with confident and very well-tuned high notes.
"Mercé presented a concert in Bollullos de la Mitación that was compact and incisive, with brilliant rhythms in a clear, Jerez-style, effectively highlighting the colors and nuances."
Within the existing canons, the layout of the short thirds of the genuine bulerías of Jerez was mysterious, as if expressing them with noble phrasing, but with contained pain and evident solemnity, thus marking a deep clarity and a very rhythmic pulse, especially when highlighting the dynamic contrasts and the richness of the colors of the cantethat proposes, from Juanito Mojama a Luis de la Pica, a denominator that was maintained in the popular song Air, an “encore” marked by the emphasis on rhythm, which is actually what prevails in the diversity of musical nuances.
The audience was spellbound by the fascinating and mysterious nature of the jondo offered by José Mercé, who proposed a concert in Bollullos de la Mitación planned in a compact and incisive manner, with brilliant rhythms in a clear Jerez style, effectively highlighting the colors and nuances, thus satisfying all the expectations of the public, which justifies José Mercé revaluing his prestige confirming his solidity over time.
The recital was offered within a very high-level performance framework, so the audience appreciated the dedication and applauded such a grandiloquent performance. It is obvious, however, that the duende is not exclusive to the flamenco, although all the flamencos identify him. Nor will the signatory be the one to rectify the poet of Cowboys font, when he stated that "with words, human things are expressed; with music, we express that which no one knows or can define, but which exists in everyone to a greater or lesser extent." And José Mercé has proven him right.
Credits
The Festivals Flamenco Duende, for the province of Seville
House of Culture Theater, Bollullos de la Mitación (Seville)
17th October 2025
Cante: José Mercé
Guitar: Antonio Higuero
Palmas: Chicharito, Mercedes García and Jorge Bautista
Percussion: David el Gasolina
