Writings and essays about flamenco

Category — Discographic data

Flamenco Singer Manolo Caracol’s Great Recording “Una Historia del Flamenco” – contents and comment

Twenty years ago, I wrote the following post to a flamenco mailing list. i’m adding it here because the recording is a topic of a recent blog entry on the singer Manolo Caracol.

Subj: Re: Anthology(ies) – Caracol/Melchor
To: flamenco@vm.temple.edu

Ken Parker notes his preference for Manolo Caracol’s 2-LP or 1-CD anthology called “Una Historia del Flamenco” where Caracol is accompanied by Melchor de Marchena.

Since Ken appreciates Melchor’s great toque, notably por siguiriyas, it’s worth noting that before “Una Historia del Flamenco” came out on the Clave label, it was issued stateside on two labels, Washington and Top Rank International (Top Rank had a fuzzy red velveteen jacket). But those early versions included two guitar solos by Melchor — a siguiriya, and a solea. And while Melchor is, as Jacinto notes, probably the exact opposite of a soloist (despite several solo LP’s he recorded), his playing on these “Historia” solos seems pretty impressive.

I am always in awe of Manolo Caracol’s genius. A number of singers can be gripping if you’re attuned to flamenco and looking for that quality. But I think that only Manolo Caracol and Agujetas are obviously electrifying in a palpable way, even when they aren’t at the peak moments of their performances. (This is rarefied company. Terremoto and Chocolate can be equally great, and La Niña de los Peines can overshadow them all if you count vocal chops as part of the equation. But for drop-dead power, the scary kind that made Manuel Torre the greatest Gypsy singer ever, I think Caracol’s best recordings would be a good place to start.)

Here’s the listing for the Historia.


2 Discos: Hisp HH 10-23, Hisp HH 10-24 [Precio: 710 pts.] 1958
Clave 18.1077, Clave 18.1078 1968
Hisp 0-034
√Vega VAL 19 Hispavox France
CD: Hisp 781362-2


Washington 713 714 USA
[gs]√Top Rank International RDM 1 USA

Cante: Manolo Caracol
Guitarra: Melchor de Marchena

I. Martinete “En el calabozo”; Martinete “Mis ducas no eran na”; Siguiriyas “El reniego”; Siguiryas de “El Marruro” “Mujer malina”; Siguiriyas (solo de guitarra: M. de M); Siguiriyas de Manuel Torres “De Santiago y Santa Ana”; Siguiriyas;/ Caña “Me pueden mandar”; Solea de Joaquin el de la Paula “Si yo pudiera”; Solea de Enrique el Mellizo “Tiro piedras a la calle”; Solea (solo de guitarra: M. de M.); Solea de Antonio Frijones “Al senor del baratillo”; Malagueña de Enrique El Mellizo “Soy como aquel jilguerillo”; Malagueña de Chacon “Que del nio la cogi”

II. Fandangos “Se la llevo dios”; Fandangos Caracoleras “Viva Madrid”; Fandangos de Huelva.; Taranta y Malagueña “Veneno dejaste”; Tientos “Antes de llegar a tu puerta”; Tientos Caracoleros”Cuando te vayas conmigo”;/ Saeta “Toitas las mares”; Mirabras “Debajito del puente”; Alegrías “La barca de mis amores”; Bulerías “Voz del pueblo”; Bulerías “a gorpe” [a golpe] “No quiero na contigo”; Bulerías Festeras “No quiero caudales”

As good as it gets.

Brook Zern

January 28, 2017   No Comments

Yet Another Major Collection of Flamenco – Nearly All From Don Pohren’s Finca Espartero

Frontstory: If the 46 hours of great homespun sixties flamenco mentioned yesterday in this blog (at http://soundcloud.com/quinfolk/sets/the-flamenco-tapes-recorded-by-david-k-loughran-1964-1965) isn’t enough for you, here’s a website with another 46 hours worth:


No kidding. The casts of the two collections are very similar. The Loughran material may partly predate this batch from the Finca Espartero, Don Pohren’s flamenco dude ranch where anyone could get immersed in heavy-duty music without spending years learning the ropes and paying dues. This Finca material seems to pick up where the ’64-’65 Loughran material leaves off, starting in 1966 and evidently continuing to beyond 1973. Guitarists on each collection include Diego del Gastor and and some of his gifted nephews; shared singers may include the Utrera sisters plus Perrate de Utrera, Joselero, Juan Talega, Curro Mairena, Ansonini, Manolito de la María…

Backstory: A few years ago, I found this flamencogitano.com website and later met and thanked the aficionado who made it. But I’d had the material for several years before that.

When this stuff was recorded I was often in Morón, sometimes living at town’s no-star hotel and sometimes staying at the Finca. I had tried to record some of those sessions with my new-fangled portable Norelco cassette recorder, a high-tech but lo-fi wonder of the era. Fortunately, a dedicated expert with a good open-reel machine did that invaluable work properly. About four decades later, I learned that someone else had obtained those recordings and was selling them as CD’s. I was thrilled to buy the 51 CD’s for five hundred bucks — hey, a bargain at twice the price, though not an ideal situation.

(In 1972 I wrote about the Finca for the New York Times, trying to capture the aura of the era — it’s here at http://www.flamencoexperience.com/blog/?p=463 )

I know there are serious issues surrounding the ownership and distribution of other people’s music in general, and privately-made flamenco recordings in particular. There are too many stories involving distrust, suspicion and anger. But a half-century is a long time to try and suppress great music; a lot of people who would have loved to hear this stuff have died over that period.

It never rains but it pours. Now anyone can listen to this extraordinary music for four days and nights, or even longer if one has to sleep. (And you might have to sleep — it’s an understatement to say that this music is repetitive. While Paco de Lucía often took many years to create enough guitar material for a new LP or work out a new record with Camarón, these recordings involve the same folks doing the same traditional stuff on good nights and bad nights and occasional great nights. Predictably, the sound quality varies from barely mediocre to surprisingly good.)

Note to the visually inclined: As a complement to this audio material from that amazing epoch, go to YouTube and see the scads of half-hour films in the great Rito y Geografía del Flamenco TV series of the early seventies. (I bought the first 16-millimeter film copies of a few programs in 1973, at five hundred bucks a pop, before the network vetoed further transactions. After fifteen years of begging and scheming I was allowed to pay a lot for the transfer of all the programs from film to videotape. I gave the first set to Columbia University, grabbed the second set for myself, and declined the commercial rights. My stash includes some programs that were never marketed in any of the three Spanish editions: not the poorly done Alga Editores cassette version, not the better TVE cassette version, not even the marvelous CD edition in beautiful hardcover booklets with English subtitles, enhanced video and sound and terrific commentary from the guiding light of the project, José María Velázquez-Gaztelu. I suppose my unseen programs should be put up on YouTube if it doesn’t antagonize any human beings or lawyers…)

Brook Zern

March 25, 2015   1 Comment

Flamenco Authority Juan Vergillos on Flamenco Singer Pepe Marchena, translated with comments by Brook Zern

Translator’s Note: Juan Vergillos is an admirable flamenco authority, and I’ve learned a lot from his writing and critiques. His articles, found at VaivenesFlamencos.com, are a rich resource.

He recently wrote about a massive collection of all the recordings by the famous Pepe Marchena, perhaps the most successful singer in flamenco history. It’s titled “Niño de Marchena: Obra Completa en 78 rpm”, and contains 17 CD’s and a book with text by the noted expert Manuel Martín Martín. [Note: It seems that the only recording Marchena made that wasn’t on 78’s was his impressive 4-LP set “Memorias Antológicas del Flamenco”.]

Although Pepe Marchena recorded many versions of flamenco’s most serious and venerable songs, most of his work centered on lighter styles. His approach to singing gave rise to a category, called cante bonito or “pretty song”.

Juan Vergillos’ piece, titled “Myth and Reality of el Niño de Marchena”, at one point offers a cogent summary of a crucial historical and aesthetic issue. Here’s more or less what he says:

“…El Planeta [a famed early singer of flamenco] once said of El Fillo [another legendary early singer]: “His hoarse voice is crude and no de recibo [?], and in terms of style it is neither fino [fine, elegant] nor is it from la tierra [probably meaning “not representative of how the song is properly rendered in these parts”].

Since the 1940’s or 50’s, flamencology his been built upon the idea that primitive flamenco is crudo [crude, raw], austere, essential [stripped-down, close to the bone], radical and virile. The reality, now accessible thanks to the wax cylinders recorded at the end of the 1800’s, is that flamenco of that era – that is, in its origins – is the flamenco of El Planeta [a refined vocal art]; Planeta, who certainly never sang the siguiriyas [the paradigm of deep and tragic flamenco], and of Silverio Franconetti and Antonio Chacón [also known for their clear, nearly operatic vocal styles.]. It was a flamenco atenorado [of the tenors]. In the bel canto style, fino [fine, with finesse], lyrical, full of vocal resources. And in this sense, Pepe Marchena, with others like Manuel Vallejo and Juanito Valderrama is the legitimate heir of antepasados [the true earlier tradition].

That is not to say that the flamenco of the post-Civil War era [starting in the forties, increasingly focused on rough, funky, hoarse and “primitive” vocal approaches] isn’t a marvelous invention which we can’t do without. Flamenco, as a romantic art, has has created [“encumbered”] a mythical past, an invented past and most of the present-day genealogies are no more real than the fabled, invented Ossian of McPherson.

The idea of another flamenco, crude and rough and raw and oculto [hidden from the view of outsiders] is not now a question of faith, but something that doesn’t conform to the aesthetic reality of the period. The idea reflects contemporary values that, to justify themselves, we situate in an idealized and irreal [unreal] past. Raw flamenco is irreal but that is not to say it is false. It has to do with our essence as human beings, not with our Nineteenth Century past. It has more to do with contemporary history, with the Civil Wars and World Wars of the Twentieth Century, than with our remote past.

In this sense Pepe Marchena [with his beautiful voice and finesse] is, as I’ve said, a legitimate heir of an art that, from its origins, is a mixture of elements – Gypsy, [Latin] Americans, Blacks, Asians, French, Italians and [yes] even Spaniards and Andalusians. Perhaps Marchena didn’t know this in an intellectual way, but he made it part of his living art, in his ability to join local and alien traditions in the chrysalis of his privileged throat.

Translator’s note: Well, there you have it. In the sixties, I was told that the most crucial element in flamenco was the cante jondo or deep song; that its three key forms, the martinetes, siguiriyas and soleares were essentially created by Spain’s Gypsies within the closed environment of their families over multiple generations, and that it was likely sung in the non-pretty voices of Gypsies, mostly men, in a rough way that reflected the anguish of three centuries of persecution within Spain.

This quaint notion has been entirely displaced in the last two or three decades. Now the idea of a closed or “hermetic” period of development has allegedly been disproved by the same evidence that once allegedly proved it – namely, that there is no documentary evidence that it ever happened. (Of course, if there were documentary evidence, the era wouldn’t have been closed or hermetic – remember, Gypsies weren’t big documentarians or enterprising reporters, since they couldn’t write and probably didn’t fit well into the newsroom environment. In fact, they were as distrusted and as suspect then as they are in most of Europe today — fortunately, the situation in Spain is better than in other countries.)

Today, the role of the Gypsy in flamenco is no longer seen as crucial. Admiration for Gypsy artists is often seen as the result of a mystical romantic notion that casts these outcasts as central actors rather than as bit players in the big story of flamenco, which in fact consists of dozens and dozens of forms, most of which owe little or nothing to its Gypsy population.

As for the original or “true” flamenco voices, I found it easier to believe that the typical Gypsy singers of that early era did not have bel canto voices. I have been in far too many Andalusian bars and dives amid rumbling Gypsy men to think that pretty voices were the default aesthetic. I can guarantee that they were the exception – though it’s quite possible that those few singers who had that rare quality were the most apt to sing for public audiences, and to be recorded. (As for the fancy diction that many of the cante bonito singers use – well, it’s easy to understand, but I’d rather struggle with the quasi-Spanish dialect that marks deep-south people, and especially the Gypsies of the region. To me, it’s worth it.)

So who ya gonna believe – me, or the diligent researchers and musical experts who are dictating the new rules? Well, it seems that not all great Gypsy singers fit my personal notion of how they “should” sound, and I’ll reluctantly admit than when I first heard a recording of the great Gypsy singer Tomás Pavón, I thought he was his sister, the great Pastora Pavón, “La Niña de los Peines”. For that matter, Manuel Torre, the greatest Gypsy singer of all time, didn’t sound funky and raspy enough to fit my preconceived notion the way Agujetas does, for example. (For that matter, the fabulous Robert Johnson, King of the Delta Blues Singer, also failed my “Match My Preconceptions or Else” test – his voice was too clear, not like the ragged but right Bukka White’s or Lonnie Johnson’s.)

Yes, I bring a lot of romantic baggage to flamenco, including a predilection for what García Lorca called the “sonidos negros” or “black sounds”. Sometimes it leads me into some silly-sounding stances. But I recognize my limitations and my biases – unlike the venerable opposition, that is determined to ban the word “Gypsy” from all flamenco discussion, and brooks no opposition to what they pick and choose as their own Holy Writ. (One of the new favorite singers is Juan Valderrama, son of the extraordinary Juanito Valderrama who was only overshadowed in cante bonito by Pepe Marchena himself. Juan’s latest recording is called “sonidos blancos” — as in “say it loud, I’m white and I’m proud…”)

By the way, it ain’t just us Gypsyphiles who have reservations about Pepe Marchena’s art. In the mid-sixties, our neighbor in Seville was a retired movie star and admired singer of Spanish cuplé [charming popular songs] named Antoñita Colomé, non-Gypsy but born in the Gypsy barrio of Triana where a plaque marks her birthplace and praises her fine artistry. I asked her about Marchena, whom she had worked with on many occasions, and she launched into a devastating parody of his style, violently wiggling her throat with her hand to perfectly mimic Marchena’s trademark exaggerated vibrato.

And in a 1962 interview elsewhere in this blog, the cranky and chauvinistic non-Gypsy genius Aurelio Sellés opined, “People go to flamenco concursos [contests] because it’s fashionable. And what’s worse — they dare to give opinions! I mean, people who still stink of singers like Pepe Marchena — giving opinions!”

Welcome to the minefield.

Brook Zern

March 6, 2015   2 Comments

A truly historic 6-CD recording plus DVD finally reveals the art of the guitar genius Manolo de Huelva (plus film of dancers La Argentinita and Pilar López)

Manolo de Huelva may have been the greatest flamenco guitarist of all time.

Okay, okay — we all know that title belongs to Paco de Lucía for perfecting the pre-existing virtuoso tradition around 1970 with stunning imagination and unprecedented technique, and then reconceiving the guitar concert with a jazzier ensemble sound for a broader audience. And the runner-up would be Ramón Montoya, the giant who around 1900 turned an inchoate mixture of styles and ideas into a coherent art form worthy of the name. And third place would go to Sabicas, for being the greatest flamenco virtuoso for a half-century before Paco dethroned him.  And if none of those perfectionists were the best exponents of raw power and funky punch — by one measure the central challenge of great flamenco guitar — the title would default to Melchor de Marchena, the preferred accompanist for the greatest singers in flamenco’s recorded history, or to Juan Habichuela who around 1970 took over Melchor’s role as the best backup man.  Or to the endlessly inventive Niño Ricardo, the main influence on Paco de Lucía and most other flamenco players in Spain.

Manolo de Huelva?  Well, he was determined to become the most revered flamenco player in Spain — and that’s what he did.  Between 1920 and 1975, if you mentioned his name in Spain, you would get no response.  Unless you happened to be talking to the artists at the absolute pinnacle of the tradition, the people who knew more than anyone else.  They had heard him, and that was all it took.  They spoke of him with awe, and of his playing as a thing apart and above.

Others just didn’t know, and that was how Manolo de Huelva wanted it.  He was determined to conceal his art from others, particularly other guitarists, and he did this with stunning success.  Only on rare occasions did he give other players a glimpse of his majestic accompaniment and musical creativity.

In 1963, after an astounding night of flamenco in the legendary Zambra (or was it the Villa Rosa?) in Madrid, I was generously invited to go see Manolo accompany some of that venue’s great singers, including Pepe de la Matrona.  As I was getting into one of the taxis, a guy asked to look at my hands.  He noticed my right-hand nails were longer than my left, and said I wasn’t allowed to join the group.  I started to argue, and said — not in jest — that I’d bite the long nails off.  He looked at my left hand fingertips, saw the tell-tale calluses that only come from serious practicing, and told me to scram.  He said that Manolo often inspected strangers’ hands, and might refuse to play at all if he suspected a guitarist was in or outside the roadside Venta Manzanilla where he reigned supreme.  I was just a kid, and couldn’t have retained thirty seconds of his music if he’d wanted me to, but I was still frozen out.

Ever since, I have been dreaming and scheming, hoping to hear Manolo playing at his best — as did my friend Don Pohren, the leading foreign authority on flamenco, who realized that he would never hear anyone better.  (Don also shared my admiration for the guitarist Diego del Gastor, who unlike Manolo refused to make any commercial recordings but generously allowed us devotees to make hundreds of hours of tape recordings of his solos and accompaniment.)

Manolo made a batch of 78′s before 1950, accompanying some noted singers, but it was clear that he was concealing his real art.  In the mid-seventies, I went to the Seville home of Virginia de Zayas, an American woman whose Spanish husband, Marius, had recorded the Ramón Montoya’s historic Paris sessions around 1937.  Manolo lived in her house, and she agreed to write about the man and his art for Guitar Review, the elegant New York publication of which I was the Flamenco Editor.  (You can find those three long articles in this blog by searching for “Zayas”.)  She also told me that she would arrange for me to meet Manolo the next time I was in Spain, and possibly be allowed to transcribe some of his variations or falsetas — in any event, Manolo died before that could happen.  (A double LP was later issued by de Zayas, one with Ramón’s old material and the other with some confusing snippets of Manolo de Huelva’s playing that failed to do justice to his art.)

This blog also contains a Guitar Review interview with Andrés Segovia, who — contrary to prevailing opinion — had enormous respect for what he called “true flamenco”, citing the art’s greatest female singer, La Niña de los Peines, and its greatest male singer (okay, male Gypsy singer), Manuel Torre, and heaping high praise on just one guitarist — yes, Manolo de Huelva.

Years ago, I gave up hope of ever hearing the man at his best, or learning his crucial music beyond the few fragments that were allegedly from his hand.

Earlier today, I got an email from my friend Estela Zatania, author and critic for deflamenco.com, relaying news from the noted French authority Pierre LeFranc that the important Spanish label Pasarela had published a massive 6-CD set-plus-DVD titled “Manolo de Huelva acompaña…”

And the singers he backs are formidable.  The great surprise is a batch of stuff by Aurelio de Cádiz, whose first recordings with Ramón Montoya date back to the twenties or thereabouts.  (I inherited some of those 78′s from my father, who also taught me my first flamenco licks.)   These “new” songs are a priceless addition to Aurelio’s sparsely-documented art — he always promised to make a worthy anthology but never did.  (A translation of a long interview of Aurelio appears in this blog — search for the author’s name Climent.) Other singers include Luís Caballero, an elegant singer who worked as a bellhop in the Hotel Alfonso XIII, which recently reclaimed its stature as the city’s best.  La Pompi, an important early singer and sister of the great Niño Gloria, is heard, as is the still-admired but otherwise unrecorded Rafael Pareja; finally, there’s the very significant Pepe de la Matrona with his immense knowledge — an early inspiration for Enrique Morente who as a very young artist appeared along with Pepe at La Zambra.

As for the DVD, it finally brings to light a film I’d seen long, long ago at the Museum of Modern Art and have been trying to find ever since. It shows Manolo de Huelva — or rather, it shows glimpses of his hands as he remains in shadow — as he accompanies the legendary dancers La Argentinita and Pilar López. (I actually saw it once again, at the Andalusian Center for Flamenco Documentation — then the CAF, now the CADF — around the corner from my apartment in Jerez. I even managed to sneakily record the soundtrack on my iTunes player (I had a separate mike for it). But now here it is, glorious picture and all — a true treasure for dance historians and all lovers of flamenco dance.

Decades ago, after hearing a theorbo or vihuela concert by de Zayas’s son Rodrigo, I approached him to plead and whimper that he had a duty to reveal Manolo’s music — something I had also done to Pepe Romero, the flamenco and classical guitarist whose family was evidently close to Manolo, also to no apparent avail.

Or so I thought.  Today the often fractious flamenco community is forever indebted (I presume) to Rodrigo de Zayas and that eminent family, which must be the source of those recordings that span a period from about 1940 to the mid-seventies.

Before I list the contents, let me add more backup to the claims about this man. And if a rave from Spain’s greatest classical guitarist isn’t enough, how about a rave from her greatest poet?

In his wonderful 1964 book “Lives and Legends of Flamenco” Don Pohren quoted Federico García Lorca’s appraisal of Manolo in “Obras Completas”:

“The guitar, in the cante jondo, must limit itself to keeping the rhythm and following the singer; the guitar is a base for the voice, and must be strictly subjected to the will of the singer.

“But as the personality of the guitarist is often as strong as that of the cantaor, the guitarist must also sing, and thus falsetas are born (the commentaries of the strings), when sincere of extraordinary beauty, but in many cases false, foolish and full of pretentious prettiness when expressed by one of those virtuosos…

“The falseta is now traditional, and some guitarists, like the magnificent Niño de Huelva, let themselves be swept along by the voice of their surging blood, but without for a moment leaving the pure line or, although they are maximum virtuosos, displaying their virtuosity.”

Thanks, Federico. As for Pohren’s personal opinion — and he had heard Manolo in top form — here’s his opening salvo:

“How does one begin to talk of the wondrous Manolo de Huelva? Perhaps by stating that he has quietly, semi-secretly, reigned as flamenco’s supreme guitarist for half a century? Or by stating that in the eyes of many knowledgeable aficionados and artists he has been the outstanding flamenco guitarist of all times? Truthfully, a separate volume, accompanied by tapes or records demonstrating Manolo’s evolution as a guitarist, which could only be played by Manolo himself, would be perhaps the only way to begin giving Manolo his due. This, I fear, cannot be accomplished; Manolo himself has seen to this by his elaborate, unbending covertness, his lifelong refusal to play anything that he considered to be of true value in the presence of any type of machine, often including the human.”

Pohren continues:

“Manolo especially dislikes playing when other guitarists are present. How many professional guitarists have actually heard Manolo cut loose? Very, very few, but those who have consider the occasion as having been sacred. Andrés Segovia has, and has called Manolo the greatest living flamenco guitarist. Segovia became so inspired, in fact, that he devoted a major part of a thesis to Manolo de Huelva. Melchor de Marchena has, and proclaims Manolo the greatest guitarist he has ever heard, This covers some ground, including Ramón Montoya, Javier Molina, today’s virtuosos and Melchor himself. Many singers and aficionados have, and they unanimously agree that in the accompaniment of the cante, and in the transmission of pure flamenco expression, Manolo is far off by himself.

“Just what makes Manolo’s playing so exceptional? To start with, he has the best thumb and left hand in the business. He is flamenco’s most original a prolific creator. He has a vast knowledge of flamenco in general and the cante in particular, which causes his toque to be unceasingly knowledgeable and flamenco. He is blessed with the same genius and duende that separated Manuel Torre from the pack; as was the case with Torre, when Manolo de Huelva becomes inspired he drives aficionados to near-frenzy, striking the deepest human chords with overwhelmingly direct force.

“As is so rarely the case, Manolo’s playing, when he is truly fired up, is truly spontaneous; he plays from the heart, not the head. His toque is full of surprises, of the unexpected. His manipulations of the compás are fabulous, his lightning starts and stops at once profound and delightful. His is a guitarist (this is important) impossible to anticipate – his genius flows so spontaneously that often not even Manolo knows what is coming next…

“By the time he reached his twenties, his toque was mentioned with awe in the flamenco world. He had everything: a naturally flawless compás that was equaled by no one, a driving, extremely flamenco way of playing, great duende, and the sixth sense that permitted him to anticipate the singers, without which an accompanist is lost. Cantaores began calling Manolo first, before Javier or Ramón or any of the others. Soon Manolo was known as the top man…

“Sabicas once invited him to join in a record of guitar duets. Manolo felt highly insulted, firstly because Sabicas should consider himself in the same class, and secondly that he should be propositioned to play such nonsense as guitar duets, On the other hand, upon asking Manolo whom he liked best of the modern guitar virtuosos, he instantly replied that Sabicas has the best compás in the business (next to his own). This is as far as he would commit himself.

“Technically, Manolo relies on his blindingly fast and accurate thumb and left hand for most of the astounding effects he achieves. His entire right-hand technique is subordinate to his thumb: that is to say, his right hand is held in such a a posture as to give he thumb complete freedom of movement. When he wishes, his picado is unexcelled and his arpeggios are sound, though he uses them sparingly. Little is known of his tremolo, as he holds this flowery technique in great contempt.

“The Gypsies like to believe that flamenco surges exclusively through their veins. It is impossible to explain that environment is what counts (were it not, someone would long ago have begun selling pints of Gypsy blood to payo [non-Gypsy] aspirants.)…Generally speaking, Manolo is above being included in the eternal rivalry. Knowledgeable Gypsies and non-Gypsies alike hold him supreme.”

End of Pohren’s appraisal. And now, without further ado, here’s what you’ll find in this new revelation. And no, I haven’t heard it yet — but I’ve ordered it. I know it may be just another perversely elaborate tease, where this strange man again conceals his true art.

But I prefer to believe that we will hear the real Manolo de Huelva — finally, and at long, long. last.

Note from a few days later: But wait!! I suspected there might be some glitches or problems with this project, but assumed it would be with Manolo’s customary refusal to reveal his best playing. Instead, the first problems are with the attributions of songs to singers. According to the expert Antonio Barberán, there are only a few songs by the great Aurelio (though some are very important). Some stuff attributed to him is by Manuel Centeno, another noted singer, while he may not do any of the many saetas or sevillanas attributed to him. (It had surprised me that Aurelio would record these songs — the sevillanas seems too trivial, and the religious saetas just don’t seem to be his thing.) So ignore those glitches — I’ll fix the notes when the experts have had their say. Here are those problematic attributions, most correct but many just plain wrong:

Note from a few weeks later: But wait!!! I have received my copy and changed the entries below to reflect my notions of who is singing — followed by the original attributions in brackets and quotation marks. Fire fights have broken out on some insider websites such as Puente Genil con el Flamenco, but the dust is settling.

Here is the latest version — a few more attributions might be revised in the future. And again: minor glitches aside, this is a wonderful contribution to the world’s treasury of flamenco, made possible thanks to Sr. de Zayas and the de Zayas family.

CD 1:

Siguiriyas “Mi ropa tengo en venta”
Luisa Ramos Antúnez “La Pompi” con Manolo de Huelva  4:29

Bulerias “Cuando me daba” (truncada) 0:47
Luisa Ramos Antúnez “La Pompi” con Manolo de Huelva  4:29

Bulerías “Cuando me daba” (entera) 3:45
Luisa Ramos Antúnez “La Pompi” con Manolo de Huelva  3:45

Bulerías “A mi me duele”
Luisa Ramos Antúnez “La Pompi” con Manolo de Huelva  1:52

Bulerías “A mi me sigue”
La Gitanilla con Manolo de Huelva  2:01

Bulerías “Que cosita mas rara”
La Gitanilla con Manolo de Huelva  2:55

Manolo de Huelva, guitarra; La Gitanilla, palmas  1:29

Siguiriyas falseta  0:37
Manolo de Huelva, guitarra

Malagueñas “Que te quise y que te quiero”  2:12
Manuel Centeno con Manolo de Huelva

Malagueñas “Que te pueda perdonar”  2:42
Manuel Centeno con Manolo de Huelva

Malagueñas “A que tanto me consientes”  4:53
Manuel Centeno con Manolo de Huelva

Soleá  3:53
Manolo de Huelva, guitarra

La Caña  3:22
Manolo de Huelva, guitarra

Soleá  3:58
Manolo de Huelva, guitarra

CD 2

Malagueñas “Más bien te agradecería” 7”14 [empieza con afinación de guitarra]
Luís Caballero con Manolo de Huelva

Malagueñas “A veces me ponía”  2:56
Luís Caballero con Manolo de Huelva

Malagueñas “Allí fueron mis quebrantos”  3:28
Luís Caballero con Manolo de Huelva

Tarantas “Viva Madrid que es la corte”  6:36
Luís Caballero con Manolo de Huelva

Alegrías “A mí que me importa”  5:32
Luís Caballero [?] con Manolo de Huelva

Soleá “Hay pérdidas que son ganancias” 7:40
Luís Caballero [?] con Manolo de Huelva

Siguiriyas “Morena tienes la cara”  8:13
Luís Caballero [?] con Manolo de Huelva

CD 3

Alegrías “Ya te llaman la buena moza”  4:29
Aurelio de Cádiz con Manolo de Huelva

Fandangos “Llévame pronto su puerta”  3:56
Aurelio de Cádiz con Manolo de Huelva

Saeta “En el patrocinio”  1:56
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Fandangos “La que me lavó el pañuelo”  1:41
Aurelio de Cádiz con Manolo de Huelva

Saeta “Con paso firme”  1:41
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Fandangos “Al cielo que es mi morada” (a duo)
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Saeta “Silencio, pueblo cristiano”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Fandangos “Ay, sereno!”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Saeta “Dios te salve, María”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Malagueñas “Bien sabe Dios que lo hiciera”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Saeta “No vale tanto martirio”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Malagueñas “Ni que a la puerta te asomes”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Saeta “Pare mío esclareció”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Malagueñas “Y a visitarte he venío”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Bulerías “A mí no me hables”
Aurelio de Cádiz con Manolo de Huelva

Malagueñas “La torrente”
Aurelio de Cádiz con Manolo de Huelva

Solea “A Dios le pido clemencia
Aurelio de Cádiz con Manolo de Huelva

Tangos “De cal y canto y arena”
Aurelio de Cádiz con Manolo de Huelva

Solea “Las campanas del olvío”
Aurelio de Cádiz con Manolo de Huelva

Tangos “Yo te tengo que querer”
Aurelio de Cádiz con Manolo de Huelva

Sevillanas “Seré por verte”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Sevillanas “Es tanto lo que te quiero”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Sevillanas “Mi moreno me engañó”
Unknown ["Aurelio de Cádiz"] con Manolo de Huelva

Tanguillos “Yo tengo una bicicleta”
Aurelio de Cádiz [?] con Manolo de Huelva

CD 4

Bulerías “Al campo me voy a vivir”  3:52
Felipe de Triana con Manolo de Huelva

Siguiriyas “Que no me mande cartas”  9:18
Felipe de Triana con Manolo de Huelva

Soleá “Que tenga mi cuerpo”  5:43
Felipe de Triana con Manolo de Huelva

Siguiriyas “Contemplarme a mi mare, que no llore más”  8:12
Felipe de Triana con Manolo de Huelva

Soleá con Polo “Eres el Diablo”  5:36
Rafael Pareja con Manolo de Huelva

Malagueñas “Cuando yo esperaba” 3:17
Rafael Pareja con Manolo de Huelva

Soleá “Porque faltó el cimiento”  3:22
Rafael Pareja con Manolo de Huelva

Soleá “Que te salvó la vida”  4:05
Rafael Pareja con Manolo de Huelva

Soleá con Polo “Eres el Diablo”  6:18
Rafael Pareja con Manolo de Huelva

Siguiriyas “Como hiciste tú conmigo”  1:39
Rafael Pareja con Manolo de Huelva

CD 5

Solea “En feria de Ronda”  12:06
Pepe de la Matrona con Manolo de Huelva

Soleá “Que bonita era”  4:55
Pepe de la Matrona con Manolo de Huelva

Soleá “Redoblaron”  2:48
Pepe de la Matrona con Manolo de Huelva

Siguiriyas “Ventanas a la calle”  8:21
Pepe de la Matrona con Manolo de Huelva

Tangos “Estabas cuando te vi”  6:58
Pepe de la Matrona con Manolo de Huelva

Peteneras “Compañera de mi alma”  9:52
Pepe de la Matrona con Manolo de Huelva

Siguiriyas “A la Virgen de Regla”  6:45
Pepe de la Matrona con Manolo de Huelva

CD 6

Soleá “La Babilonia” 1:32
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá Petenera  1:29
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá Apolá  2:16
Manolo de Huelva, guitarra, anuncia y acompaña

Polo Natural  2:22
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá “Le dijo el tiempo el querer”  1:54
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá “A una montaña”  1:32
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá “Una rosa que fue mía”  1:34
Manolo de Huelva, guitarra, anuncia y acompaña

El Polo de Tobalo  2:30
Manolo de Huelva, guitarra, anuncia y acompaña

Solea “No todavía” 1:20
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá “Los pájaros son clarines”  1:32
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá “Toquen a rebato las campanas del olvío”  1:53
Manolo de Huelva, guitarra, anuncia y acompaña

Soleá “Con mirarte solamente, comprenderás que te quiero”  2:14
Manolo de Huelva, guitarra, anuncia y acompaña

La Caña  4:14
Manolo de Huelva, guitarra, anuncia y acompaña

Siguiriyas “Mi ropa tengo en venta 2:42
Manolo de Huelva, guitarra, anuncia y acompaña

Macho de la Serrana 3:20
Manolo de Huelva, guitarra, anuncia y acompaña

Bulerías “Cante corto de Jerez” 2:32
Manolo de Huelva, guitarra, anuncia y acompaña

Siguiriyas “Mi ropa tengo en venta 2:42
Manolo de Huelva, guitarra, anuncia y acompaña

Macho de la Serrana 3:20
Manolo de Huelva, guitarra, anuncia y acompaña

Bulerías “Cante corto de Jerez” 2:32
Manolo de Huelva, guitarra, anuncia y acompaña


Sevillanas – introducción
Argentinita y Pilar López, baile; Manolo de Huelva, guitarra

Argentinita, baile; Manolo de Huelva, guitarra

Argentinita y Pilar López, baile; Manolo de Huelva, guitarra

Tangos de Cadiz “Dos Tangos de Cadiz”
Argentinita, baile; Manolo de Huelva, guitarra

“Canción” [?] “Hermanito de mi corazón” o “Tango del escribano”
“Cádiz, tacita de plata, es un verdadero encanto”
Manolo de Huelva, guitarra [?]

Alegrías – alternando ralentí sincronizado
Argentinita, baile. Manolo de Huelva, guitarra

Manolo de Huelva, guitarra, con palmas y pitos

La Caña “A mí me pueden mandar”
Argentinita, baile; Manolo de Huelva, guitarra

Here’s the Pasarela url with buying info:


Brook Zern

January 5, 2015   5 Comments

Fernando Quiñones on Diego del Gastor (again) – translated by Brook Zern

Thanks to Froilan for submitting a scanned text from an unnamed book written by the noted Cadiz writer Fernando Quiñones.  (Note that Quiñones was widely noted and well regarded as an author, in addition to his well-respected work as a pioneer flamencologist.)

The text dealt with our favorite bugaboo, Diego del Gastor.  Froilan says the scanner made some silly errors.  Worse yet, I have trouble with the wide and subtle vocabulary and have sometimes resorted to guesses or approximations — so my shoddy translation should be even more suspect than usual and corrections will be welcome:

Chapter 49 – Diego del Gastor

“In ’66, trailed by a truck loaded with Catalan technicians, José Manuel Caballero [Bonald] went from the South of Spain on up, recording the memorable “Archivo del Cante Flamenco”, finding things from the most out-of-the-way places.  I accompanied him on two of those field trips.

In Morón de la Frontera, where the plains recall the equestrian shades of the [local] poet Fernando Villalón who combined aspects of bullfighter and bull-breeder (as poet Rafael Albertí portrays him), we arrived at the appointed time.  The first task was to recoup our strength in a bar, with a dish of noodles and a tapa of spinanch with beans…

Our man appeared by the second cup.  The guitarist Diego del Gastor, the pure exponent of a toque (style) that is both personal and classic at the same time, and who afterwards would leave a school rich with falsetas that were as serendipitous in invention as they were undocumented on recordings.

He was well on in years, white-haired, svelte and erect in his black suit, with the bearing of a true gentleman, a quick glint in his eye, a simple and elegantly thoughtful air bespeaking a discreet sensitivity.  Somehow, thanks to something within this Gypsy, we were — improbably enough — reminded of someone as distant from him as anyone could be:  Sir Bertrand Russell, who is also described in the pages of this work.

Among the serious artists sought out for the Archivo recordings, there were many whose bearing and manner fit the popular image of simple, rough-edged and sometimes dissolute folks: La Piriñaca in Jerez, Santiago Donday in Cadiz, [Manuel] El de Angustias in Utrera or, in Alcala de Guadaira, the ineffable Manolito del de María.  But this Diego del Gastor — well, he was something else again.

In this humble social setting, he seemed to shine with a different light.  This man from el Gastor (a tiny town in the mountains behind Cadiz, from which he was taken while still young to Morón de la Frontera) — was he not a gentleman in every sense of the word, possessing a concentrated education and deep knowlege?

My techological illiteracy meant I didn’t know if it were possible to make an important recording outside of a studio in the 1960′s.  What I did know was that very few if any had been made in an alcove off a small bedroom, with the recording engineers on the bed and the cables attached to naked light bulb outlets.

There was no choice but to arrange ourselves against these thin walls — all of us including the director, the artists, assistants, some friends and relatives, the technicians and — inexcusably or inexplicably — a Yankee from the unwanted Morón Air Base with his wife and his friend or paramour in a situation radiating the tension of such triangles.  And so there we were, the whole bunch, in a scene straight out of the Marx Brothers “A Night at the Opera”.

Yet oddly enough, given the level of chaos, the recordings would turn out well, thanks to the great Diego del Gastor and the much less great [“macho menus grande“, (sic) presumably “mucho menos grande“] singer Joselero, the brother-in-law of the maestro and, like him, a Gypsy.

Our initial impression of the music and the character of Diego del Gastor only grew stronger throughout the night — perhaps the only night (and please excuse this unfortunate and egotistical aside) in which I myself sang, after the real task had been completed but while the atmosphere and the wine still pervaded that tight little place.

In truth, one couldn’t really remember what happened, except the look of surprise on the faces, the mottled aspect of Joselero, the taste of the cante, and the intensely concentrated pleasure of Diego del Gastor, who lost his circumspect air at one point and joined me, cheek to jowl, for a few funky bulerias in their own special rhythm.

And that’s the way it was — “resbalaitas” [life's little slips and blunders??]…”

End of translation.

Note that Fernando Quiñones described this same magic night when he wrote an obituary for Diego del Gastor in Blanco y Negro in July of 1973, which appears elsewhere in this blog.  We learn that Quiñones also profiles Bertrand Russell in the same book, which helps explain why the image of the philosopher from Cambridge sprang to his mind when he saw Diego, the philosopher from Life Itself.

Brook Zern

February 11, 2014   No Comments

Archivo del Cante Flamenco (1967 Vergara release) available on CD’s – Discographic data compiled by Brook Zern

A previous blog entry translated the booklet by J.M. Caballero Bonald that accompanied the monumental Archivo del Cante Flamenco, released as six LP’s in 1967 and released in the U.S. as a five-LP set on Murray Hill, a cheap American label, and again on Everest in 1974 — each without such detailed notes.

Here are the contents as they appeared on the six Vergara LP’s.  The set may now be available on CD’s.

That data is followed by the contents of an expanded version (10 LP’s, later reissued as 4 CD’s).

First, the Vergara LP data:


6 Discos: Vergara 13.001, Vergara 13.002, Vergara 13.003, Vergara 13.004, Vergara 13.005, Vergara 13.006   1967


5 Discs: Murray Hill S-4360  USA – Also: 5 Discos: Everest 3396   1974    USA

I.  Cantes Primitivos – Grupo de las Tonas:  Mart-Carcelera (Juan Talega); Tona Chica y Mart (Jose Menese); Debla (Rodolfo Parrita); Mart (Tia Anica la Pirinaca); Tona Liturgica (Montesino el Lobo); Mart y Cambio de Tona (Jose Romero Pantoja); Corrida [Corrido] (Jose Reyes el Negro); Tona Grande (Rodolfo Parrita);/ Cantes Primitivos – Grupo de las Siguiriyas:  Sig de Diego el Marruro y [Sig del] Loco Mateo (Tia Anica la Pirinaca w/Parilla de Jerez); Sig de Paco La Luz y [Sig de] Manuel Cagancho (Juan Talega w/Eduardo de la Malena); Sig de Joaquin La Cherna y Cabales del Fillo (Jose Menese w/Pedro el del Lunar); Sig de Manuel Torre (Francisco Mairena w/M. de Marchena)

II. Sig de su padre Manuel [Sig de Manuel Torre] (Tomas Torre w/Eduardo de la Malena); Sig Cruzadas de [Sig de] Curro Dulce y [Sig] de Diego el Marruro – remate de Tona (Luis Torres Joselero w/Diego el del Gastor); Sig de Paco la Luz y [Sig] de Francisco la Perla (El Perrate de Utrera w/Eduardo de la Malena); Sig Cruzadas de [Sig de] Jerez (Juan Romero Pantoja w/Luis Morales);/ Cantes Primitivos – Grupo de las Soleares:  Sol de Joaquin el de la Paula (Manolito de la Maria w/Fernandez el Negro); Sol de Merced la Serneta y [Sol de] Juaniqui (Fernanda de Utrera w/Eduardo de la Malena); Sol de Alcala (Juan Talega w/Eduardo de la Malena); Sol de Jerez y [Sol de] Lebrija (Tia Anica la Pirinaca w/Parilla de Jerez)

III. Sol de Antonio Frijones (Jose Menese w/Pedro el del Lunar); Sol de Triana (Luis Torres Joselero w/Diego el del Gastor); Sol de Cadiz (Pericon de Cadiz w/Pedro el del Lunar); Sol de Utrera (Manuel el de Angustias w/Eduardo de la Malena); Sol de Cordoba (Jose Moreno Onofre w/Jose Morales);/ Sol de Joaquin el de la Paula y [Sol de] Enrique el Mellizo (Tomas Torre w/Eduardo de la Malena); Sol de Juan Breva y [Sol del] Tenazas de Moron (Fernando Montoro w/Luis Pastor); Sol de Alcala y [Sol de] Utrera (El Perrate de Utrera w/Eduardo de la Malena); Sol Cruzadas de [Sol de] Jerez (Manuel Borrico w/Parilla de Jerez); Sol Cruzadas de [Sol de] Alcala y [Sol de] Jerez (Santiago Donday w/Nino de los Rizos)

IV.  Cantes Derivados – Grupo de Directa Vinculacion con los Cantes Primitivos:  Polo y Sol Apola (Juan el Lebrijano w/Antonio Arenas); Cana (Amos Rodriguez w/Benitez de Alcala; Liviana Grande y Cambio de Maria Borrico (Manuel el de Angustias w/Eduardo de la Malena); Liviana Chica y Serrana (Luis Caballero w/Antonio de Sanlucar); Saeta de la Monica (Antonio Almendrita); Saeta del Gloria (Jeronimo el Abajao); Saeta de Puebla de Cazalla (Montesino el Lobo); Saeta de Arcos (Manuel Zapata)/ Tientos (Rafael Romero w/Pedro el del Lunar); Tangos (Luis Torres Joselero w/Diego el del Gastor); Bul de Cadiz (Manolito el de la Maria w/Fernandez el Negro); Bul de Jerez (Tia Anica La Pirinaca w/Parilla de Jerez); Bul de Utrera (Bernarda de Utrera w/Eduardo de la Malena); Alborea (Luis Torres Joselero w/Diego el del Gastor); [Fand Gitanos (Fernanda de Utrera)]

V.  Cantes Derivados – Grupo de Directa Vinculacion con los Cantes Primitivos - Cantinas y Estilos Gaditanos:  Aleg [y Romera] (Pericon de Cadiz w/Pedro el del Lunar); Aleg de Espeleta (Amos Rodriguez w/Joaquin de Parada); Mirabras (Juan el Lebrijano w/A. Arenas); Romeras (Maria Vargas w/Paco Cepero y Paco de Antequera); Cantinas del Pinini y Estribillos de Aleg (Luis Torres Joselero w/Diego el del Gastor); Caracoles (Antonio Almendrita w/Nino de los Rizos); Tangos de Cadiz (Pericon de Cadiz w/Pedro el del Lunar); Aleg de Cordoba (Jose Moreno Onofre w/Jose Morales);/ Cantes Derivados – Grupo de Fandangos Malaguenos:  Jaberas (Juan el Lebrijano w/A. Arenas); Rondenas (Rafael Romero w/Pedro el del Lunar); Bandola (Angel de Alora w/Paco el de la Isla); Mal de Enrique el Mellizo (Pericon de Cadiz w/Pedro el del Lunar); Mal de Fernando de Triana, [Mal de] Francisco Lema Fosforito, [Mal de]  La Trini y [Mal de] Perotas (Angel de Alora w/Paco el de la Isla); Mal de Antonio Chacon [Mal de Chacon] (Luis Caballero w/Antonio Sanlucar); Fand de Lucena (Jose Moreno Onofre w/Jose Morales); Verdiales de Juan Breva (Angel de Alora w/Paco de la Isla)

VI.  Cantes Derivados – Grupo de Fandangos Levantinos y Onubenses:  Taranto de Almeria (Jose Menese w/Pedro el del Lunar); Taranto de Manuel Torre (Antonio Calzones w/Antonio de Sanlucar); [Taranta (M. Zapata w/___)]; Taranta de las Minas (Luis Caballero w/Antonio de Sanlucar); Cart (Juan el Lebrijano w/A. Arenas); Gran (Luis Caballero w/Antonio de Sanlucar); Fand de H. (Maria Vargas w/Paco Cepero y Paco Antequera); Villancicos Flamencos (Amos Rodriguez w/Benitez el de Alcala);/ Grupo de Variantes Oriundas de Distintos Cancioneros Populares:  Sevillanas Rocieras (Rafael Ruiz y Antonio Romero (Antonio Maravilla…); Garrotin (Rafael Romero w/Pedro el del Lunar); Petenera Corta y [Petenera] Larga (Pericon de Cadiz w/Pedro el del Lunar); dFarruca (Rafael Romero w/Pedro el del Lunar); Guajira (Jose Moreno Onofre w/Jose Morales); Tanguillos de Piyayo (Angel de Alora w/Paco de la Isla); Rumbas Flamencas (Juan Barcelona y Merced de la Paula w/Benitez el de Alcala)

It seems this anthology subsequently came out in an expanded version that ran to ten LP’s, which was then issued on 4 CD’s.  Here’s the CD info — note that artists whose name is followed with an asterisk are probably later additions (“nuevas aportaciones”) and that most or all of them were not recorded in the field, but rather in studio sessions:


Produccion de: Ariola Eurodisc, S.A.; Dirigida y realizada por: J.M. Caballero Bonald

10 Discs: Ariola _____ 1987

4 CD’s: Ariola 9P 353033   _____

Cante: Manuel Agujetas* (Alboreas, Aleg y Cantinas, Bul, Cabales, Corrido Gitano, Mart, Romeras, Sig y Cambio, Tangos Gitanos); Angel de Alora (Tanguillos del Piyayo); Manuel de Angustias (Liviana Grande y Cambio, Sol de Utrera); Beni de Cadiz* (Aleg, Cart, Mart, Tangos); Tio Gregorio “Borrico” (Sol de Paco la Luz); Luis Caballero (Gran, Liviana Chica y Serrana, Mal de Chacon); Diego Clavel* (Aleg, Cana, Debla y Mart, Sig, Tangos); Santiago Donday (Sol de Jerez y [Sol de] Alcala); Luis Torres Joselero (Alboreas, Sol de Triana, Tangos Gitanos); Juan Pena Lebrijano (Cart, Jaberas, Mirabras, Polo y Sol Apola); Antonio Mairena* (Cantinas, Cantinas y Romeras, Caracoles, Corrido Gitano, Liviana Grande y Cambio, Mal del Mellizo, Sig de Paco la Luzy [Sig de] el Loco Mateo, Tonas, Tangos, Tanguillos de Cadiz); Francisco Mairena (Sig de Manuel Torre); Manolito de Maria (Bul de Cadiz, Sol de Joaquin el de la Paula); Jose Menese (Sig de Joaquin la Cherna y Cabales), Sol de Frijones, Tarantos, Tona y Mart); Montesino el Lobo (Tona liturgica); Jose el Negro (Giliana-Romance Gitano); Pericon de Cadiz (Aleg, Mal del Mellizo, Petenera, Tangos de Cadiz); Perrate de Utrera (Sol de Alcala y [Sol de] Utrera); Tia Anica la Pirinaca (Bul de Jerez, Mart, Sig del Marrurro y [Sig de] el Loco Mateo, Sol de Jerez y [Sol de] Lebrija; Rafael Romero (Farruca, Garrotin, Rondena, Tientos); Juan Romero Pantoja (Bul); Manuel Soto Sordera* (Aleg, Bamberas, Bul, Bul por Sol, Campanilleros, Cantinas, Fand de H., Romeras, Tangos Gitanos, Tientos-Tangos); Juan Talega (Mart-Carcelera, Sig de Paco la Luz y [Sig de] Manuel Cagancho), Sol de Alcala); Fernando Terremoto* (Bul de Jerez, Cana, Fand Gitanos, Mal, Sig, Sol de Jerez, Tangos de Jerez, Tarantos); Tomas Torre (Sig de su padre Manuel [Sig de Manuel Torre]; Turronero* (Bamberas, Bul, Romeras, Tarantos, Tientos, Verdiales); Bernarda de Utrera (Bul de Utrera); Fernanda de Utrera (Bul, Fand Gitanos, Sol de la Serneta y [Sol de] Juaniqui); Maria Vargas (Romeras); Manuel Zapata (Saeta de Arcos)

Guitarras: Eduardo de la Malena, Diego del Gastor, Paco Cepero, Manuel ”Morao”, y otros.

Vol 1: Tangos “Por horas y momentos” (Antonio Mairena w/Melchor de Marchena); Sol de Alcala “A quien le contare yo” (Juan Talega w/Eduardo de la Malena); Aleg “Que bonita esta la fuente” (Pericon de Cadiz w/Perico el del Lunar); Mart “Por cumplir con Dios” (Tia Anica la Pirinaca); Farruca “Una farruca en Galicia” (Rafael Romero w/Perico del Lunar); Cabales “Moritos a Caballo” (Agujetas w/Parilla de Jerez); Mirabras “A mi me importa” (Juan Pena el Lebrijano w/Antonio Arenas); Sig “Siempre por los rincones” Fernando Terremoto w/Manuel Morao); Bul de Utrera “Como loca me sale” (Bernarda de Utrera w/Eduardo de la Malena); Sol “Estan tocando a rebato” (Tio Gregorio Borrico w/Parilla de Jerez); Cantinas “El barquito que en el mar” (Antonio Mairena w/Melchor de Marchena); Tientos-tangos “Me fui detras de los mios” Manuel Soto Sordera w/Jose Molero); Polo y Sol Apola “Yo he comprao tres punales” (Juan Pena el Lebrijano w/Antonio Arenas); Aleg “Lo van a prende manana” (Beni de Cadiz w/Manolo Brenes); Sig y Cambio “Como cosita mia” (Manuel Agujetas w/Parilla de Jerez); Tarantos “Donde estar ese muchacho” (Fernando Terremoto w/Manuel Morao); Sol de Alcala y [Sol de] Utrera “Por el habla de la gente” (Perrate de Utrera w/Eduardo de la Malena); Corrido Gitano ”Se levanto el conde nino” (Antonio Mairena w/Melchor de Marchena)

Vol. 2: Sig y Cabales “Dia grande” (Jose Menese w/Perico el del Lunar); Romeras “Temprano se arrecogen” (Manuel Soto Sordera w/Paco Cepero); Debla y Mart “A estas horas quien sera” (Diego Clavel); Tangos “Cuando te veo venir” (Fernando Terremoto w/Manuel Morao); Mal del Mellizo “A mi me da sentimiento” (Antonio Mairena w/Melchor de Marchena); Sol de Triana “Me juzgan consejo de guerra” (Luis Torres Joselero w/Diego del Gastor); Mart “Lo amarraban por las manos” (Manuel Agujetas); Bul “Olivares del Campo” (El Turronero); Gran ”Serrana, que te olvidara” (Luis Caballero w/Antonio de Sanlucar); Bamberas ”Con una soguita al cuello” (Manuel Soto Sordera w/Paco Cepero); Sig de Manuel Torre “Que dobles fatigas” (Francisco Mairena w/Eduardo de la Malena); Bul de Jerez “Por lo que yo voy mirando” (Fernando Terremoto w/Manuel Morao); Sol de Jerez y [Sol de] Alcala “Tu me ibas a sopla” (Santiago Donday w/Nino de los Rizos); Alboreas “Grandes voces se escuchaban” (Manuel Agujetas w/Parilla de Jerez); Tona y Mart “Fue Sentenciao Juan Garcia” (Jose Menese); Caracoles “El Puente de Triana” (Antonio Mairena w/Melchor de Marchena); Sig ”Descanso a mi cuerpo” (Diego Clavel w/Pedro Pena y Manolo Brenes); Cantinas ”Verdades como punos” (Manuel Soto Sordera w/Jose Molero)

Vol. 3: Sig de Paco la Luz y Manuel Cagancho “Sintiendo estaban las piedras” (Juan Talega w/Eduardo de la Malena); Tangos Gitanos “La Virgen va caminando” (Luis Torres Joselero w/Diego del Gastor); Garrotin “Si fueras gitana pura” (Rafael Romero w/Perico el del Lunar); Liviana Grande y Cambio “Cuesta unsento” (Antonio Mairena w/Melchor de    Marchena); Tangos “Como el carbon en la sierra” (Diego Clavel w/Pedro Pena y Manolo Brenes); Sol de Jerez “Con intencion de dejarme” (Fernando Terremoto w/Manuel Morao); Mart “Por cisco a la fundicion” (Beni de Cadiz); Aleg y Cantinas “Que desgraciaito fuiste” (Manuel Agujetas w/Parilla de Jerez); Peteneras “Al pie de un pozo seco” (Pericon de Cadiz w/Perico de del Lunar); Tanguillos del Piyayo “El preso cuenta los dias” (Angel de Alora w/Paco de la Isla); Sig de su padre Manuel [Sig de Manuel Torre] “Se me acabo el gusto” (Tomas Torre w/Eduardo de la Malena); Bul por Sol “Voy como se fuera preso” (Manuel Soto Sordera w/Paco Cepero); Fand Gitanos “Me entregaste con tus manos” (Fernando Terremoto w/Manuel Morao); Romeras “Romera, ay mi romera” (Maria Vargas w/Paco Cepero y Paco Antequera [Paco de Antequera]; Verdiales “Saltan por estos vallaos” (El Turronero w/Paco Cepero); Tangos “En el querer no hay locura” (Manuel Agujetas w/Parilla de Jerez); Tarantos “A la huerta del soltillo” (Jose Menese w/Perico el del Lunar)

Vol. 4.: Sol de Jerez y Lebrija “Que malina era tu madre” (Tia Anica la Pirinaca w/Parilla de Jerez); Tangos “Con lo poquito que habia” (Manuel Soto Sordera w/Manuel Moraito y Jose Molero); Cana “El pensamiento me anima” (Fernando Terremoto w/Manuel Morao); Corrido Gitano “Cuatrocientos son los mios” (Manuel Agujetas w/Parilla de Jerez); Liviana Chica y Serrana :”De quien son esos machos” (Luis Caballero w/Antonio de Sanlucar); Sol de Utrera “Son cuatro puntalitos” (Manuel de Angustias w/Eduardo de la Malena); Saeta de Arcos “Sale de San Agustin” (Manuel Zapata); Cart “A los pies de un soberano” (Juan Pena el Lebrijano w/Antonio Arenas); Fand. de H. “Caballo que a treinta pasos” (Manuel Soto Sordera w/Manuel Moraito y Jose Molero); Sol de Frijones “Hay lenguas en esta calle” (Jose Menese w/Perico el del Lunar); Bamberas “Subi por la verita” (El Turronero w/Paco Cepero); Rondenas “Pa acabarlo de criar” (Rafael Romero w/Perico el del Lunar); Bul de Utrera “Te pido un favor” (Fernanda de Utrera w/Eduardo de la Malena); Sol de Joaquin el de la Paula “El pano fino en la tienda” (Manolito de Maria w/Fernandez el Negro); Jaberas “Antes de que cante el gallo” (Juan Pena el Lebrijano w/Antonio Arenas); Campanilleros “A la puerta” (Manuel Soto Sordera w/Manuel Moraito y Jose Molero); Sig de Marruro y [Sig de] el Loco Mateo “Que desgracia es la mia” (Tia Anica la Pirinaca w/Parilla de Jerez); Tientos “Al empezar la calo” (El Turronero w/Paco Cepero)

End of discographic data on Archivo del Cante Flamenco.

– Brook Zern

November 8, 2011   1 Comment