Writings and essays about flamenco

Category — Flamenco on Film

A revised version of the programs in the “Rito y Geografía del Flamenco” film series with images from the 86 currently viewable on YouTube

BELOW IS AN UPDATED COMPILATION OF 96 EPISODES OF THE “RITO Y GEOGRAFIA DEL FLAMENCO” SPANISH TELEVISION SERIES BROADCAST BETWEEN OCTOBER 1971 AND OCTOBER 1973. THE 86 VIEWABLE EPISODES ARE EACH IDENTIFIED BY A SCREEN SHOT FROM THE SHOW, AT THE TOP OF WHICH IS SEEN THE NAME OF THE PROGRAM (IT ALSO APPEARS IN TINY PRINT ABOVE THE SCREENSHOT). TEN OTHER SHOWS THAT AREN’T YET VIEWABLE ON YOUTUBE ARE LISTED AFTER THE SCREENSHOTS. IT IS LIKELY THAT THREE MORE EXISTING EPISODES ARE NOT NAMED HERE.

IT’S OFTEN SAID THAT 100 OF THESE HALF-HOUR BLACK-AND-WHITE PROGRAMS WERE MADE, THOUGH AT LEAST ONE — ON THE GUITARIST SABICAS — DOESN’T EXIST AND MAY NEVER HAVE EXISTED.

THE FIRST GROUP INCLUDES 70 WITH ENGLISH SUBTITLES. THE SECOND GROUP INCLUDES 16 IN A SPANISH-ONLY VERSION. EACH GROUP IS IN ALPHABETICAL ORDER.

TEN OTHER KNOWN PROGRAMS ARE NOT YET VIEWABLE ON YOUTUBE. (THAT LIST APPEARS AFTER THE IMAGES, ALSO IN THAT TINY PRINT). THE LOCATION OF MOST ARE KNOWN AND EFFORTS ARE UNDERWAY TO MAKE THEM AVAILABLE ON YOUTUBE,

BEYOND THOSE 96 PROGRAMS, IT IS LIKELY THAT ONLY THREE MORE EXIST FOR A TOTAL OF 99 PROGRAMS. THE NAMES OF THOSE THREE PROGRAMS ARE BEING SOUGHT.

(NOTE: THE ALPHABETICAL ORDER USED HERE CAN MAKE IT MUCH EASIER TO DETERMINE WHICH PROGRAMS MAY BE MISSING FROM OTHER LISTINGS.)

“RITO Y GEOGRAFIA DEL CANTE FLAMENCO” (TO USE ITS FULL NAME) IS STILL THE GREATEST FLAMENCO DOCUMENTARY EVER MADE, AND IT WILL PROBABLY REMAIN SO. IT WAS COMPLETED JUST BEFORE FLAMENCO BEGAN TO UNDERGO A PERMANENT TRANSFORMATION, THANKS TO THE ENORMOUS INFLUENCE OF THE REVOLUTIONARY FIGURES OF THE SINGER CAMARON DE LA ISLA AND THE GUITARIST PACO DE LUCIA (BOTH FEATURED IN THEIR OWN EPISODES).

THE ENTIRE SERIES WAS FILMED IN THE FIELD — IN BARS AND TAVERNS, IN ARTISTS’ HOMES, IN PRIVATE REUNIONS CALLED JUERGAS OR FIESTAS, AND YES, IN FIELDS. IT SHOWS THE ART AND THE ARTISTS WITHIN THEIR REAL-LIFE SOCIAL CONTEXT, SOME PERFORMERS AT THEIR DAY JOBS, SOME JUST TALKING WITH FRIENDS.

(THE FABULOUS SINGER LA PAQUERA, FOR EXAMPLE, ARRIVES IN HER NATIVE JEREZ IN A STUNNING WHITE FUR COAT; THE TEMPERATURE IS ABOUT A HUNDRED IN THE SHADE, BUT SHE THINKS IT SHOULD BE SEEN.)

THE PROGRAMS REVEAL A VANISHED SOCIETY, STILL IN THE DEPTHS OF A DYING DICTATORSHIP, STILL ALMOST MEDIEVAL IN ITS POVERTY AND SOCIAL STRUCTURE.

THE GENIUS BEHIND THE FILM TEAM WAS JOSE MARIA VELAZQUEZ GAZTELU, WHO DOES MOST OF THE NARRATION AND ARTIST INTERVIEWS.

STARTING IN 1972, I SPENT FIFTEEN YEARS BEGGING AND BRIBING PEOPLE TO TRY TO ENSURE THE PRESERVATION OF THESE PROGRAMS. (FOR THE FIRST TEN YEARS, NOBODY ELSE SEEMED INTERESTED. FOR THE LAST FIVE YEARS, I WAS TOLD THAT THE MATERIAL WAS SO IMPORTANT THAT NO ONE COULD EVER OBTAIN COPIES.)

IN 1987, I WAS FINALLY ALLOWED TO BUY THE FIRST SET OF COPIES AND PAY THE DAUNTING BILL FOR THE INITIAL RESTORATION. (I DECLINED THE OFFERED RIGHTS TO PROFIT FROM A COMMERCIAL EDITION, WHICH REVERTED TO THE RIGHTFUL CREATIVE PEOPLE.) IN THE MID-NINETIES, A POOR-QUALITY VIDEOCASSETTE EDITION OF MOST OF THE PROGRAMS WAS ISSUED BY ALGA EDITORES IN SPAIN. A BETTER EDITION FOLLOWED FROM SPANISH TELEVISION.

BUT IN 2005, SENOR VELAZQUEZ CREATED AND NARRATED A BEAUTIFULLY RESTORED VERSION WITH THE CD’S CONTAINED IN INFORMATIVE SPANISH-LANGUAGE HARDCOVER BOOKLETS. IT INCLUDED THE GREAT MAJORITY OF THE PROGRAMS, AND FEATURED ENGLISH-LANGUAGE SUBTITLES FOR MANY OF THE EPISODES. (THOSE VERSIONS ARE LISTED PREFERENTIALLY HERE; SPANISH-ONLY VERSIONS ARE LISTED ONLY WHEN THE ENGLISH VERSION IS NOT AVAILABLE ON YOUTUBE. THE CD/BOOKLETS ARE BECOMING SCARCE IN SPAIN, AND MANY ARE NOT READILY AVAILABLE.)

I URGE ALL AFICIONADOS TO TRY AND PURCHASE ANY AVAILABLE CD/BOOKLETS — THE PRICES ARE VERY REASONABLE AND THE MATERIAL IS PRICELESS.

DETAILED INFORMATION ABOUT THE CONTENT OF MOST PROGRAMS WILL SOON BE AVAILABLE IN A SEPARATE BLOG ENTRY.

RITO Y GEOGRAFIA DEL FLAMENCO – A LIST OF THE PROGRAMS CURRENTLY VIEWABLE ON YOUTUBE (APRIL, 2015).

PART ONE: EPISODES WITH ENGLISH SUBTITLES – [70 PROGRAMS]

Agujetas – Rito – English Subtitles

Amós Rodrígues Rey – Rito – English Subtitles

Antonio Mairena – Rito – English Subtitles

Beni de Cadiz – Rito – English Subtitles

Bernarda de Utrera – Rito – English Subtitles

Cádiz y los Puertos – Rito – English Subtitles

Camarón – Rito – English Subtitles

Cante Flamenco [i.e. Cante No Gitano] con Interpretes Gitanos [?]– Rito – English Subtitles

Cante Gitano con Interpretes No Gitanos [?]- English Subtitles [?]

Cantes Flamencos Importados – Rito – English Subtitles

Cantes Primitivos Sin Guitarra – Rito – English Subtitles

Cantes Procedentes del Folklore – Rito – English Subtitles

Cristobalina Suarez – Rito – English Subtitles

De Despeñaperros para Arriba – Rito – English Subtitles

De Granada a La Union – Rito – English Subtitles

De Ronda a Malaga – Rito – English Subtitles

De Sanlúcar a La Linea – Rito – English Subtitles

Diego del Gastor – Rito – English Subtitles

El Barrio de Santiaago – Rito – English Subtitles

El Chocolate – Rito –English Subtitles

El Lebrijano – Rito – English Subtitles

El Pali (Sevillanas) – Rito – English Subtitles

El Vino y El Flamenco – Rito – English Subtitles

Enrique Morente – Rito – English Subtitles

Evolución del Cante – Rito – English Subtitles

Extremadura y Portugal – Rito – English Subtitles

Fandangos – Rito – English Subtitles [?]

Fandangos de Huelva – Rito – English Subtitles

Fandangos Naturales – Rito – English Subtitles

Fernanda de Utrera – Rito – English Subtitles

Fiesta Gitana [Bulerias] – Rito – English Subtitles

Fiesta Gitana por Bulerias – Rito – English Subtitles

Fiesta Gitana por Tangos – Rito – English Subtitles

Fosforito – Rito – English Subtitles

José Menese – Rito – English Subtitles

La Cantaora – Rito – English Subtitles

La Casa de los Mairena – Rito – English Subtitles

La Familia Pinini – Rito – English Subtitles

La Familia de Los Perrate – Rito – English Subtitles

La Familia de los Torres – Rito – English Subtitles

La Guitarra Flamenca (1) – Rito – English

La Llave de Oro del Cante – Rito – English Subtitles

La Paquera de Jerez – Rito – English Subtitles

La Perrata – Rito – English Subtitles

La Saeta – Rito – English Subtitles

La Serrania – Rito – English Subtitles

Las Tonas – Rito – English Subtitles

Lorca y el Flamenco – Rito – English Subtitles

Málaga y Levante – Rito – English Subtitles

Malagueñas – Rito – English Subtitles

Manolo Caracol (I) – Rito –English Subtitles

Manolo Caracol (II) – Rito – English

Manuel Soto “Sordera” – Rito – English Subtitles

María Vargas – Rito – English Subtitles

Melchor de Marchena – Rito – English Subtitles

Navidad Flamenca – Rito – English Subtitles

Niños Cantaores – Rito – English Subtitles

Oliver de Triana – Rito – English Subtitles

Paco de Lucía – Rito – English Subtitles

Pedro Lavado – Rito – English Subtitles|

Pepe de la Matrona – Rito – English Subtitles

Platero de Alcalá – Rito – English Subtitles

Romances, Tangos y Tientos – Rito – English Subtitles

Siguiriyas I – Rito – English Subtitles

Siguiriyas II – Rito – English Subtitles

Soleares 2 – Rito – English Subtitles

Terremoto – Rito – English Subtitles

Tía Anica la Piriñaca – Rito – English Subtitles

Triana – Rito – English Subtitles

Viejos Cantaores – Rito – English Subtitles

PART TWO: EPISODES WITH NO ENGLISH VERSION ON YOUTUBE –
[SIXTEEN PROGRAMS]

Del café cantante al tablao – Rito – Spanish

Diego Clavel – Rito – Spanish

Difusión del Flamenco – Rito – Spanish

Falla y el Flamenco – Rito – Spanish

Joselero [de Morón] – Rito – Spanish
Part 1:

http://www.youtube.com/watcht=26&v=fXoaFc1mYJ4

[10:23]
Part 2:
http://www.youtube.com/watch?v=1pu YApYrLY&feature=youtu.be
[11:46]
Part 3: http://www.youtube.com/watchv=_drflGafmwo&feature=youtu.be
[7:31]
Part 4: – not given on YouTube
Part 5: http://www.youtube.com/watchv=RPxRJVauReM&feature=youtu.be
[19:49]
Note: Since the total time is nearly 50 minutes there must be some duplication between these segments.

Luís Caballero – Rito – Spanish [?]

La Guitarra Flamenca (2) – Rito – Spanish

Los Cabales [Aficionados] – Rito – Spanish

Manuel Torre y Antonio Chacón – Rito – Spanish

Pansequito -Rito – Spanish [?]

Pepe Marchena – Rito – Spanish

Perrate de Utrera – Rito – Spanish

Note: after 38:13 this version cuts to material from the show on Juan el Lebrijano or La Familia Perrate

Pepe Martínez – Rito – Spanish

Rafael Romero – Rito – Spanish

Soleares 1 – Rito – Spanish

Tío Borrico de Jerez – Rito – Spanish
(to 31’ 42” – after the original program ends, this version adds material by Tío Borrico from other programs in the same series)

TEN MISSING PROGRAMS:

ANTONIO DE CANILLAS – 27:20 – 87/19/C

CANTE FLAMENCO [CON INTERPRETES GITANOS] – 24:25 – 87/22/C

ENCARNACION LA SALLAGO – 25:20 – 87/17C

FESTIVAL DEL CANTE – 26;30 – 87/11/C

LA MARRURRA [MOREEN CARNES] – 28:41 – 87/23/C

JOSELERO DE MORON – 30:20 – 87/18/C [complete program]

LOS FLAMENCOLOGOS – 28;00 – 87/16/C

PERICON DE CADIZ – 28:36 – 87/21/C

POR SIGUIRIYAS – 26:00 – 87/9/C

POR SOLEA – 24:00 – 87/9/C

CANTE FLAMENCO Note: This may not be missing – it may be the same as the above-mentioned CANTE FLAMENCO GITANO (with English subtitles) — The program evidently features Gypsy singers performing songs that are not seen as Gypsy songs, and may have been also been titled CANTE FLAMENCO CON INTERPRETES GITANOS.

NOTE: THE 100TH AND FINAL PROGRAM WAS PROBABLY TITLED “RITO Y GEOGRAFIA DEL FLAMENCO.” IT MAY BE ONE OF THE ABOVE PROGRAMS. [A RUMORED PROGRAM ON SABICAS WAS PROBABLY NEVER MADE.]

SUMMING UP: THERE ARE SEVENTY PROGRAMS ON YOUTUBE WITH ENGLISH SUBTITLES AND SIXTEEN PROGRAMS ON YOUTUBE IN SPANISH ONLY.
IN ADDITION, THERE ARE TEN PROGRAMS KNOWN TO BE ABSENT BUT PROBABLY AVAILABLE. THE TOTAL IS THUS 96 PROGRAMS, OUT OF THE 99 THAT WERE PROBABLY COMPLETED AND BROADWAY. THE THREE MISSING SHOWS NOT IN ANY OF THOSE CATEGORIES ARE BEING SOUGHT.

BROOK ZERN – APRIL 2015

March 28, 2015   No 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

Bulerías
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

DVD

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

Bulerías
Argentinita, baile; Manolo de Huelva, guitarra

Sevillanas
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

Siguiriyas
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:

http://tiendadiscograficapasarela.com/shop/article_CMF5-501/MANOLO-DE-HUELVA-ACOMPAÑA.html?pse=apq

Brook Zern

January 5, 2015   5 Comments

Hollywood “Goes To” Flamenco – Article by Miquel Jurado in El País of April 24, 2014 – translated by Brook Zern

Proyecto estadounidense para rodar un filme ambientado en el mundo del cante

(An American project for a film shot within the world of flamenco song)

Historically, Hollywood has ignored flamenco or, worse yet, used it as an exotic guind in forgettable B movies.  Not even Al Pacino, doing a few steps in a flamenco night club to the sound of the singer Potito and the guitarist Tomatito in “The Devil’s Advocate” with the Devil could go beyond the stereotype; it simply lent some of the exotic spice of a musical form that American cinema seemed unable to understand.

Even before that, Hollywood had squandered talents as enormous as Carmen Amaya in the 1940’s (she would have to return to here native Somorrostro district of Barcelona for Francesc Rovera Beleta to give her the cinematographic vehicle she deserved [in “Los Tarantos”]), and of Antonio Gades in the sixties, though not even Jean Negulesco could do him justice (his film break would come at the hands of Carlos Saura).  Nor would our warmly remembered Paco de Lucía have any luck; it’s best to forget his futile work in a film starring Raquel Welch in the early seventies.

Now the director, choreographer and scriptwriter Daryl Lynn Matthews seems ready to change things by entering more deeply into the world of flamenco.  At least, that’s the basis for his new project, “Caminando”.  Matthews, whose other work includes the script and choreography of Chayanne titled “Baila Conmigo”, has written a story centering on an ex-U.S. Marine pilot of Spanish background who returns to Spain to find out why his father, a professional dancer, fled from his homeland.

From that point on, the hatred and violence of Spain’s past mix with innocent present-day love affairs, within the context of the best of today’s flamenco.

“I began the project soon after writing “Baila Conmigo”, says Daryl Lyn Matthews.  “I knew very little about the real world of flamenco in which I submerged myself but I felt an obligation. Realizing that there really should be an international English-language film with a good story, told through this precious, sexy, intense and unsettling culture.”

To tell the story, which will be filmed in sites like Madrid (the presentation videos were shot in that city’s noted tablao, Casa Patas) as well as in the Canary Islands, the Texan director has been relying on some renowned collaborators including the director of photography Vittorio Storano (with three Oscars, for “Reds”, “The Last Emperor” and “Apocalypse Now”.  Production design is in the hands of Waldemar Kalnowski and the Spanish production is headed by Carlos Saura, Jr. with Chiqui Maya as artistic producer.

An agreement has already been reached with Universal Records who will provide some of its artists (Tomatito, Rosario. Pitingo, and Antonio and Josemi Carmona) for a soundtrack for which seven of the thirteen projected songs have been completed; another number, which was to have featured the guitar of the late Paco de Lucía, can never be finished.

The names mentioned for the cast include “international figures still to be decided”, who will be linked to a flamenco lineup headed by Rafael Amargo, Monica Cruz, Lolita Flores and Joselito Maya.

At present, the team behind “Caminando” has begun the process of crowdfunding [“micromenazgo”] through Indiegogo to reach the initial goal of nine million Euros that will allow the beginning of filming at the end of next spring.

End of El País article.  The original is at http://ccaa.elpais.com/ccaa/2014/04/24/catalunya/1398294823_551859.html

Translator’s note:  It would be nice indeed if this became the English-language film to finally introduce the complex world of flamenco to American and international audiences.  It seems to have some serious backing, though a reliance on crowdfunding can be problematic at best. 

(I know nothing more about the project, but will keep an eye out for any further signs of progress.)

Brook Zern  

 

April 26, 2014   No Comments