Capullo de Jerez, flamenco cantaor. Interview

“A lot of things are called flamenco
now which really aren’t”

Silvia Calado. Madrid, September 2006

Capullo de Jerez is ready to make it big. None other than Paco de Lucía has offered to take part on his upcoming album with some bulerías and tangos. It’s all a question of mutual admiration. The Jerez-born cantaor has spent all year combining performances with recording the new album. He says there’ll be flamenco for the young and old alike. And of course, the long-awaited lyrics all his own, whether they are fresh everyday ones or critical ones with a message. If he is asked to analyze today’s cante scene, he doesn’t get involved: “I mind my own business”. Though he recognizes there are more craftsmen than artists. And it’s like Capullo de Jerez says: “Flamenco jokes around a lot”.

apullo de Jerez was surrounded by huge microphones following the press conference of Cumbre Flamenca Metro de Madrid 2006. And one journalist asked what he intended to sing...

I do what people ask me for. I always play it by ear. I’m singing and any old song comes to mind, because I get inspired really fast... And the fans in Madrid really love me; they give me a really good response.

And now without any radio or TV reporters, we’re alone with the Jerez-born cantaor to find out about his new record project...

Right now we’re doing the summer festivals; Ronda, Lebrija... a lot of towns in Andalusia. And then when the galas finish in September, I’ll get down to finishing the album — all I have are three more songs to do. I’ve recorded everything in Madrid and I’ll record what’s left in Ubrique with Pepe, where I did the first album, ‘Este soy yo’. It might be released by Paco (de Lucía).

How did that collaboration with Paco de Lucía come about?

Because I’ve known Paco for many years. I’ve been an admirer of his since I was a boy. And the other way around... I’ll tell ’ya. He’s great to me. The thing is I’ve been singing since I was twelve years old. I came to Madrid, worked at Los Canasteros... And in the Himno de Andalucía (a not-for-purchase commemorative recording in which many flamencos did new versions of the song by Blas Infante) Paco played the bulería for me. And since I was tied up with my album, I asked him if he could stick in some tune for me. He said yes. And I’m really happy. Let’s see if I make it big once and for all!

What’s he going to play?

Some bulerías and tangos.

Are there any new lyrics of yours?

Of course. There are some really nice lyrics. There are some about a pair of jeans. Ha ha ha. How does it go, Miguel? “She’s got a fascinating body, when she lifts her arms and wiggles her waist, with those slender jeans, they look great on you, girl” (he sings softly).

Flamenco’s lyrics need to be brought up-to-date, don’t they?

Yeah, of course. Different things have to be done carrying the rhythm, soniquete... If you have soniquete, you can sing whatever you want. The cante’s there and the flamenco’s there, but they’re evolving more and more.

Capullo de Jerez and Niño Jero (Photo: Daniel Muñoz)

You also like critical lyrics with a message...

I’ve got a commemoration of the attack in Madrid, a really nice tune por tangos, which doesn’t say anything; it just talks about freedom, about how we should all be equal. Flamenco has always reflected its own troubles. Not anymore because everyone more or less has work. Right now I feel really good; I really feel like working.

What other musicians take part on the album?

Rubichi on box drum, Manolito Jero, Luis de Periquín, Nono and Bo. And I want Manolo Nieto to come and play electric bass in a rumba I’m going to put together with drums, too. I want to make an album for old people and for young people, to give everyone a little something.

You’ve always been a cantaor really in touch with young people...

And with kids! The kids go crazy. Everywhere I go, “Daddy, Daddy, look at El Capullo”. Ha ha ha. I’ve got charisma for little kids, which is far out. I really identify with young people. And I get them to identify with flamenco through my lyrics. Though if you sing in Lebrija and you have to do stuff by Antonio Mairena, then you do it. Artists have to react according to the audience. Imagine, I even sang at Espárrago. There, partying, punks, leaps... You had to party it up. What young people really want is partying, flamenco... but partying it up. You start singing por seguiriyas and they might like a few lines of lyrics, but if you spend half an hour singing por seguiriyas people leave; they don’t listen to you.

How do you size up today’s cante flamenco scene? Do you see any young people with possibilities in Jerez?

People come out, stop coming out, the ones who’ve come out will start to go down... This is like anything else. If you go along letting people know, they’ll realize what flamenco is. A lot of things are called flamenco now which really aren’t. Flamenco jokes around a lot. And you only see that at the festivals. I’ve participated in a lot of them with flamenco’s best. As you go along, the artists comment on each other. I go to work and I come out and sing and don’t worry about the others. I mind my own business and that’s it. There are young people singing in Jerez, but this is like anything else. It even happens in soccer, which has had eras with really good players and other eras when no stars come out. And there’s work in flamenco, but few good people.