Interview with Cathy Claret, singer and composer:

"There are those who are tacky on a plain guitar
and those who are pure on an electric guitar"

Silvia Calado Olivo. Madrid, September 2003

Though she is blonde, though she is French, though she sings with a fine thread of a voice, though, as she confesses, she is famous for having no rhythm... Cathy Claret vindicates flamencura. And more than musically, the way she lives. Brought up by gypsies between Barcelona and Nîmes, christened on stage with Pata Negra, composer of the famous song 'Bolloré'... the singer and composer's biography is sprinkled with jondura. And above all, respect: "Purity is in you not doing things for fashion, money or fame". And therefore, because she neither can nor wants to sing soleares, "that's what Remedios Amaya is for", she takes full liberty in shaping 'Sussurando' ('Whisspering'). The album, defined within its world as "canastero (orthodox gypsy), not flamenco", shuns what others seek with their pocketbooks, since on behalf of minimalism as a stylistic banner, it can afford itself the luxury of silencing clapping and quejíos. Free, free as the wind.

	Cathy Claret

"I'm from Nîmes, in the south of France, which is a very peculiar place, much more similar to Andalusia than Catalonia, with marshes, with bullfighting... Many, many, many gypsies live there and in Montpellier. I'm not a gypsy by blood. My mother died when I was very young and my father has spent nearly all his life in a psychiatric ward. I was raised by a gypsy family; that's why I'm this way. In the south of France there are no big cities; the largest city is Barcelona and for those living in the south it's their capital, just three and a half hours away by car. I've always been familiar with flamenco music... my first record was with Pata Negra, before 'Blues de la Frontera'. I grew up with the cousins of Raimundo and Rafael". Cathy Claret does not like to talk about her private life, but as Bastián was not there to fill in, she had to take a breath and recite it as fast as she could, following a conversation of mutual recognition (interviewer-interviewee) which went about here and there.

The singer and composer prides herself on having connected several generations of the Amador family. The latest link is Teresita, a girl she has under her protection and who was entrusted to her by her family following an agreement by the elderly gypsies on a council. "Look how much trust they have in me, because they're really old-time gypsies, of the kind who even declare themselves racist". On the new album she sings to the girl, "who does have rhythm, not like me, I go freely", the lullaby 'La Teresita mira a la luna' ('Teresita gazes at the moon') , a song caressed by the violin of Ara Malikian. "And how he plays... and how humble he is. My hair stood up on end".

She seeks the window
The guitar sounds
She lifts up her face
And bursts out laughing

The Armenian musician is not Cathy Claret's only accomplice on 'Sussurando'. Raimundo Amador, Sorderita and Tomasito also add the flamenco part... but little by little. For her, measuring collaborations is a question of respect and conviction. "I'm really lucky... They're the ones who want to come; I don't even have to call them. All my friends come to me. I even used to say to my ex-friends: Shut up! And I got rid of them and everything (she tells, amused). Just the opposite of everyone, who's paying to have a flamenco! When I do my demos, it's the same; my friends come, Raimundo's cousins who live Casa Antúnez, sticking in a jaleo here and there... And I tell them no, no. I swear".

Cathy Claret

The love the flamenco gypsies profess for La Chica del Viento (The Windy Girl) has an explanation. "They like the lyrics. Raimundo's grandfather used to say: "Cathy is a talent". I don't know; they think it's so strange, so different... What they don't like is people who try to copy. If you don't sing like Remedios Amaya, why are you going to sing a soleá? The respect is there. I make my music. They hate people who try to imitate them, that's what they don't like at all. I don't try to imitate or to copy; it's mine". And she recalls the first time she sang up in front of all the gypsies: "Raimundo's grandfather was there. One was singing soleá, another fandangos... and they said: "Come on, Cathy, it's your turn". I came out singing with my little voice. And they were all... They said it couldn't be outdone (ha, ha, ha)".

The most orthodox gypsy grandparents
Laugh with pride and feelings
There is joy in their hearts
The family goes on with its traditions

The musical communication of Cathy Claret with the flamenco gypsies following that 'début' had only just begun. "My first record was with Pata Negra and they still hadn't made 'Guitarras Callejeras'. That's why it's a shame it didn't come out in Spain, since nobody recognizes me for it; it hasn't even been seen. And the three of us even had concerts together; Rafael, Raimundo and I. Nobody understood Pata Negra back then. Some used to ask why they imitated Americans. It was very controversial. And now everyone likes Pata Negra. Now everyone says this and that, but it all goes way back". Way back indeed. The small museum which is Cathy Claret's purse holds proof such as a 'flyer' of the Fernández Claret Group now yellowed by time... The rest is under the artist's platinum blonde hair, where memories come out from here and there. "The first record El Churri (Diego Amador) made was with me, he himself might not even remember. I gave him the chance in the recording studio. I remember that he was really shy; he shut himself in the studio and didn't want any technicians or anything".

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