Cantaor. September 17, 2001

Alberto García Reyes

For Diego el Cigala the good times are rolling ("Corren tiempos de alegría"). The singer from Madrid's Rastro neighborhood continues to turn his career around by means of hard work, and after the success of "Entre vareta y canasta", a record produced by "Caiga quuien Caiga" (a TV program seen in Spain on Tele5) and backed by Juan Valderrama himself, he's back on the market to inaugurate the Tablao record label of BMG. With a front cover on which Farina's nephew appears seated on a throne wearing a grotesque outfit - tuxedo, ruffled shirt and gym shoes - and with such notable guest artists as the Cuban pianist Bebo Valdés and the trumpeter from New York, Jerry González, Diego Jiménez Salazar, the man dubbed El Cigala by José Monge, authors a recording of "ida y vuelta" songs with which he dreams of a future full of successes. He himself spoke to me the other day, at about twelve noon, over his dog's barking:

Dieguito "El Cigala"

Diego, in order to talk about your new record, first you have stop and have a look at the front cover.

It wasn't my idea, but I have to admit that now I like it. We wanted to get away from the typical gypsy in black and white and I think it's a nice contrast between the tuxedo and the Adidas sport shoes. A lot of people have told me I look like Prince.

You musicians always say that the last work you did is the best. What do you have to say about this record?

I don't want to get into clichés, but that's how it is. In "Corren tiempos de alegría" I fused with Bebo Valdés, for whom it was the first time he ever played flamenco, which is why we took advantage of his Cuban sound to do some beautiful guajiras and a bolero. But I also managed to get Jerry González to participate, who I saw in Fernando Trueba's "Calle 54". With people like that something good was bound to come out, because everything was real natural too.

Did you make a lot of plans beforehand?

Not at all. I didn't have a preconceived idea about the record. From the moment I started recording the tangos that I dedicate to all mothers, everything progressed in the studio as if in a dream.

Hey, so how did Bebo Valdés come to be involved?

It was like a magic wand. Fernando Trueba said "do it!", and stuck him there in front of me.

Doing bolero and fusion is a little risky as compared to what you had been recording, don't you think?

This is a challenge. I liked "Entre vareta y canasta" a lot, but this record is in another dimension, and besides, I kept all the purity of flamenco.

The public at large hasn't been able to hear it yet. Tell them what they're going to find.

It's a recording for all audiences which never takes a rest, but it has logic and a reason, it all goes together.

The lyrics are very worked over. And it's just as well, because lately they've been coming out with some things....

They're by Javier Limón, a genius. With the alegrías for example, he called me one Sunday morning and sang them to me. When I heard them I couldn't believe it.

While we're at it, and before going any further, are you afraid of criticism?

I used to be, but now I don't care. If I didn't offer quality I would be worried, but since that's not the case... They can criticize the bolero, or the front cover, but art without critiques wouldn't be art.

Let's get into a touchy issue: when they say you're a Camaronist, is that gratifying or does it feel like an accusation?

I don't feel flattered in the least with that. Camarón is a like an albatross around my neck. My voice is similar to his, and that's why people think I imitate him. And it's true he was one of my maestros, but I've had others too, like Ramón el Portugués. Now, with this record I'm going to get rid of that stigma, you can be sure. Actually it's an honor to be compared to that genius, but I don't think I'm worthy of such an honor. I would like to erase that image, because if I don't, I might as well pack up and go home: imitation is worthless.

Let's go back and talk about something that makes you happy: Niño Josele. Vicente and Tomate have played for you, but with him you say you feel better.

He's my right-hand man. Aside from the maestro Paco, he's the one I like best and I even notice that when he's accompanying me he plays better than I sing.