Fernando Terremoto, flamenco cantaor. Obituary & previously
unpublished interview
“I feel freer now”
Silvia Calado. Nîmes, January 23rd, 2009
Published on February 15th, 2010
Translation: Joseph Kopec
Just one year ago, Fernando
Terremoto sang at the Nîmes Festival. The following
morning, we met with him in the hotel lobby to talk about
his album, which he was putting the finishing touches on
in order to publish it in a matter of weeks. Before going
into conversation, he told us that he hadn’t felt
at ease in the recital, that it had been hard for him to
concentrate. That strange sensation was set aside from the
interview as soon as he began speaking about his disc, which
was going to be a turning point in his professional career.
A few days later, he was diagnosed with a serious illness.
The release of the album was put on hold and he focused
on fighting to overcome it. In September, it looked as if
he had managed to do so and he called us to the Jerez peña
which bears his father’s name to celebrate…
by singing. Those who went say it was memorable. However,
the illness returned, devastatingly rearing its ugly head.
And on Saturday, February 13th, 2010, we were informed that
Fernando had died. From Flamenco-world.com, we would like
to pay him tribute by publishing that interview which we
kept month after month while hoping that the cantaor would
recover his health, his life and this project with which
he finally felt free.
How did you make the decision to
put yourself in the hands of Gecko Turner, a producer who
has nothing to do with flamenco?
The fact of wanting to work with Gecko
Turner, who’s also an artist, corresponds to the idea
of having a producer with no part in the flamenco world
with the aim of seeking something fresher and something
different to what has usually been done. And I sincerely
think that on having no part in flamenco, he’s captured
new ideas which previously producers close to flamenco,
who work with this music daily, have reached a point where
everything sounds similar. I think he’s achieved something
different and I’m happy with the result of his work.
Does that mean you’re straying
from flamenco?
I wouldn’t put it that way, no. It
is true that I’ve gotten a little away from what I’d
been doing previously. I think this album means a change
in my career; it’s a step forward which I think I
had to take because, moreover, I really needed to do so.
I needed to renew myself. It’s not that I was tired
of basic flamenco, but I really felt the need to do other
kinds of things. The time came for it, and how better to
do so than with an album?
What novelties would you highlight
in the repertoire or the result of certain tracks?
I maintain four pure cantes, there are
bulerías which are a little more current, there are
tangos, there’s a version of a serrana… As a
friend of mine told me when he heard it, it’s gone
from being a mountain serrana to a city serrana... I think
the result is really nice. I use a lot of African instruments,
I use African vocals, percussions... because Gecko works
a lot with that type of music and he wanted to put that
trademark on the album.
Fernando Terremoto. Festival
de Nîmes 2009 (Photo Daniel
Muñoz) |
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Have you felt comfortable with
those sounds?
Yes, because the use which has been given
to those sounds has been within the purity of cante; it
wasn’t just to stick in sounds. We tried to respect
the bases of cante’s purity and put it in its place
from there. I think it fits in perfectly.
The/your four basic cantes are
there…
There’s the malagueña, there’s
the bulería por soleá, the seguiriya and the
bulería de Jerez as a fiesta; my strong styles.
There’s a collaboration with
one of the members of Las Hijas del Sol in a song whose
lyrics have some substance...
Her name is Piruchi Apo. We tried to do
a song which is like a dialogue between the black world
and the gypsy world. The lyrics refer to the hardships which
both peoples have faced, and I think the combination has
turned out great. It’s exciting, it’s a song
which quickly places you in what it wants to say, you see
what it’s about straight off; I think it’s quite
successful. Rubem Dantas also collaborated there on the
percussions and I think he’s done so just right.
What role did Alfredo
Lagos play?
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“We
tried to do a song which is like a dialogue between
the black world and the gypsy world”
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Besides as a guitarist, Alfredo is a person
who gives me confidence when I’m next to him because
he knows a lot about music. He was also a bit of a producer.
He also influenced the decisions we made for each track;
he gave his ideas. He collaborates on several songs, not
on all of them, and he’s unbelievable in the ones
he collaborates on. He’s a guy who has a really deeply-rooted
personality of his own. His guitar sounds really nice, he
has harmonies created by himself which are marvelous, he’s
a great professional, a tremendous guitarist and a tremendous
musician.
There are other guitarists…
There’s Moraíto,
Diego del Morao, Manuel Valencia, Manuel Parrilla, Alfredo
and El Bolita.
Fernando Terremoto. Festival
Ciutat Vella 2008
(Photo Daniel
Muñoz) |
All from Jerez.
Yes, all from Jerez. We tried to maintain
Jerez’s basic guitar, hee hee hee.
It must be a pleasure to have Moraíto
there, isn’t it?
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“A
time comes when you go through the motions and sometimes
you don’t even feel what you’re singing”
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Well of course; Moraíto is a Jerez
password and all of us from Jerez who sing are mad about
his sound. And we used him where his guitar sounds the best,
which is in the fiesta por bulerías. Diego
del Morao is another monster; I’m in love with
his toque. To me, he’s superb. He has that flamenco
flavor together with that technique which most guitarists
have nowadays, without losing purity, of course.
And you, having started out as
a guitarist, must be quite demanding with the guitar...
In a really big way, ha ha ha.
A guitarist is really important to me because I know what
he can give and what he can’t give. Moreover, when
I come across one who’s a little bit distracted, I
grab the guitar and I tell him it’s here, a little
bit like this, but well, you have to take advantage...
Are the lyrics popular or have
they been written for the album?
No, no, they’re totally new. There
are lyrics by José Luis Ortiz Nuevo, lyrics of mine,
by El Bolita... And there are some adaptations like a version
of ‘Cambalache’, the Argentinean tango, and
also a verso of Camarón’s ‘Canastera’.
Are there any references to cantaores
who mean something to you?
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“Camarón
is my idol; I love him”
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The thing is I’ve been in love with
that song since I was a little boy. And one day I was in
a dressing room with Alfredo on a tour of Israel Galván’s
‘La edad de oro’. He was playing por rondeña,
I started singing and we liked how that turned out. And
from there, I began to work on it. After that the reference
there is to cantaores is to my family’s cantes. I
base myself on the cantes of Los Terremoto.
Then the clearest reference outside of my context is that
of Camarón.
What can be said nowadays about
Camarón?
That he sings better every day, that I
like him better every day, that he sounds purer every day.
I’ve loved Camarón since I was a boy, not just
now. He’s my idol; I love him.
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“Comparisons
with my father are always going to be there. I handle
that magnificently; it’s a burden carried with
pride and pleasure”
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How do you weigh up the Terremoto
legacy at this point in your career?
It means carrying a banner; it’s
still a burden because having a father like the one I’ve
had and the legacy he left… Simply trying to maintain
it is hard enough as it is. Of course, the comparisons are
always going to be there. I handle that magnificently; it’s
a burden carried with pride and pleasure because I know
what I’m dealing with. I respect what my father’s
left, I try to do it as well as possible and keep on moving
forward. But I like to take from everything he gives me...
I really like Mairena, I really like Tomás Pavón,
all the cantaores of that kind. But then I do it my way
with my personality; a bit of one, a bit of another. I always
nibble here and there.
And do you feel proud of the echo
Terremoto has in other cantaores?
I’m proud of all recognition of my
family.
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Fernando Terremoto. Festival
Ciutat Vella 2008
(Photo Daniel
Muñoz) |
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Getting back to the album, why
has it taken you so long to record since ‘Cosa natural’?
The occasion didn’t arise. There
was an attempt with Diego Ibáñez, but that
gentleman passed away. It was already done, but it remained
at that. I’ve been glad in a way because my time to
record was now; I feel more mature, I feel I have more wisdom
and other experiences and I think things come when they
have to come.
How has Fernando Terremoto changed
from ‘Cosa natural’ to this album?
I now feel freer when singing; I used to
be a little more subject to the conditions of my lineage
before. It hasn’t mattered very much to me here, respecting
it, but I did my own thing a little bit more; I got away
from the place I’d been maintaining. I needed to and
I did so and I feel happy.
Is the disc going to influence
your live shows?
Yes, logically. It’s also been made
with that intention. Whenever it’s possible, we’ll
try to take the necessary minimums to capture on stage what’s
been done on the album.
Was your collaboration with Israel
Galván an influence when shifting gears?
The time I’ve spent working with
Israel Galván has opened my mind. I’ve learned
a great deal from him. I admire him because he does what
he feels like… in the good sense. That’s the
way I am; if you like it, fine, and if not, that’s
OK, too. I used to be perhaps a little cowardly in that
sense. Respect for purity suited me a little, but seeing
his attitude and the learning I’ve had with him, I
said that it had to be exploited and try and seek yourself,
which is what he does. Being next to a person like Israel
really enriches you.
You do interesting experiments
with cante in ‘La edad de oro’; structures are
changed, phases are fragmented…
I sincerely insist that ‘La edad
de oro’ is a turning point for Terremoto. Not just
regarding Israel, but also Alfredo, the office, everything
that’s surrounded me. Everything’s helped me
learn.
Is there a new way of tackling
cante in you?
It’s a start. This relationship we’ve
had for four or five years working together at this level
has totally opened my mind. I’m a different person.
Fernando Terremoto. Festival
de Nîmes 2009
(Photo Daniel
Muñoz) |
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Does cante evolve less than baile
or toque in general?
Yes, because I think cante is more subject
to flamenco’s established canons than baile and guitar.
As soon as you go a little outside of that, they start to
prick you and you withdraw a little bit. You have to reach
that point when you say I don’t care, I’m going
to have fun, I’m going to enjoy myself and those who
like it, fine, and may those forgive me who don’t.
I was like that, I was one of those, my earflaps on and
I didn’t see anything else. But not now; now it’s
my turn.
“As soon as you go a little outside
of that, they start to prick you and you withdraw a little
bit”
It’s sort of like tackling
cante with a musician’s attitude, isn’t it?
That’s it! It doesn’t mean
being locked up in jack, queen, king. A time comes when
you go through the motions and sometimes you don’t
even feel what you’re singing. You’re singing
to satisfy somebody, but you don’t satisfy yourself
and then a time comes when you get stressed and you come
out without any enthusiasm. But when you have new colors,
you see things differently.
Do you still believe a little more
change and freedom are needed in the flamenco world?
Yes, of course, music has to evolve, but
always respecting the established laws. Not doing crazy
things like they’re being done. May each person look
at it the way he wants, but I’m in favor of evolving
but respecting the structures and the bases, respecting
with dignity and with purity.
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“I
was like that, I was one of those, my earflaps on and
I didn’t see anything else. But not now; now it’s
my turn”
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What do you think of the current
flamenco scene, and specifically, that of cante?
I think it’s all really light…
in speed. At any given moment, without having had any prior
career, you see someone on television or you hear him on
the radio. Who is this kid? There’s that guy. Olé
to him. But then you also say, hell, you spend you’re
whole life fighting, trying to do things well and all of
a sudden so-and-so appears and he’s already in the
almanacs. Everybody’s in a hurry. It’s not their
fault. Those who put them there are to blame; it’s
normal for them to take advantage of it. I think you have
to go step by step in life, have prior learning and to have
had some merit or another beforehand and some achievement
or another, a little bit of a résumé... I
think that’s the way it is. It’s made easier
for some than for others. What does comfort you is that
these sorts of matters might not be long-lived; they’re
ephemeral. In a certain way, it’s a little irksome.
But on the other hand, it must
be joyful to see young people, and specifically from Jerez,
standing out…
Of course. Oh yeah. For example, those
who I like right now who are demonstrating it all the time
and are going to be somebody are Jesús
Méndez and also David
Lagos. I like people like that who are working hard
on it. Like that, yes.
And so when will the album be out?
Right now we’re totally involved
in the album because the intention is for it to come out
in late March or early April. We need to touch up certain
songs and close it in order to be able to release it and
carry out its presentation and everything involved in that.
The album is the important main project.
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