La Tana, cantaora. Interview

“I hope not to be a short-lived cantaora”

Silvia Calado. Madrid, April 2005
Translation: Joseph Kopec

Paco de Lucía has touched her with his magic wand. With a début album produced by the maestro, La Tana's dream has now come true. He sized her up beforehand in the tour of ‘Cositas buenas’, the album on which she lends her voice to the tangos of the title cut. And her name started to get around. The young Sevillian cantaora had come with the experience of family, tablaos and baile companies such as that of Joaquín Cortés, but from there to hundreds of people applauding her on stages... The first gala of ‘Tú, ven a mí’ in Málaga gave her the chills. “I'm even embarrassed for so many people to come and see me, but my mother tells me not to be silly, that it's what I've always wanted”. And then she looks at the crowd, looks at her musicians, transforms and really enjoys these first steps of a cantaora career that she hopes will be long and unhurried.

	La Tana (Photo: Daniel Muñoz)

Where does La Tana come from?

I started when I was thirteen or fourteen at tablaos and venues in Seville such as that of Calle Salado, La Campana, Los Gallos and what is now La Madrugá. Joaquín Cortés saw me there and I joined his company for three years, during which time I also worked with Farruquito, Antonio Canales... I spent those years singing for dancing. Afterwards I met maestro Paco de Lucía... and my dream's come true.

But your family were there first, weren't they?

My mother (Herminia Borja) is a cantaora and my father (Miguel Santiago ‘Melchor’) has been Rocío Jurado's guitarist for at least ten years and has worked with Chiquetete, La Susi... He started with the Mario Maya Company and he's also a composer on top of it all. And my mother's now with Antonio Canales in ‘Carmen, Carmela’ and with me, because I take her with me everywhere. It all comes from there. My siblings also devote themselves to flamenco: my sister dances and my brother plays the piano.

How was your encounter with Paco de Lucía? It's already spoken of as if it were a legend...

He first met my mother at El Rocío and of course, you know how mothers are; she told him, “When you hear my girl, you're gonna die”. I was in Madrid with Joaquín Cortés when he was recording ‘Cositas buenas’. Javier Limón found out that he was there and told him they could call me if he wanted. And the first day I got there, you can imagine, I was all jelly, hysterically nervous, my whole body was shaking. Imagine how I must have looked that he told me: “Take it easy, listen to it today, take it home with you and we'll have a look at it tomorrow. But I mean, I'm not the bogeyman”. And the thing is we're not used to being next to Paco de Lucía every day. The truth is that I really laughed a lot, but I had to leave because I was so nervous. The second day I was calmer, I recorded it, he was really happy with it. And the same day we finished recording he asked me if I felt like going on tour with him. What was I supposed to say? Well, I'd go with you to the end of the earth!

What memories do you have of that first American tour?

Lovely. It was really unbelievable. Paco de Lucía fills up the place wherever he goes. I was really surprised by people's reactions, without even understanding what we're singing. They tell you olé in their own way. I think all of us who went with him were really filled with satisfaction.

Besides, all of you in the group were new...

And there was a really good, really cool ambience. All of them are really nice people. And that's all, as he went on listening to me in the tour he told me he'd like to be my producer. Both the company and I went crazy; we couldn't believe it. And the truth is that I've done it with all my love.

Did any songs come out during the tour?

During the tour we started listening to songs that were sent to us; we picked some out and began recording on the days we had off. It was done in little time, but not quickly, because we were working.

Were you on equal footing when choosing the songs?

We really were. Paco de Lucía's always let me have my say. They were sent to him first, he listened to them and then he sent them on to me. He'd always ask me: “Do you like it? Do you really like it? Do you feel at ease?” And the thing is it's very important to believe what you're singing. You have to delve into the role like an actress. You have to live and feel what you're singing.

	"I really like Remedios Amaya; she's always been my idol"

Were you sure of the style you wanted on the album you were going to make your début with?

Well, I didn't really think it was going to be such a beautiful album, shaped up by the hands of the maestro. And yes, this is my style. I really like Remedios Amaya; she's always been my idol, I've followed her on all her records. I also like La Susi a lot. And from the young ones, Montse Cortés, who's my friend on top of it all. The truth is that there are a lot of people who sing very well. With the old ones, well, I've listened to very little...

Very little?

Yes, I know I have to study a little more.

And Paco de Lucía is always saying so to the young cantaores...

Oh yeah, he's told me to get on the ball and stop messing around, that you have to listen to the old ones and learn.

Bulerías, tangos and rumbas. A cantaora with a festive register, aren't you?

La Tana (Photo: Daniel Muñoz)

My strongest style is the bulería; it's what I like singing most, it makes me feel freer, it releases me more. But the experience I had in the Joaquín Cortés Company, where I had to sing soleá through bulerías, seguiriyas, alegrías..., the truth is that it came in really handy for me. Besides, Paco has taught me to seek the old-time quality. The source is behind it and you've got to find it first.

By the way, what have you gotten out of cante for baile?

It teaches you a great deal to be in the back clapping, watching for the cuts and all the steps. You start absorbing all of that and when it's time to sing, without realizing it, it comes out of you. It's rhythm stuff that you can only learn like that. Baile, as we know, is pure rhythm. It gives you stability and security, because you have to be on the ball there, ready for each step.

Was it your intention to give the album a consistent mood?

Yes, there was the intention for it to sound different, for it to have the freshness of the current times.

Do you have a favorite song on ‘Tú, ven a mí’?

There are two that I really like: ‘Enamórame’ and ‘La causa de todos mis males’, the one that most reminds me of Remedios Amaya.

Will you comment on the album for us, track by track?
La Tana comments on ‘Tú, ven a mí’, track by track. Read

You've already done a tour of the stages in Andalusia and you've presented the album in Madrid. How do you feel up on stage?

At the first gala I did in Málaga I was really shaking. But when I came out on stage and I saw so many people... it was a dream come true for me; a dream I've had since I was a little girl. Immediately, I changed gears and I transformed. Then there's just the crowd, your musicians and your world; you forget about everything else.

Guitar, harmonica, piano, bass, box drum... How does it feel to be surrounded by so many instruments?

It's really cool. I also like to do my own thing with a solo guitar and some clapping, but it's really cool to sing with so many musicians. It all sounds so glorious; they contribute a great deal.

What is the main thing Paco de Lucía has taught you?

I've learned a great many things. You can imagine, that man has qualities in every sense; both artistically and personally. He's given me security and more maturity when singing. He'd tell me stop here, do this over here... he gave me ideas. And at a personal level, he's taught me to be humble, because he's the humblest person in the world. And the nicest: you crack up with him. All he wants to do is joke around; he laughs at his own shadow. The truth is I had a really good time with him.

Now that you have the album out, have you set yourself any goals?

I want it to come by itself. If people really like it because it's worthwhile, let it come little by little. I don't want it all at once because afterwards the fall is harder. I hope to have a long career. I hope not to be a short-lived cantaora. I hope to have a career that goes slowly but surely, but a long one.

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