José Menese
December, 2000
By Alberto García Reyes

José Menese and Francisco Moreno Galván

"In flamenco everything is being lost except the shamelessness"

How are things, José?

Fine my friend, here with all the cold and everything.

The reason I called is because of your new record "A Francisco".

Oh, yeah. Well there you have it. Now let's see what the people have to say. I'm very pleased because I've paid tribute to a man who was a great friend, Francisco Moreno Galván.

The record starts off with a specific reference to him, doesn't it?

Exactly. Specifically I say "Francisco Moreno, brave moor" in a seguiriya that I'm especially happy with.

Why did you resort to such unusual styles?

Because in flamenco everything is being lost except the shamelessness. Almost no one does the cante of El Planeta that was recorded by Pepe Torre. That's a style I've been struggling with for a long time, it's been quite a job to get it, but I think it comes off well. I've listened to it again and it strikes me as perfect. On the other hand in the cabal of El Fillo and the siguiriyas of Nitri that I do, I hear little things. But the Planeta cante is perfect. But it's been lost just like the other two. And bear in mind, the Nitri one I set with Moreno Galván 35 years ago. I learned it from a record of a singer that you don't know, La Rubia de las Perlas.

I do know her José.

Well that's you, but I assure you there are very few people who know this woman ever existed.

Did you want to begin this tribute to your friend with a basic cante?

Right. That's the idea. That's why I begin the recording with a seguiriya and end with a toná. He formed me as a singer. It was his dream, to make a singer from his hometown. Because he knew more about cante than anyone, that's for sure. He brought me to Madrid and he made me. It was forty years of friendship. He's my oldest child's godfather.

Did you feel indebted to you fellow townsman?

Well, nothing would have happened if I hadn't made the record. In La Puebla they told me I ought to do something for Francisco but I was way ahead of them. It wasn't an obligation but it was something I really wanted to do.

But the record holds memories for many. Like in the mariana of Miguel Vargas.

I would have liked to add a note saying something about him, because this was his mariana, but in the end it didn't happen.

And the soleá of Marchena, who does it recall?

Gilica. She was Melchor's aunt and she had three short little cantes which were very good. I do them my own way, of course, because you always have to find your own personality.

José Menese and Camarón de la Isla

The Camarón twist you give the bamberas is surprising.

Yes, it's a little memory inspired by "La Leyenda del tiempo" but which then returns to Pastora's traditional bambera, now there's someone who sang everything well. No, it's just a little piece, that's all, because I really like that cante of Camarón's.

The rondeña, first the short, and then the long, is the proof that you are a “complete” singer.

We special characters don't repeat ourselves. I could have sung two rondeñas the same and nothing would have happened, but if there are two different kinds, you have to do them. The thing is, most people don't study and they just go for the easiest thing.

There are also references to Antonio Mairena.

I'm a Mairena follower through and through, but then I found my own personality. I belong to his school just as Curro Malena or Lebrijano because when I heard him sing the same thing happened as when I saw Curro Romero bullfight. I was completely taken. That's why I always do things that hark back to him. I can't avoid it. He was a master.

So then, it's best we don't mention the “Llave”, right?

I prefer to remain silent on that, all things considered, it's too much. Things got out of hand. But whatever, let's just forget about it or else I'll say something I shouldn't.

Are you aware of the fact that your record is for a minority?

Of course, but it's that I don't know how to make commercial things. It looks like I was somehow chosen to care for and watch over this art, because flamenco is coming unhinged.

But if Francisco had heard the record, surely he would have been proud.

Don't be so sure. He was the most demanding person in the world. Every time we did something together he would scold me terribly. Well I tell you, I have to be going - I'm meeting some people over in the Plaza de Oriente. I'll be seeing you...

Interview by Alberto García Reyes
Translated by Estela Zatania

Photos by José Lamarca