José Mercé. Teatro Real. Madrid
November 2nd, 2000

COMMERCIAL "AIRE" AND ROYAL SCAM

While José Mercé appeared onstage at the "Teatro Real" to present his latest and most commercial recording, flamenco prepared to submit itself completely to the new era, trend, generation, or whatever you want to call this thing that the public applauded with enthusiasm even before it had started.

It seems puzzling to witness the presentation of a new recording, to find that precisely the best parts of the performance were not included in the album. The seguiriya dedicated to his son Curro, the malagueña del Mellizo, and the two solos of Moraíto are worth an entire performance, but in no way do they justify such a pompous and un-flamenco presentation.

Perhaps Mercé will surpass expected sales for Virgin, going down in flamenco history for his sales figures rather than for the "Aire" of his singing. I think that's fine. But, at such a crucial moment for flamenco music, a fraud like this can be dangerous, making everyone who jumps onto the trendy bandwagon believe that what José has been selling so successfully for years is flamenco.

A blues titled "Arrengao," and Luis Eduardo Aute's "Al Alba" (recorded by Alfonso Luna exactly a year before Mercé on a recording titled, "Nostalgia de Amor por Bulerías"), and the bulería "Aire" are the centerpieces of this new recording by José Mercé.

Even the compositions and Isidro's musical arrangements were put into doubt, due to the poor quality of the sound system on Thursday, November 2nd, in the "Teatro Real."

If there is one virtue to this new recording of José Mercé, it is precisely in the quality of the music. Isidro Muñoz adds coherence and good taste to whatever he touches. The same can not be said for the verse. It is hard to acknowledge, but, since the death of Francisco Moreno Galván, there has been no author that renews flamenco verse with such knowledge. For this reason, there is such a difference between the levels of quality of the music and the verse. Some examples to illustrate this point are the rumba "La Vida Sale" and the soleá por bulería "El Café." In "La Vida Sale" three great musicians participate: Ramón González (percussion), José Mestre (piano), and Manuel Machado (trumpet). In this way, he has at last been able to express in his own terms the experience accumulated throughout the years in the program of the Seville Government "El Son Cubano y El Flamenco." The simplicity of Moraíto's guitar in "El Café" is pure pleasure for all serious enthusiasts. What's the problem then? The answer is brutally simple: The verse is not up to the standard of the music composed. The subjects dealt with are frivolous; day-to-day life is portrayed, but this is not enough. Without the depth necessary for a good story; without shared sentiment, singing is nothing. For this reason, it is odd to see how José tears himself up singing a blues number charged with feeling, and that it reminds no one but José Mercé of anything. And the bulerías, tangos, and martinete are no more than flamenco-flavored songs. Perhaps explaining the deficiencies of this new recording is a complicated task. For a flamenco enthusiast, it is very easy to distinguish between singing in which the singer is making a great effort, and a flamenco-flavored song, in which the singer glides through the verse, as is the case here.

Obviously, there are moments of quality, like the fandangos del Gloria. But they do not justify this latest recording from the most important flamenco singer of our time.

In the end, as is becoming customary, unending applause, weak encores, and, at last, bulerías de Jerez, with verse from Mercé and Luis de la Pica.

Once again, Moraíto was worth his weight in gold, coming to the rescue with skill and art that are priceless. Just ask José Mercé why he always performs with him.

Fernando González-Caballos Martínez
Translated by Norman Paul Kliman