José Mercé, cantaor. Interview

“I'm one of those people
who likes to sing, not shout”

Silvia Calado. Madrid, November 2004
Photos: Daniel Muñoz

For the fourth time, José Mercé applies the formula that took his flamenco recordings to the public at large, and especially to younger audiences. Traditional cantes, a cover version, bulerías and tangos with a popular lyric... And all of it with a message. The cantaor from Jerez chose lyrics that deal with problems in today's society such as gender-related violence, immigration and dehumanization. “Probably people learn better through song, just like when we used to learn our multiplication tables at school.” He also sings of everyday life, always with a twist of Andalusian humor, like in the line about the “gitana who returned to her vegetarian husband.” Isidro Muñoz is to blame for much of the album's content: “He knows me really well, he knows I'm incredibly lazy, and he knows how to put the pressure on.” And he's not the only one who's been around on this project. Diego Carrasco, Joaquín Grilo and, above all, guitarists Moraíto Chico and Diego de Morao - father and son - have given their all on this disc. With the ‘Confí de fuá’ tour coming up, José Mercé is already planning his next project: “An anthology... but a 21st Century anthology.”

José Mercé

So, what about ‘Confí de fuá’?

Amazing! I always ate cheap Spanish pâté, my budget didn't stretch to Confit de foie (he jokes). Here I'm talking about giving women the best we can. I think, unfortunately, these days such horrible, ugly things are happening - women being mistreated and abused - that this bulería was called for. And with a note of humor, like us Andalusians know how. Get your make up on, and put on your best dress, Chari, I'm taking you to eat the finest pâté du canard. I never had a chance to try it in my life, but I'm going to get you some.

So there's a little social comment on the album...

Not a little, there's plenty of social comment. After ‘Confí de fuá’ comes ‘Líbreme el hombre de vencer al hombre’, (Set man free from conquering man). The lyric continues: “from seeking victory, from singing glory, and if he has a god may he help me too.” It's a track where we say we're sick of power, we're sick of violence, we're sick of man against man. Let's try and bring back a little more of those human qualities - it seems like everything's moving forward, modern technology and all, but as human beings we're taking a step back.

Do you think flamenco should become more involved with protest?

Flamenco always has been by the people for the people. Flamenco has passed judgement, that's clear from the lyrics of popular songs handed down from generation to generation. But still we have to realize we're in the 21st Century and the world has changed a lot, it's evolved a lot. You also have to deal with everything that's happening around you, and that's what we try to do on this album. At school they talk about those things, but probably people learn better through song, just like when we used to learn our multiplication tables. I think communication is better through music... I express myself better singing than speaking, and I like to say the things I feel in that way.

‘Clandestino’, the cover version of Spanish singer-songwriter Manu Chao's song is another social commentary. How did the idea for this cover come up?

‘Clandestino’ has a very pertinent theme today. I was lucky enough to meet Manu en Barcelona, to have dinner with him, to exchange ideas. He seems an amazingly chilled-out guy, one of the few in this business who really do just what they like - I think that's admirable. And I told him then that one day I was gonna use one of his songs. On previous albums I did ‘Al alba’ by Luis Eduardo Aute, ‘Te recuerdo, Amanda’ by Víctor Jara... and I always like to include a song that has something to say and that I like. And this time I remembered Manu Chao... and he's really happy with it. When he heard the cover he called me, he couldn't believe it. He liked it a lot. We came up with a noble version, bringing the song into our home territory.

	José Mercé

What attracts you about doing cover versions?

I love it. It's not just covering an artist I like, but it's the social issue it deals with, I really like it. And I'm one of those people who likes to sing, not shout.

Does the choice of this track have something to do with your goal of taking flamenco to younger audiences?

Sure, that'll always be an aim of mine. Fortunately we managed to get young people mixed up in flamenco, looking back toward the origins, listening to the musical legacy. And ever since ‘Del amanecer’ - so that's the last four albums - I think I succeeded in doing my bit in getting young people interested - even singing my flamenco tunes. I can feel that on stage, the audience is really young, but even so they can still rattle off a martinete, a seguiriya or a soleá - the fundamental, traditional flamenco styles of cante. And they join in too: when I sing a number they sing along and have a great time. That to me is the greatest satisfaction of all, I think - to have managed to make that happen. It fills me with pride when - and this was unthinkable fifteen or twenty years ago - I bump into youngsters on the street and they strike up one of my tunes. I walk down the street and they don't call out “José”, instead they sing “Aire...” or ‘Lío...’.

I guess your recipe also had an effect on the place flamenco occupies within the recording industry, right?

I think that approach is making a big impact. Before I started doing this kind of concerts with my band, I don't remember anyone else doing that. It was fiercely criticized at the time, and that was critical because afterward the river ran its course, and these days there are plenty of people who come up on stage with a band. Before that stuff seemed wild, and people said “what's this idiot doing?” Personally I think everything that serves to promote flamenco is marvelous.

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