Enrique Morente: cante. David Cerreduela,
Isaac Cerreduela: guitars. Nino de los Reyes, Isaac de
los Reyes, Pedro Gabarre ‘Popo’: baile, clapping.
Ángel Gabarre, Antonio Carbonell, Kike Morente:
choruses, clapping. Bandolero: percussion. 18th CajaMadrid
Flamenco Festival 2010. Teatro Circo Price. Madrid, February
20th, 2010. 8:30 p.m.
“A Cubist, avant-garde, anti-conventional soleá…”.
Enrique
Morente couldn’t decide on which adjective to
use to describe one of the most remarkable tracks on ‘Pablo
de Málaga’, an album whose contents he combined
with the very traditional - but very Morente-style - cantes
from ‘Morente flamenco’ to close the eighteenth
edition of the CajaMadrid Flamenco Festival, with this
edition’s first and only sell-out crowd. And except
for the aggressiveness of the sound quality and the lack
of coordination between the bailaores, it was a memorable
recital. The Granada-born artist showed all of his faces,
all of his cards, and he made clear what we all know;
that cante can live a different way… different ways.
To do so, you need personality, risk and courage, forgetting
about what they’ll say, opening the doors which
others insist on closing, dismissing those who keep them,
ignoring the prophets of doom. And also going with the
flow of the words and features of others who were already
free with art. As was Pablo Picasso, who inspired that
penultimate groundbreaking album which Morente managed
to bring coherently to the stage of the Circo Price. To
that end, Bandolero was more than a percussionist. And
with devastating blows, electronic bases and sophisticated
rhythmic pirouettes, he strengthened the beautiful, intelligently
defragmented cante, following tracks such as ‘Guern-Irak’
and ‘Autorretrato’. Apparently, the film showings
were amiss, because the friend who was supposed to bring
them left them on the subway, as the maestro related with
his crafty granaína. But it didn’t matter
at all. That way each person was free to imagine his or
her own images. And the thing is that this abstract, winged
music leads to that; to flying. And the choral ahs
and the superimposed ahs and the sharp clapping
and the astute guitars of Cerreduela Sr. and Jr.…
and the encore ‘Adiós Málaga’.
Earlier came the seguiriya and the solo ‘Pastor
bobo’ and also the soleá… and lyrics
by Miguel Candela and the shared excitement of premiering
a stage for flamenco in Madrid, after assuming the loss
of the Teatro Albéniz, formerly the headquarters
of this festival and now the headquarters of sad walled-up
doors.
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