FLAMENCO VIENE DEL SUR 2007. TEATRO CENTRAL
Jerez por… guitar
Carlos Sánchez. Seville, March 20th, 2007
‘Retrospectiva’. Guitar:
Gerardo Núñez, Javier Conde.
Cante: Jesús Méndez. Sax: Perico Sambeat.
Percussion: Ángel Sánchez ‘Cepillo’.
Contrabass: Pablo Martín. Group: Soniquete de Jerez.
Guest artist: Carmen Cortés. Flamenco Viene del
Sur 2007 Series. Teatro Central. Seville, March 20th,
2007. 9 p.m.
Gerardo Núñez
(Photo archivo Daniel Muñoz) |
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In ‘Retrospectiva’, guitarist
Gerardo
Núñez sets forth a journey back to his
childhood. A collage of emotions lived, of experiences
acquired throughout his intense career as an artist. The
Jerez-born artist wanted to stop time and recall former
periods, past eras. To do so, he uses audiovisual support
as a common thread for the show. Snapshots reflecting
the artist’s childhood, adolescence and maturity
through images which are projected throughout the performance.
Gerardo wanted to feel more like a boy than ever. That’s
why he surrounded himself with a bunch of kids from the
Santiago neighborhood and with young Extremadura-born
guitarist Javier
Conde. Many ingredients for a good stew of the land.
The light in the room darkens. Suddenly,
you can hear the guitar by the Jerez-born artist, who
appears to one side of the seats. As the chords are intertwined,
his gait moves forward along a road traced by the spotlight,
which shows him the right direction. He slowly goes down
the stairs and sits down at the opening of the stage.
In the background, on the cyclorama, you can see pictures
of Rafael del Águila and Tío
Borrico which are followed by others from the artist’s
childhood. They’re reminiscences of the past coming
from a group of children who are jumping rope. They’re
the budding seed of the Jerez neighborhood of Santiago.
On the other side, another boy plays rhythm on the guitar
for a young girl who puts on her shoes to show the latest
“pataíta” she has learned. At the end,
all the stars of the scene join up in an improvised fiesta.
Even Javier Conde’s guitar appears to display his
innate attributes on the six-string in ‘Donde duerme
la luna’.
‘Cañaveral’ makes
way for ‘Templo del Lucero’. Gerardo Núñez’s
guitar becomes the star. Teaching touches, fingering,
speed, musicality, compás and rhythm. All under
the symphony of dizziness. Slowed down by the wheels of
improvisation by Perico Sambeat on sax, which is answered
by Pablo
Martín on contrabass and ‘Cepillo’
on box drum. Meanwhile, the guitarist converses with jazz
because his restlessness so requires. He goes beyond the
“cuarto de cabales”, though he resorts to
strumming his guitar. Por seguiriyas, with the sixth tuned
por rondeña with tremolos tasting like granaína.
Por bulerías restrained por soleá. With
Carmen Cortés on baile and Jesús
Méndez’s timbre, they dare to try the
toná. The young cantaor from La Plazuela is maturing
by leaps and bounds. Until it’s time for the close
marked by the land of Jerez; por bulerías.
Gerardo Núñez
with Borrico de Jerez. 1987
