SANGRE NUEVA. YOUNG FLAMENCOS 2010
JESULE LOSADA • LA CARBONERA • ANA MORALES
Discovering
S.C./Flamenco-world.com. Madrid, September 23rd, 2010
Jesule Losada, guitar
+ Luis Amador, box drum/ Inma la Carbonera,
cante + Jesús Guerrero, guitar/ Ana Morales,
baile + Moi de Morón, cante + Jesús Guerrero,
guitar. Sangre Nueva Series. Jóvenes Flamencos 2010.
Teatro de Madrid, September 23rd, 2010. 8:30 p.m.
Yes, La Vaguada is a little bit out of
the way, but it’s worthwhile to cross the city in
order to get a triple dose of flamenco and, meanwhile, to
make discoveries. The artists taking part in the series
‘Sangre Nueva. Jóvenes Flamencos 2010’,
with a few exceptions, are those kinds of flamencos who
are usually in the middle ground and who seldom have the
chance to perform solo. But of course, how each of them
takes advantage of that chance depends on each one individually.
And to that end, sometimes you don’t even need to
head up the bill.
Jesule Losada did so with the temperance
musicians have who are sure of their instrument and their
discourse. His years at tablaos and accompanying baile give
him not just reliable technique, but also composure on stage.
With a firm step, he warmed up with free toque, later getting
to the point por rumbas and bulerías with bright,
effective rhythmic passages. A manouche-style finish provided
the icing on the cake of the show by this first-rate Madrilenian
tocaor.
La Carbonera, however, didn’t know
how to or couldn’t save her appearance in this showcase.
The Sevillian cantaora, who sang a few days ago in the premiere
of ‘Tranquilo alboroto’ by Rubén
Olmo at Bienal de Sevilla 2010, offered a rhythmic,
melodic and emotionally doubtful and disjointed recital,
despite the guiding guitar provided by Jesús Guerrero.
Her beautiful rusty echo was neither enough to perform the
classical cantes por granaína, alegrías, tientos
and soleá por bulerías, nor to do a version
of ‘Dime’ by her admired Lole
Montoya. One thing is to have the instrument and quite
another, to know how to use it.
And that is what Moi de Morón (ex-member
of Son de la Frontera) does know how to do with his old
echo. Even though he was backing the baile of Ana
Morales, with just a soleá he drew the olés
which the cantaora didn’t manage to get. The bailaora,
Catalan by birth and Sevillian by adoption, returned the
warmth to the audience with two prizewinning bailes. She
appeared por taranto, recalling that Desplante 2009 she
was awarded with at La Unión. She combines her physical
plastic art with an exquisite rough edge. And it’s
that duality which traps this artist in precise technical
preparation and winding expressiveness. With cantiñas
sketched with a bata de cola she earned the olés,
jaleos and admiration of those who had the good plan to
go and discover flamenco at the Teatro de Madrid on a Thursday
night. And there must still be a lot left for Friday, Saturday
and Sunday. Here’s the schedule.
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