Genealogical crosses

Silvia Calado. Madrid, June 4th, 2013
Photos © Daniel M. Pantiga


'Flamenco dynasties: The Carbonell family'. Antonio Carbonell: cante. José Carbonell 'Montoyita' and Monty: guitars. Pedro Gabarre 'Popo', Morito and Juan Carmona: percussion. José María Cortina: keyboard. Yelsy Heredia: double bass. Soleá Morente and José Enrique Morente: guest artists. Festival Suma Flamenca 2013. Teatro de la Abadía. Madrid, June 4th, 2013. 9:00 pm

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Montoyita and family (Photo Daniel M. Pantiga)

Flamenco’s family tree has a lot of branches. Throughout its history, there are a great many crosses which have made it grow. And they continue to do so. That was demonstrated at the inauguration of Suma Flamenca 2013 – with a discreet audience, by the way – which, although it was highlighting the Carbonell Family, in practice it extended to the union between the Carbonell and Morente families. It did so with the spotlight shining on José Carbonell 'Montoyita', but neither his career nor his relatives can break away from Enrique Morente. And deep down, the concert was as much a tribute to the Granada-born genius as it was following his footsteps.

The guitarist made it clear from the very start, making his guitar recall the memory of Morente and of Ramón Montoya who, at the same time, he gets his stage name from. And singing 'La estrella' with the strings. Next, he let an eclectic band of musicians play, among whom were keyboard player José María Cortina and contrabass player Yelsy Heredia and, as surprise guest, Jorge Pardo. And he also accompanied Antonio Carbonell in the Lorcan poem on the guitar translated Morente-ly to cabal, and in the heartrending seguiriya uttered by the cantaor.

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Soleá Morente (Foto Daniel M. Pantiga)

The most irrefutable proof of this genealogical cross are the children of his sister Aurora and his brother-in-law Enrique. And we’re not talking about Estrella now, but rather the other two: José Enrique and Soleá. Both of them are a genetic cross in which diverse attitudes towards music and towards flamenco are mixed. And above all, a tremendous desire by each of them to seek their own personality. José Enrique dared to sing, playing for himself on guitar, a free version of the song 'Autorretrato' off his father’s last studio album, 'Picasso en mis ojos'. Soleá showed how she has been gaining experience, together with Los Evangelistas, in a different sphere halfway between jondo and rock, scrutinizing a form of her own in her voice and in her attitude on stage. She did so revising 'Pequeño vals vienés'. Pure sensuality. Many expectations.

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José Enrique Morente, 'Autorretrato' (Photo Daniel M. Pantiga)



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