| Martín
Guijarro, July 2007
In the end, the announced collaboration by Paco de Lucía
didn’t pan out. But it was no reason for
Capullo
de Jerez to further delay the release of his
album. On ‘Flor de canela’, the Jerez-born
cantaor goes along the same lines of his previous
records with direct flamenco which is hummable,
abrupt and extremely rhythmic. And that’s
the formula with which, concert after concert,
he gains new followers of all ages and musical
tastes.
Capullo de Jerez (Photo
Daniel Muñoz)
Rumbas, tangos and bulerías
are the artist’s ammunition, styles where
the lyrics - all of them his own - fit in freely
and precisely. Everyday contents and a pinch of
surrealism. On the musical side, the standard
production abounds in guitars, keyboards, bass,
clapping and choruses, many choruses. The rumba
‘Son de lunares’, the bulerías
‘Perdón’ (with Joaquín
Grilo’s footwork) and the tangos ‘La
culpa’ come in through perseverance, with
transmissible, catchy refrains. If you go around
Jerez these days, you’ll see that it’s
the soundtrack of bars, homes and cars.
He gets away from the most obvious
formula in the tangos which are the title cut
on the album. In ‘Flor de canela’,
he opts for the more mellow side of this style,
for composure and contention. He leaves his voice
nearly alone, highlighting the roughness and imperfections
of cante, in the fandangos, in the soleá
por bulerías and in the grand finale ‘Entre
amigos’. He clears the way not just for
his voice, but also for the simple but full Jerez-flavor
guitar of Jerito and Niño
Jero – who appears in the soleá
por bulerías -, and for the clapping and
cheering, which are as important as any other
instrument on this album where the core is compás.
Contents
Interview
with Capullo de Jerez, cantaor (September 2006)
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