S.C./ Flamenco-world.com, September 2010
Back with ‘La voz del agua’, Marina
Heredia started to feel in control of her career as a cantaora.
And ‘Marina’ just confirms it. The Granada-born artist
opens up to the most traditional flamenco cante, seriously performing
cantes with substance such as the soleá, malagueñas,
seguiriyas and mineras. All of them with very clear references,
with vintage accompaniment and with a committed grin.
Another part of the repertoire are the middle-of-the-road
tracks between flamenco and folklore, with a typical accent from
Granada: they’re “fandangos del Albaizín”
and “tangos de Graná”, with their castanets,
their mandolins and their native jaleos. And the third style to
appear is flamenco-style song, whether it is as a version of a
romantic song by her much-admired Parrita, or as a reconstruction
of lyrics por bulerías by El Chino, or as an update of
alegrías authored by Juan M. Fernández Montoya.
Even with these three clear routes, the disc has
a uniform attitude. Both Marina Heredia’s instrument and
her performance have reached an optimum degree of maturity. She
controls her registers and expressiveness, appearing from sweet
to rough, from solemn to bright, depending on what the cante or
song in question requires. Her responsibility and respect for
the classical stand out, but not to the point of hindering her
from bringing out her own personality and her own time.
She and her voice are in the foreground, with simple
accompaniment, especially on guitar. She has several to choose
from, depending on the nuances she needs. José
Quevedo ‘Bolita’ backs her both in what
smacks of the present, as well as some peeks at the past. But
for the traditional and basic toque, she relies more on Luis Mariano
and Miguel
Ochando. Clapping, jaleos, subtle percussions, a bit
of mandolin and some choruses are all the rest. Marina Heredia
doesn’t need more make-up than what she’s wearing
in the picture on the cover. ‘Marina’ is an album
as honest as a washed face.