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M.G./Flamenco-world.com, March 2011 He composed ‘Tierra de calma’ for Miguel Poveda. He turned Juan Ramón Jiménez’s poems into flamenco cantes for Carmen Linares on ‘Raíces y alas’. And in the meantime, he kept on putting off his own album. But it finally came. ‘Agua encendida’ is the long-awaited sample of the musical evolution of Juan Carlos Romero, a personal guitarist able to discover multiple subtleties in flamenco music, with complex work on harmony and rhythm that underlies a sound suitable for all ears... which are sensitive. This album has that contradictory tone which is already marked by its title: from the brightest to the faintest. The brightest scores are ‘Portalillo de zapatero’ and the bulería ‘Sube la marea’ which, according to the guitarist, are like “opening windows to air things out”. Since the essence of this disc lies in an intimist meditation that is sometimes uneasy and sometimes comforting. A reflection on existence is captured in scores like ‘Agua encendida’, commented on as having “a soleá rhythm” as well as the lullaby ‘Mi madre a mí me cantaba’ and the rondeña ‘Nos habitan y se van’. And it isn’t a cante album, but the cante it has - by La Susi, José Mercé, José Valencia and even his mother Carmen - is decisive inasmuch as it rounds off the expressive aim of each piece. The cantaores adapt to the musical designs established by the composer for the voices in live, synthetic interventions that delve deeply into the expressive qualities particular to each performer. Vocals and toque thus fit into the same music, the same discourse.
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CD. Juan Carlos Romero,
'Agua encendida' More information, audio, orders |
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"A personal guitarist able to discover multiple subtleties in flamenco music"
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