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My introduction to the cante was several nights in the late 1950s spent at Zambra in Madrid, listening to El Gallina and Perico El del Lunar, both padre and hijo.
By 1973 when this video was shot, styles had changed just a little in the audience. In the fifties Zambra was a hangout for intellectuals: Men in tweed jackets, horn rimmed glasses, several tobacco pipe smokers. Women wore cardigans, plaid skirts and "sensible" shoes.
I was a little out of sync in a suit with unpadded shoulders, narrow jacket lapels, button-down shirt and skinny necktie, but not enough to feel self-conscious.
I was fascinated by Romero's impassioned cante and impressed by the tasteful accompaniment of the tocaores.
The friend who brought me to Zambra introduced me to his friends and acquaintances. I remained in contact with some of them for years.
My next live cante experience was at Zambra (different ownership) in New York City in 1962. Fernando Sirvent (a payo like the Pericos) was the house guitarist and impresario. He signed visiting Spaniards for a week or two at a time. Sabicas and Domingo Alvarado showed up occasionally, and participated in some of the after hours juergas.
Carmen Amaya's last performance in New York City was at the Village Gate in 1962. My pal Blackie Acosta and I had a table next to the stage. Sabicas and his entourage sat at the next table. Amaya was as spectacular as always. Tio Sabas presented her with a big bouquet.
Fernando's sister Amor Sirvent had a Spanish themed gift shop near Dupont Circle in Washington DC, and taught flamenco baile. Amor's gift shop wasn't far from the old Guitar Shop of Sophocles Papas.
I hung around to meet some of Amor's students. When I mentioned that I played guitar, Amor brought out one she said she was selling for a friend. After I played some Mario Escudero falsetas, she said, "It is rare to hear an American play in compás. These American girls just want to express themselves. They don't understand that flamenco is rules, rules, rules!"
Anybody know what is the oldest audio recording of "Caña" or Polo? I can only find fairly modern recordings (Antonio Mairena) of it (compared to very old Solea, siguiriya, Malagueñas etc. by Chacon/Torres/Pavon). Even there are old Bamberas and Peteneras, but not those cantes that I can find. I must be missing someone that first recorded them.
I feel Enrique Morante borrows a lot from his (Romero's) style. But they both use the throat more than operatic style.
Anybody know what is the oldest audio recording of "Caña" or Polo?
Chacon recorded in 1899. According to José Blas Vega "No sabemos el contenido de estos cilindros. Y parece ser que la Caña fue otra de las grabaciones que hizo en Valencia".
Anybody know what is the oldest audio recording of "Caña" or Polo?
Chacon recorded in 1899. According to José Blas Vega "No sabemos el contenido de estos cilindros. Y parece ser que la Caña fue otra de las grabaciones que hizo en Valencia".
Interesting, thanks. It still seems strange to me that even his imitators did not record it until much later (Pepe de Matrona etc.).
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