Old song on the banks of the Guadalquivir | Culture
The programming seems to be made for special tasters of the jondo. In the historic and referential neighborhood of Triana Sevillian, at the end of its Castilla street and next to the Guadalquivir river, a modern tablao that hosts dance halls and a small auditorium for less than a hundred people, which allows a completely acoustic format, without intermediaries between artists and the public, gathered in a small space. In this place, with criteria and good taste, a cycle of ten concerts has been scheduled to cover until the end of May, at the rate of two per month.
Almost exclusively, sing, with a selection of voices that brings together the old and the new: consecrated names along with a commitment to emerging values that are on the lips of fans. Among the first, classics with very personal accents and family or local roots, the Cádiz Juan Villar, the Ibrijana Inés Bacán, the Jerez-born Luis Moneo, Luis El Zambo and Dolores Agujeta, plus a modern classic such as the chiclanero Antonio Reyes. Among the young, we find continuators of dynasties such as Lela Soto, of the Sordera, or Manuel de la Tomasa, along with Juanfra Carrasco, Ismael de la Rosa and El Purili. That of the guitars chosen for the accompaniment is an aspect that also seems to have been taken care of with the presence of Manuel Parrilla, Diego del Morao, Antonio Moya, Rycardo Moreno, Miguel Salado, El Perla, Juan Manuel Moneo, Manuel Jero and Rubén Lara. Only one of the concerts leaves the format, that of guitarist Dieguito de Morón, nephew of the great Diego del Gastor, a Rare avis of the sonanta that, due to its bohemian and special idiosyncrasy, does not frequent the programming.
Nor is the singer Dolores Agujeta (Dolores de los Santos Bermúdez), who opened the cycle with the room full. She is heiress and continuator of a saga that admits few comparisons, the one that her grandfather inaugurates, the legendary Old Agujeta, and that her father, Antonio de los Santos Pastor, would illuminate with both art and personality. It represents them and their songs prolong, almost as if time had not passed. His age-old echo contributes to the transmission, in the same way as the songs of his repertoire, which he offers with atavistic fidelity of ancient forms received orally and experientially.
The song of Dolores does not lend itself to concessions and offers it, in the paternal way, in short batches of very specific styles. Take special care in his words for soleares and seguiriyas, in which he takes his cracked metal to the limit and, lengthening the thirds, seeks to break with letters as chosen as blunt, similar to those of the fandangos, with one of the Bizco Amate as colophon. It is the prolongation of an emotional search with which he ends up achieving, perhaps, the greatest commotion among a very close audience, to which there is no room for deception. Before he had put pain and sweetness to the taranto of Manuel Torre and, at the end, the Jerez identity stamp by bulerías with his little cuplé.
Obligada is a special mention of the work of Manuel Parrilla, who had accompanied him on his most recent record, Aguora Cantaora (2016). Not by chance, he had been his uncle, the great Jerez grill, the one who assisted her in her previous album (2004). With a touch of accompaniment of school and character, it is felt that Manuel offers both singing and singing enjoyment that is perceived in the audience. His illustrations were full of inspiration and flamenco that is canonical in each of the styles.
