Interview: Pablo San Nicasio
Photos: Rafael Manjavacas Lara
«I have more work now than ever»
Although “Duquende” says the concept of “Rompecabezas” was already knocking around inside the head of Pepe de Lucia, his producer, it could just as easily have been his own idea.
The life of Juan Rafael Cortes Santiago is not only based on the solo career that received Camaron’s blessing at the end of the nineteen-eighties. There are a lot more pieces that form part of many artists, in particular, Paco de Lucia. We sat down with a singer who is extremely short on conversation. An artist who has taken a leave of absence from the maestro’s group to tour with his latest work.
Working so closely with Paco de Lucia, it always seemed odd his brother Pepe had still not produced anything of yours.
Obviously we knew each other from a long time ago. It was only logical. And we’d always wanted to do this. I knew his taste, his fine eye for choosing musicians, the way he coddles the singer…he’s an exceptional producer.
Isidro was also a heavyweight.
Yes, that’s quite true. They have different taste. And you get a lot out of both of them, they’re both very strong. They make finished, well-rounded works.
There’s something about this record, I don’t know, a certain something that reminds of the aesthetic of Camaron’s last recordings. That symphonic touch, the slow cantes done in that way of his…
You mean because of the tonas, right? The Lisbon Philharmonic and the guiding hand of Jesus Bola, because part of the record was done in his studio, just like those albums. Yes, it might be reminiscent of some of Camaron’s recordings. Take into account that in addition to the orchestra, there are a lot of musicians here that were also in those recordings, and even if they didn’t participate, they were on the same wave length. There are orchestrations by Joan Albert Amargos and Jesus Bola, both very good, and very knowledgeable about what we flamencos like.
Does Paco de Lucia have talent scouts to choose his musicians? In your case it seems Camaron did a fine job paving the way.
I’ve been with Paco eighteen years, and quite content. Camaron did a lot, it’s true, but each individual has to push forward alone. In fact, you can’t relax for one second. It’s not really like talent scouts…people close to the maestro talk about this one or that one. And then he listens and makes it his business to know who’s around, it’s not hard for him to be on top of the situation.
Doesn’t it get to feel like an office job when you’re always touring as a fixture with one of the greats?
No, in the end you can’t slip into that mentality. And if you do, too bad for you, because you won’t last long. Duquende’s career has to be more than just one collaboration. If not, forget it. You can’t rest on your laurels. The market would edge you out, and then on your own you can’t do much, you wouldn’t have a niche in the flamenco panorama.
“Paco always says that Enrique and Camaron were the maestros of our time, and if they didn’t record together, it was just circumstances”.
How did it come about that you started with Paco?
One night I was singing at the Caracol room and afterwards we went to a fiesta in Candela. With Tomatito, Juan de Ketama…and I saw him. We were talking in the street and exchanged impressions. He didn’t talk about work at first, but we both felt a good chemistry happening. So later on, when it became possible, he took me on tour.
Lots of pressure, no?
Not at all…with that guitar and that personality of his it’s like you’re flying. I prefer the best guitarist to a mediocre one, so what, no problem.
And you found time in between to make eight records of your own. Live recordings, records you can’t even find any more, smash hits like that “Telita”.
Now I’ve got experience, my voice is deeper, more together, even more masculine I’d say. People tend to say that, but the thing is…at least in my case I can’t describe it any other way because if I hear myself singing from several years ago, it has nothing to do with how I sing now.
Enrique Morente, now talking about “Rompecabezas”, didn’t seem to have much place in the world of Paco…or so it seems to me.
The malaguena is a tribute that was Pepe’s idea. Paco always says that Enrique and Camaron were the maestros of our time, and if they didn’t record together, it was just circumstances.
And Raimundo Amador, finally, on a real flamenco record…it’s been a long time.
What a great guy, I spoke to him during the Bienal and told him I wanted him to be on my record. Pepe called him and in twenty minutes he was down at the studio. It was just that easy, and he recorded in a single go.
And then, “Tomate” salad.
Basically, it’s the son accompanying the father here. That kid is going to have a sensational sound on guitar. But look out, there’s also room for Antonio Sanchez, Paco’ nephew, who has a sound I love. We’ve been good friends ever since we met on his uncle’s tour, and I think he’s a really great guitarist.
It’s interesting that you do a double dose of fandangos, it’s not usual.
Fandangos is the warm-up cante in flamenco. I’ve always listened a lot to Gloria, Macande, Parrala… And I’ve come to the conclusion that anyone who sings good fandangos, tends to sing everything well….it’s the thermometer.
Paco de Lucia seems to still be in good form technically. In the rumba you share here, at the beginning it seems that it doesn’t get down to business, but then…
No matter what he himself says, or anyone else, he’s always going to be in great technical form. He comes from up there [he points heavenward]…that’s what there is.
“Anyone who sings good fandangos, tends to sing everything well”
Had you worked before with Nino de Pura?
No, but I loved it. I was on the edge of my seat when I heard him play. Like with Diego del Morao. He’s the only one for bulerias. In fact, the bunch of guitarists Pepe de Lucia rounded up for me was incredible.
What about the Catalonian thing? I mean, if bullfighting was used as a political tool, they might do the same thing with flamenco.
I don’t think so. The Spanish people ought to be proud of both bullfighting and flamenco. Go talk about Spain anywhere in the world and see what people say. In any case, I don’t care about that stuff, I just follow my path with my singing. I live in Sabadell and don’t get involved in politics.
And what’s the flamenco atmosphere like there?
There’s not much interest, no flamenco. In my house there is…my mother and was flamenco, and my family. I don’t believe in a Catalonian style of flamenco. My family is from the south, from around Malaga and Almeria. I feel Catalonian, but there’s no real following. There are artists like Mayte, Poveda, many guitarists…but they’re people born to immigrants from the rest of Spain….not much home-grown talent.
“I don’t believe in a Catalonian style of flamenco”
You have to give us your anti-recession formula.
If I really had one, I’d let you know. But the fact is, I’m not feeling the recession. I’m working more than ever, both in Spain and abroad.
You once said old-time flamenco is dead.
Yes. For a variety of reasons. Nowadays, no one listens to it. Young people are bored by it. And that’s no good. How can you know how to sing if you don’t start there? And from that beginning, you have to do it like that interpreter, as difficult as that it, and evolve it, make it better. But if people don’t listen to it, they don’t pay attention. It’s completely dead and forgotten.
