40th Gazpacho andaluz de Morón de la Frontera
Saturday, July 29th, 2006.
10:30 pm. Bullring, Morón de la Frontera (Seville)
Cante:
José Mercé, Pansequito, Mariana Cornejo, David
Sánchez “El Galli”. Guitar: Moraíto,
Pascual de Lorca, Paco Iglesias, Agustín de la Chica.
Dance: Mercedes de Morón and group.
Text & photos: Estela Zatania
Excellent gazpacho and terrible sound characterized the fortieth nniversary of the Gazpacho Andaluz de Morón de la Frontera. If when the first Gazpacho was celebrated four decades ago atrocious sound was a constant at these events, there were also thrills and chills thanks to a wide range of top-rate artists, spontaneity and greater dedication to the art. Flamenco fans demanded professionalism and their wish has been granted although something may have been lost in the process so what we get is performances that are nearly always acceptable by artists who essentially “take the money and run”.
At this point in time, the après-festival, those fiestas after work that used to go on until the next day, are little more than an anecdote.
The man from El Puerto who years ago was the only artistic rival of Camarón de la Isla
This edition of the venerable festival opened with a local professional singer who is often to be seen in the group of Antonio Canales. David Sánchez el “Galli” sang soleá with a nod to Joselero de Morón, siguiriya and cabal, tangos with the violin of Bernardo Parilla and a wide variety of bulerías, all with a contemporary sound. He was backed up by Paco Iglesias on guitar, the percussion of José Carrasco (brother of Manuela) and Bobote’s palmas.
In 2000 José Cortés “Pansequito” closed this same festival and an overly tired audience barely took notice of the man from El Puerto who years ago was the only artistic rival of Camarón de la Isla. On this occasion, his intervention in the Gazpacho was much more appreciated.
The master of ceremonies opened the collective appetite speaking of the singer’s Caracol style, his rich thick voice, “those drawn-out phrases”, “fine taste and gut instincts”, a wide-brush portrait of Pansequito’s
flamenco identity. He began with a wide assortment of cantiñas, some frankly exotic, with great flavor and his unmistakeable delivery. He sang styles of Serneta and Mellizo for soleá in a more conventional manner than usual, possibly due to the fact that he was not entirely at ease with guitarist Pascual de Lorca, not his regular guitarist. For taranto, he did two verses with rhythm and the third free-style to end with cartagenera,
always with the extra added dimension of his warmly toasted voice. Once again in bulerías he didn’t seem
on the same wave-length with the guitarist in a form he controls and dominates perfectly. To wrap up his performance, fandangos without amplification, his voice reaching the furthest corner of the bull-ring recalling a time when these large open-air venues were worked without the aid of mikes and speakers.
The local dance group of Mercedes de Morón was enhanced by excellent voices from out-of-town: Antonio Campos from Granada and María Peña from Utrera, as well as Moisés de Morón, singer for the popular group
Son de la Frontera. Despite the terrible sound, you could distinguish the Morón guitar of Agustín de la
Chica backed up by Paco Iglesias. The lack of amplification for the footwork, an invention all dancers now demand, left Mercedes unable to command as she should have, which serves to highlight how technology transforms art.
Charisma, infectious Cádiz rhythm and the flavor of the most authentic traditional cante of her hometown.
Intermission followed by a tribute to one of the festival’s founders, and Mariana Cornejo took the stage. Her repertoire and style are quite to the liking of Morón flamenco fans who live so close to the mountains where fandangos, ‘ida y vuelta’ cante and Cornejo-style ‘chuflas’ are much appreciated. If she doesn’t raise gooseflesh,
she offers an expansive personality capable of filling any performance area with her charisma, her infectious Cádiz rhythm and the flavor of the most authentic traditional cante of her hometown. The lady thanked the town for the tribute paid to her the previous month, and rounded out her performance with “la cantiña de la rosa” and a little alegrías. Here guitarist Pascual de Lorca, her regular guitarist, was right at home and played wonderfully.
José Mercé and Moraíto, dressed respectively in pistachio green and tomato red, were delicious and nutritious
for flamenco fans starving for high-quality cante. Malagueña de Chacón and Mellizo, soleá, siguiriya, fandangos
and of course, bulerías to end. José knows the importance of not abandoning traditional flamenco and these
two men maintain a very high level, difficult to criticize although many do. Their spot seemed a bit short, but with
great voice and guitar, compás and knowledge, no artifice whatsoever, they disappointed no one and were the perfect ending for the Gazpacho Andaluz of 2006.