{"id":12640,"date":"2019-05-29T13:12:03","date_gmt":"2019-05-29T11:12:03","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=12640"},"modified":"2019-05-29T19:03:55","modified_gmt":"2019-05-29T17:03:55","slug":"how-mairena-and-morente-influenced-my-career","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/how-mairena-and-morente-influenced-my-career\/","title":{"rendered":"How Mairena and Morente influenced my career"},"content":{"rendered":"<p>There is lots of debate today about the role of flamenco critics. Do we know anything at all? Have we become more professional, or less? I feel like adding another element to this debate: how the great artists influence us, how they shape our career and nuance our opinions. In the forty years I\u2019ve been immersed in flamenco \u2013 thirty-five of them as a critic \u2013 I have dealt with all of the great artists of the last four decades. Two of them have had a particularly strong influence on me: <strong>Antonio Mairena<\/strong> and <strong>Enrique Morente<\/strong>.<\/p>\n<p>I met Mairena when I was just 20 years old, one night when this <em>maestro<\/em> was giving a talk in the now-defunct <em><strong>Pe\u00f1a Flamenca Ni\u00f1o Ricardo<\/strong>\u00a0<\/em>in Seville. That night I approached him and let him know that I liked his <em>cante<\/em>, and that I was interested in his opinions. He gave me his business card and told me to call him one day and stop by his house, which I did a few weeks later. It was just wonderful to be able to talk about <em>cante<\/em> with this Gypsy master in his own house, drinking coffee and discussing important things. I had a bag with me with EMI\u2019s record collection \u201c<em>Grandes cl\u00e1sicos del cante flamenco\u201d<\/em>, compiled by the songwriter <strong>Pepe Carrasco<\/strong>. Mairena was curious about those records and I showed them to him. Out of the ten records, he only cared about two of them, the one of <strong>Manuel Torres<\/strong> and the one of <strong>Ni\u00f1o Gloria<\/strong>, both Gypsies. He disregarded the other records, shunning them aside. These were recordings of <strong>Chac\u00f3n, Vallejo, El Carbonerillo <\/strong>and<strong> Cepero<\/strong>, among others. That hurt me, since I had been moved to tears listening to Carbonerillo and Cepero, but the Gypsy genius let me know that those were minor flamencos, not the real thing. Mairena manipulated me, and from that day on I became a dissident of <em>mairenismo<\/em>, although I have always loved Mairena as a <em>cantaor<\/em> essential to flamenco, now and then.<\/p>\n<p>Many years later, I met in person another great master, Enrique Morente, in Madrid, who was another <em>cantaor<\/em> whom I greatly admired. We went for drinks in the Spanish capital, he introduced me to great artists and we spent the whole night talking about Chac\u00f3n, Mairena, <strong>Juan Talega, Marchena, Pastora, Matrona, Caracol <\/strong>and<strong> Tom\u00e1s<\/strong>. We talked about all the great artists. All, except himself. He never tried to manipulate my opinions, but rather respected them, and he told me how important it was, in order to succeed as a flamenco critic, to have my own ideas and defend them with tooth and nail. If I were a <em>morentista<\/em> before meeting him in person, from that night on I became much more so, because <em>don Enrique<\/em> opened my eyes and many windows through which I could see <em>cante<\/em>, and flamenco in general. I\u2019m telling all this because I think that the relationship we have with the artists, with the masters that we\u2019ve chosen as references, are decisive when it comes to forming our opinions. It\u2019s important, of course, that this relationship doesn\u2019t makes us a fan of the artist, compromising our objectivity when it comes to analyse the masters. In my case, I confess that I lost my independence, first with Mairena, whose postulates I completely rejected, and then with Morente, whom I still admire as the great artist he was, and whom I regard as one of the geniuses of <em>cante flamenco<\/em>. He was, for example, the one who made me understand how great was <strong>Camar\u00f3n<\/strong>, who was his first rival on stage, and whom he greatly admired. Mairena and Morente, for different reasons, contributed to shape my personality not just as a flamenco critic, but as an aficionado of <em>cante jondo <\/em>as well.<\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mairena and Morente, for different reasons, contributed to shape my personality, not just as a flamenco critic, but as a flamenco aficionado as well.<\/p>\n","protected":false},"author":6,"featured_media":12639,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-12640","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>How Mairena and Morente influenced my career - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/how-mairena-and-morente-influenced-my-career\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How Mairena and Morente influenced my career - 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