{"id":14632,"date":"2019-08-11T00:19:16","date_gmt":"2019-08-10T22:19:16","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=14632"},"modified":"2019-08-11T00:23:54","modified_gmt":"2019-08-10T22:23:54","slug":"the-forgotten-carito-de-jerez","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/the-forgotten-carito-de-jerez\/","title":{"rendered":"The forgotten Carito de Jerez"},"content":{"rendered":"<p>I have previously highlighted the essential role of the artists from Jerez de la Frontera in the heydays of good flamenco in Seville in the mid 1800s. <strong>Manuel Caro Cu\u00e9llar\u00a0<\/strong><em><strong>Carito<\/strong><\/em>\u00a0arrived in the capital of Andalusia before any other flamenco artist, with a repertoire typical of Jerez, because he was born and became a <em>cantaor<\/em> in that city, listening to the local <em>cantaores<\/em> of those days. Let\u2019s remember that, as we stated earlier, Carito was born on January 12<sup>th<\/sup>, 1845 on number 1 Puerto Street, a little later than <strong>Loco Mateo<\/strong>\u00a0and\u00a0<strong>Paco la Luz<\/strong>, with\u00a0<strong>Manuel Molina<\/strong>\u00a0already performing and being an inspiration for many other young artists of that time.<\/p>\n<p>He was the son of Sim\u00f3n Caro Garc\u00eda, a stonecutter from Puerto Real, and Isabel Cu\u00e9llar Parrado, from Jerez. They weren\u2019t Gypsies, and I say this due to the fact that some people believe that being Gypsy is of the utmost importance when it comes to flamenco, something understandable considering the essential role of Gypsies in the creation of this ancient art form. Perhaps the fact that Carito wasn\u2019t a Gypsy is the reason why he has been forgotten, as he wasn\u2019t born in the midst of a Gypsy family. Yet this <em>cantaor<\/em> had two important Gypsy influences: Loco Mateo and Manuel Molina, his two idols according to all the authors who have written about him. \u00a0Perhaps he sweetened excessively the <em>cantes<\/em> of those two renowned artists, but each <em>cantaor<\/em> has their own style of voice, and Carito\u2019s was \u201cpure syrup\u201d, according to <strong>Fernando el de Triana<\/strong>.<\/p>\n<blockquote><p><em>\u00abCarito would have experienced the death of El Canario de \u00c1lora very closely, as he lived in his house on Amor de Dios Street\u00bb<\/em><\/p><\/blockquote>\n<p>He already performed in Seville in the 1860s, when <em>cante<\/em> was still limited to the <em>bolero<\/em> academies, and he sang with other <em>cantaores<\/em> such as <strong>Sartorio, Lorente, Perea del Puerto, Enrique Prado, Juraco<\/strong>\u00a0and\u00a0<strong>Silverio<\/strong>. Carito sang for <em>baile<\/em>, like most <em>cantaores<\/em> in those days, and he must have been good, because soon after he shows up performing by himself in Seville and beyond. Later, <strong>Chato de Jerez<\/strong> arrived in the capital of Andalusia and they became inseparable, both emulating the styles of Molina and Loco Mateo. That\u2019s the time when Paco la Luz also arrives in Seville with his three daughters, followed a little later by <strong>Frijones<\/strong>\u00a0and\u00a0<strong>Chac\u00f3n<\/strong>.<\/p>\n<p>Carito lived for some time at number 39 Amor de Dios Street, near Alameda de H\u00e9rcules. That was where he lived when on the evening of August 13<sup>th<\/sup>, 1885, the father of La Rubia, <strong>Lorenzo Colomer Ricard<\/strong>, murdered <strong>Canario de \u00c1lora<\/strong>, stabbing him in the heart at the door of Never\u00eda del Chino, the summer branch of Caf\u00e9 del Burrero. Carito would have experienced this drama very closely because Canario lived in his house, engaged to his sister Isabel, apparently.<\/p>\n<p>After the death of that <em>cantaor<\/em> from M\u00e1laga, Carito had Canario\u2019s <em>malague\u00f1a<\/em> in his repertoire in those years, in memory of his great friend. He performed up to little before his death, which took place in Seville on February 3<sup>rd<\/sup>, 1895, when he was 50 years old, so he was still young. He would have a hard time due to his illness and the fact that he could not make a living in parties or stages, as he had done almost all his life. He was already a widow and he died totally alone, as his only daughter <strong>Luisa Caro Bernal <\/strong>either passed away or disappeared from his life for unknown reasons.<\/p>\n<p>Carito died on Morgado Street, also near Alameda de H\u00e9rcules and Amor de Dios.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Manuel Caro Cu\u00e9llar Carito arrived in the capital of Andalusia before any other flamenco artist. He had two important Gypsy influences: Loco Mateo and Manuel Molina. He already performed in Seville in the 1860s, when cante was still limited to the bolero academies, and he sang with other cantaores such as Sartorio, Lorente, Perea del Puerto, Enrique Prado, Juraco and Silverio<\/p>\n","protected":false},"author":6,"featured_media":14556,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[194],"class_list":["post-14632","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new","tag-cantaor-en"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The forgotten Carito de Jerez - 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\/the-forgotten-carito-de-jerez\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The forgotten Carito de Jerez - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Manuel Caro Cu\u00e9llar Carito arrived in the capital of Andalusia before any other flamenco artist. He had two important Gypsy influences: Loco Mateo and Manuel Molina. 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