A generation of fine singers was born right before Camar\u00f3n<\/strong> (who entered the world in 1950), and were young adults by the time of his first recording with Paco<\/strong>. They came racing to the kick-off of a new direction in flamenco, making it just under the wire, hauling along their rich but somewhat dusty baggage of hard-core flamenco. Steeped in the most classic forms, they put their knowledge and youth to good use.\u00a0 That Camar\u00f3n kid, with Paco by his side, kept upping the ante, and you had to be fresh and contemporary.\u00a0 With their recordings and performances, four singers bridged the gap from the world of Terremoto-Chocolate-Mairena-Caracol, to our current free-wheeling ambience.<\/p>\n The following are traditional flamenco singers who rode Camar\u00f3n\u2019s coattails to the new \u201cjondo\u201d horizon, and whose influence continues to condition our taste. Many many more would soon follow, but these Camar\u00f3n cohorts were the pioneers of a specific style:<\/p>\n JUAN VILLAR, born 1947. <\/strong>\u00a0This classic singer from C\u00e1diz with the rich flamenco voice, jumped on the bandwagon and knew how to squeeze great flamenco out of the new tendencies.\u00a0 His first recording, on which he went by the name Juanito el de la Gineta, was classy but conventional, although he soon began to enjoy the freedom younger singers were tapping into. He savored Extremaduran forms that were becoming popular in Madrid with slow tangos and juicy choruses, a sort of repertoire that was not on Antonio Mairena\u2019s radar, and in fact Mairena is on record stating flat out that canastero flamenco (which describes that of Extremadura) was not \u201creal\u201d flamenco because it lacked roots (Antonio Reina G\u00f3mez<\/strong>, Vivencias con Antonio Mairena<\/em>).<\/p>\n Jos\u00e9 Cort\u00e9s \u201cPANSEQUITO\u201d, born 1946.<\/strong>\u00a0When the elderly singer Peri\u00f1aca was interviewed in the television documentary Rito y Geograf\u00eda del Cante<\/em>, she was asked her opinion of Camar\u00f3n. She sort of wrinkled her nose and said something less than flattering about the young upstart, and you thought \u201cof course\u2026 she\u2019s too old to appreciate such innovation\u201d. But she quickly added that she liked \u201cthe other one\u201d, who turned out to be Pansequito, and God bless this lady who had the fine instincts and open mind to appreciate Panseco, an amazing singer who continues to thrill this writer with his original personality.<\/p>\n Manuel Manche\u00f1o \u201cTURRONERO\u201d, \u00a0born 1948.<\/strong>\u00a0 Thanks to his youthful temperament and energy, this singer raised in Utrera easily made the transition to contemporary cante. He began directly with a varied repertoire, and a Camar\u00f3n approach, some of Paco Cepero<\/strong>\u2019s slow tangos, notably Me Toc\u00f3 Perder\u00a0<\/em>which was wildly popular outside flamenco circles, and richly musical, fresh-sounding buler\u00edas songs. Health problems deprived us early on of Turronero\u2019s creativity.\u00a0<\/strong><\/p>\n Antonio Cort\u00e9s \u201cCHIQUETETE\u201d, born 1947.<\/strong>\u00a0 The first young mainstream singer to put the exotic sole\u00e1 del Zurraque on the table for aficionados to enjoy. \u00a0He was also the first to cleanly jump the fence to the world of pop music without looking back.\u00a0 In 1992 T\u00fa y Yo<\/em>, another Paco Cepero creation, was a major success. The velvety voice of this cantaor\/cantante adapted well to both types of music.\u00a0<\/em>A few years ago Chiquetete made an attempt to return to the flamenco fold, but didn\u2019t quite recuperate his jondo\u00a0<\/em>persona.<\/p>\n <\/p>\n Antonio Cort\u00e9s Chiquetete. Foto: Fernando Alejo – Quatrofotografia<\/p><\/div>\n <\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" The following are traditional flamenco singers who rode Camar\u00f3n\u2019s coattails to the new \u201cjondo\u201d horizon, and whose influence continues to condition our taste. Many many more would soon follow, but these Camar\u00f3n cohorts were the pioneers of a specific style.<\/p>\n","protected":false},"author":9,"featured_media":15131,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[],"class_list":["post-15135","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca"],"yoast_head":"\n![\"Antonio](\"https:\/\/www.expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/09\/expoflamenco-chiquetete-foto-fernando-alejo-quatrofotografia.jpg\")