{"id":16421,"date":"2019-11-16T03:01:39","date_gmt":"2019-11-16T02:01:39","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=16421"},"modified":"2019-11-16T03:05:24","modified_gmt":"2019-11-16T02:05:24","slug":"tales-and-fables-of-cante","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/tales-and-fables-of-cante\/","title":{"rendered":"Tales and fables of cante"},"content":{"rendered":"

Those of us who pride ourselves in knowing flamenco history in depth know that there are artists who have been elevated where they don\u2019t belong. It\u2019s tricky to give examples because, even as they\u2019re no longer with us, they still have living family and fans.\u00a0 This is a topic that has never been discussed as it should, in order to correct injustices and straighten up the record. We could mention, for example, the celebrated Joaqu\u00edn el de la Paula<\/strong>\u00a0(Alcal\u00e1 de Guada\u00edra, 1875-1933), the so-called king of the Alcal\u00e1 soleares<\/em>, although he never recorded his cante, so we\u2019ll never know how he sang, just like we don\u2019t know how Silverio<\/strong> or El Nitri<\/strong> sang.<\/p>\n

Joaqu\u00edn Fern\u00e1ndez Franco<\/strong>, his actual name, was lionized by Antonio Mairena<\/strong>, who claimed to be his disciple. Before Mairena\u2019s extolling, no one had paid much attention to that Gypsy singer from the caves of the Arab castle, who mostly performed in private parties and, occasionally, in obscure cafes and halls. People often speak about the soleares <\/em>of Joaqu\u00edn, in plural, while he only sang one single style, according to his own son, Enriquillo<\/strong>, who also used to sing in private parties. Antonio el Sevillano<\/strong>\u00a0also told me in his own house that Joaqu\u00edn only sang in one single style, who Antonio himself recorded as Soleares de Alcal\u00e1<\/em>. Thus, if he only sang in private parties and never recorded anything, how come he is so renowned?<\/p>\n

\u00abAlcal\u00e1 greatly honored him, something that didn\u2019t happen to Jos\u00e9 Ord\u00f3\u00f1ez\u00a0\u2018Juraco<\/em>\u2019<\/em>, an earlier cantaor, or with Bernardo el de los Lobitos, who is without any doubt the best cantaor born in that land with so much flamenco tradition\u00bb<\/em><\/p><\/blockquote>\n

Forty years ago, I started to compile information about Joaqu\u00edn el de la Paula and I went several times to the caves of the Alcal\u00e1 castle, where this cantaor<\/em> lived. I talked to members of his family and I even greeted one day his daughter Hiniesta<\/strong>, who is no longer with us. When I learned that Gonz\u00e1lez el Negro<\/strong>, his guitarist, was still alive and sold lottery tickets on Sierpes Street in Seville, I sought him so he could tell me how Joaqu\u00edn sang. He told me that he was often out of tune and when he accompanied him on the guitar he had to whisper his name discreetly \u2014 Joaqu\u00ednnnnnn<\/em> \u2014 so he would get back in tune. He never said that Paula was a great singer, although he admitted that his style of singing, in a lower voice and not perfectly tuned, was nice and well-liked by a minority of aficionados.<\/p>\n

Antonio Mairena talked about him with veneration and he mastered Alcal\u00e1s cante<\/em> like few before him. Mairena once told me at his house: \u201cJoaqu\u00edn was sweet, he sang sole\u00e1s<\/em> in a way that no one has ever emulated. He had a soft voice, but he embellished it nicely and I liked his way of setting the lyrics\u201d. He never said that his cante<\/em> was \u201chomemade\u201d, an expression he often used when he talked about de\u00a0Juan Talega,\u00a0<\/strong>Perrate or\u00a0Fernanda de Utrera<\/strong>. he never referred to him as a \u201csweet hoarse\u201d, like he did about Juan Talega. He just exalted Joaqu\u00edn because he was his master, his reference.<\/p>\n

According to Enriquillo el de la Paula, son of the artist, the one who better sang his father\u2019s sole\u00e1<\/em> was Perrate de Utrera<\/strong>, a Gypsy with an incomparable voice. Antonio Mairena sang it in his own way, like all he sang, with a strength that Joaqu\u00edn never had. Among his family, the cantaores<\/em> who sang like him the most were Juan Talega\u00a0<\/strong>and\u00a0Manolito el de Mar\u00eda<\/strong>, his nephews and his son Enrique.<\/p>\n

Why is that Joaqu\u00edn became so renowned in flamenco history, then? Because he personalized his cante<\/em> in a brilliant way, because he was a well-known and well-liked character of Alcal\u00e1, and because he represented the authentic cante<\/em> of that land, the sole\u00e1<\/em>. Alcal\u00e1 greatly honored him, something that didn\u2019t happen to Jos\u00e9 Ord\u00f3\u00f1ez\u00a0<\/strong>Juraco<\/strong><\/em>, an earlier cantaor<\/em>, or with Bernardo el de los Lobitos<\/strong>, who is without any doubt the best cantaor<\/em> born in that land with so much flamenco tradition.<\/p>\n

 <\/p>\n

\"Manolito

Manolito el de la Mar\u00eda, Antonio Mairena y Juan Talega. Montaje de Segundo Jim\u00e9nez Ortega.<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Why is that Joaqu\u00edn became so renowned in flamenco history, then? Because he personalized his cante in a brilliant way, because he was a well-known and well-liked character of Alcal\u00e1, and because he represented the authentic cante of that land, the sole\u00e1<\/p>\n","protected":false},"author":6,"featured_media":16363,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[194],"class_list":["post-16421","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new","tag-cantaor-en"],"yoast_head":"\nTales and fables of cante - 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\/tales-and-fables-of-cante\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Tales and fables of cante - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Why is that Joaqu\u00edn became so renowned in flamenco history, then? Because he personalized his cante in a brilliant way, because he was a well-known and well-liked character of Alcal\u00e1, and because he represented the authentic cante of that land, the sole\u00e1\" \/>\n<meta property=\"og:url\" content=\"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/tales-and-fables-of-cante\/\" \/>\n<meta property=\"og:site_name\" content=\"Archivo Expoflamenco\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ExpoFlamenco\" \/>\n<meta property=\"article:published_time\" content=\"2019-11-16T02:01:39+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-11-16T02:05:24+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/11\/expoflamenco-joaquin-el-de-la-paula.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"801\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Manuel Boh\u00f3rquez\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@expoflamenco1\" \/>\n<meta name=\"twitter:site\" content=\"@expoflamenco1\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Manuel Boh\u00f3rquez\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/\"},\"author\":{\"name\":\"Manuel Boh\u00f3rquez\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#\\\/schema\\\/person\\\/608d65b2c159f7b5b632f1365c15030f\"},\"headline\":\"Tales and fables of cante\",\"datePublished\":\"2019-11-16T02:01:39+00:00\",\"dateModified\":\"2019-11-16T02:05:24+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/\"},\"wordCount\":750,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/wp-content\\\/uploads\\\/2019\\\/11\\\/expoflamenco-joaquin-el-de-la-paula.jpg\",\"keywords\":[\"cantaor\"],\"articleSection\":[\"Bordonazo NEW\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/\",\"url\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/tales-and-fables-of-cante\\\/\",\"name\":\"Tales and fables of cante - 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