{"id":32007,"date":"2022-02-10T22:55:26","date_gmt":"2022-02-10T21:55:26","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=32007"},"modified":"2022-02-10T23:02:55","modified_gmt":"2022-02-10T22:02:55","slug":"yeye-de-cadiz-im-cadiz-through-and-through","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/yeye-de-cadiz-im-cadiz-through-and-through\/","title":{"rendered":"Yey\u00e9… C\u00e1diz through and through"},"content":{"rendered":"

The nickname takes you by surprise. Surely a serious flamenco singer, capable of exploring the depths of siguiriya and sole\u00e1 with a warmly textured flamenco voice and an abundance of sincerity, surely such an individual would not come to be known as \u201cYey\u00e9\u201d (a 1960s term that refers to youngsters and the music they enjoyed at the time, rather like \u201cbubble-gum music\u201d). Antonio L\u00f3pez Olmo (1948) is from C\u00e1diz, which already explains a lot, as locals are known for their ever-present surrealistic sense of humor. Like many others from the city, he participated in his youth in a carnival group, a comparsa, <\/em>known as Los Yey\u00e9s Gaditanos, and upon becoming an actual flamenco singer, well, the name stuck.<\/p>\n

 <\/p>\n

Yey\u00e9 (that\u2019s pronounced jay-JAY<\/em>) has sung in major companies such as those of Antonio, Mar\u00eda Rosa, Manuela Vargas and Joaqu\u00edn Cort\u00e9s. I remember hearing him for the first time many years ago, singing for young dancer Javier Bar\u00f3n on television. I left what I was doing in the kitchen to sit and take in this unknown singer with the odd nickname. My colleague, Antonio Barber\u00e1n, a great and knowledgeable flamenco fan, has the following to say about Yey\u00e9: Antonio is a strong singer who has seen plenty of flamenco action singing for dance, and with a great deal to say as a soloist as well. He has a prodigious voice imbued with the salty flavor of C\u00e1diz that permeates everything he sings.<\/em><\/p>\n

 <\/em><\/p>\n

Let\u2019s see what Yey\u00e9 has to tell us about his colorful life.<\/em><\/p>\n

 <\/p>\n

 <\/p>\n

Antonio, how did you pull off that radical change from the carnival group to the intensity of flamenco singing? Where do acquire that depth, and how did you learn to sing for dance?<\/strong><\/p>\n

It was already in me, but the carnival group was another kind of singing. I was the first solo singer in the history of the C\u00e1diz carnival, the first to sing alone. It was with the group Los Beduinos de Paco Alba, <\/em>I sang a verse of Farina\u2019s. After that, many others started to sing solo, and now it\u2019s normal.<\/p>\n

I learned to sing in the street, and in my house, my father and mother both sang, and from early on they got me into the Burlaero which was a bar owned by Periquito el Melu, and La Privadilla, another bar, and the bar Lucero where you could always find Ram\u00f3n el Ni\u00f1o de la Pelota, el Caramelito de C\u00e1diz as well as guitarists Domingo Billero and Eugenio el Ni\u00f1o de los Rizos, and I listened to everything.<\/p>\n

My early years I was living in the misery of a garage after the famous explosion of a military stockpile in C\u00e1diz in 1947 that destroyed hundreds of buildings leaving us homeless. Afterwards, when I was 11 years old, I made it to America as a stowaway on a boat. A sailor discovered me and gave me food, but when we got to America I was exploited and beaten. Between one thing and another, there\u2019s enough for seven books.<\/p>\n

I\u2019ve been living in Madrid since 1965. I came when I was 16 with the carnival group Los Yey\u00e9s Gaditanos\u201d <\/em>to perform at Pasapoga, a nightclub on the Gran V\u00eda. One night we ended up at Arco de Cuchilleros [a well-known tablao], and there was Chano Lobato singing, as well as \u00c1lvaro de la Isla and Alfonso Salmer\u00f3n, and I sang some alegr\u00edas. I\u2019d known Chano since childhood, in C\u00e1diz we lived on the same street, Santo Domingo. I told the owner of the tablao that what I really wanted was to sing flamenco, and he said I was always welcome to work at the tablao. A couple of months later I left the Yey\u00e9s, and still with my freaky hairdo I began at the tablao with Chano.<\/p>\n

We remained four or five years together at Arco de Cuchilleros, which is where I learned to sing for dance. Back then, it was like a flamenco university, nowadays it\u2019s completely different. To sing in a tablao, you had to know the whole flamenco repertoire from top to bottom. And the artists had to change dances every two days, so the singers needed to adapt. But today, with 3 or 4 dances at most, the show is covered: sole\u00e1, buler\u00edas, tangos\u2026<\/p>\n

The last time Antonio el Bailar\u00edn toured Japan, the singers were Chano, Rafael Romero El Gallina, el Caobo and myself.<\/p>\n

 <\/strong><\/p>\n

Is there work for a flamenco singer in C\u00e1diz, or is it necessary to be in Madrid?<\/strong><\/p>\n

Not now, and not ever has there scarcely been work in C\u00e1diz, you have to come to Madrid. I worked in the tablao in C\u00e1diz, and the boss Paco el Barbero kicked me out for letting Cojo Peroche in \u2013 it\u2019s a long story. The singers at that time were Juanito Villar, Miguel el Rubio de los Ajos (from Jerez) and myself.<\/p>\n

The first time Juanito Villar came to Madrid, we worked together at the Calder\u00f3n theater with Juanito Valderrama, that was with a carnival group called Las Catorritas de Filipinas [and he sings the carnival song they used to do].<\/em><\/p>\n

 <\/p>\n

Where do you feel most appreciated, Japan, Madrid or C\u00e1diz?<\/strong><\/p>\n

I feel appreciated everywhere, certainly very much so in Japan where I spent many years, I have a Japanese daughter. I came to have my own tablao, and all the flamenco artists who went to Japan sought me out.<\/p>\n

 <\/p>\n

What recordings have you made?<\/strong><\/p>\n

Singing solo, two: Puerta Tierra<\/em> and Llega Lejos Andaluc\u00eda<\/em> with my friend Jos\u00e9 Mar\u00eda Molero on guitar, he just left us not long ago poor guy. I recorded Color Caf\u00e9 <\/em>with Pedro Sierra, and I\u2019ve also done many collaborations.<\/p>\n

The verses I sing are nearly 100% my own. Sometimes I hear singers doing my verses and that pleases me, although they don\u2019t usually know they\u2019re mine. And I can take any flamenco verse and fit it to any flamenco song-form.<\/p>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>

Yey\u00e9 de C\u00e1diz, con un cuadro japon\u00e9s. Foto: Archivo Yey\u00e9 de C\u00e1diz<\/p><\/div>\n

 <\/p>\n

 <\/p>\n

Nowadays, singers for dance have names. <\/strong>Every flamenco fan knows Enrique Extreme\u00f1o, Jos\u00e9 Valencia, Juan Jos\u00e9 Amador, Miguel Ortega, Pepe de Pura and so many others. <\/strong>Do you feel known in that respect? Is it equally hard to sing solo as it is for dance?<\/strong><\/p>\n

Everything is difficult in flamenco, even knowing how to say \u201cole!\u201d correctly. For me, it\u2019s not that different singing solo or for dance. You\u2019re more exposed when you\u2019re on your own, but you also feel more inspired, you dig deep inside yourself, and the audience pays closer attention. At this point, I think audiences know me both ways, solo and with dance. I prefer solo, it makes me feel free and I communicate better. Now, singers for dance are always named on the program, they didn\u2019t used to do that, the same for guitarists, and forget about \u201cpalmeros\u201d (hand-clappers), there weren\u2019t any, we did our own clapping, only the dancers were named, but now even the caj\u00f3n (percussion box) player is named, and that\u2019s only right because they\u2019re all artists. There used to be very little work for solo flamenco singers, nearly all the jobs were with dancers.<\/p>\n

 <\/em><\/p>\n

You don\u2019t sing Camar\u00f3n-style, but in photos you\u2019re wearing the image of Camar\u00f3n\u2019s face around your neck. Did you know him when you were young?<\/strong><\/p>\n

Everyone loves Camar\u00f3n, us veterans and also the new generation. As a child we played together, he lived 6 kilometers away from C\u00e1diz in La Isla. When he was a kid, if it got too late to return home, he used to stay with an aunt of his in C\u00e1diz. That was San Juan Street, where my sister also lived, and we used to hang out together. Later on, when we were older, we\u2019d run into each other now and again, although when I got to Torres Bermejas [major Madrid tablao], I\u2019d already left for the Canary Islands where the money was better.<\/p>\n

 <\/p>\n

What flamenco singers do you admire? <\/strong><\/p>\n

Of the singers from before, I admire Talega, Ni\u00f1a de los Peines, Mairena, Lebrijano, Naranjito\u2026 And of the present generation, I like Antonio Reyes, Mar\u00eda Terremoto, Rubio de Pruna, Pedro El Grana\u00edno, Jes\u00fas M\u00e9ndez, my buddy Cancanilla de M\u00e1laga, Rancapino Chico, Israel Fern\u00e1ndez and many others.<\/p>\n

 <\/p>\n

You\u2019re from that prodigious generation of renewed classic cante, singers who have now past seven decades \u2013 Juan Villar, Luis Zambo, Mar\u00eda Vargas, Rancapino, Pansequito \u2013 do you identify with that group?<\/strong><\/p>\n

Of course I identify with all the singers of that group, also Santiago Donday, Juan Silva, Ni\u00f1o del Mentidero\u2026 And people are singing better than ever, now there are more ways to learn, more techniques. It used to be people just learned from one another. There were many unknown individuals who were terrific singers, like Rosa la Sardina or Ram\u00f3n de Barbate who was a fisherman. When he came back from fishing in his boat, he\u2019d be singing all the time, and we followed him around learning his things. That whole generation, we grew up with nothing.<\/p>\n

 <\/em><\/p>\n

 <\/p>\n

With gratitude towards Elvira L\u00f3pez Hidalgo<\/em><\/p>\n

 <\/p>\n

Top image: Agust\u00edn Verdura<\/h6>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>

Yey\u00e9 de C\u00e1diz, con Antonio Jero. Foto: Estela Zatania<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Yey\u00e9 de C\u00e1diz. Foto: Agust\u00edn Verdura<\/p><\/div>\n

 <\/p>\n

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

The nickname takes you by surprise. Surely a serious […]<\/p>\n","protected":false},"author":9,"featured_media":31998,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[194],"class_list":["post-32007","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca","tag-cantaor-en"],"yoast_head":"\nYey\u00e9... C\u00e1diz through and through - 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\/estela-flamenca\/yeye-de-cadiz-im-cadiz-through-and-through\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yey\u00e9... 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