{"id":5304,"date":"2018-07-19T15:12:00","date_gmt":"2018-07-19T15:12:00","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/dos-anos-sin-juan-el-lebrijano\/"},"modified":"2019-02-16T20:06:10","modified_gmt":"2019-02-16T19:06:10","slug":"two-years-without-juan-el-lebrijano","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/two-years-without-juan-el-lebrijano\/","title":{"rendered":"Two years without Juan el Lebrijano"},"content":{"rendered":"<p>It\u2019s been two years since the passing away of Juan Pe\u00f1a Fern\u00e1ndez\u00a0<em><a href=\"http:\/\/www.expoflamenco.net\/#!El-abuelo-y-Juan-Pe%C3%B1a-El-Lebrijano\/c112t\/578855aa0cf28653c964403e\"><i>El Lebrijano<\/i><\/a><\/em>\u00a0(b. Lebrija 1941, d. Seville 2016), who is without a doubt one of the top four or five flamenco artists of all time. I knew I was going to miss him, although not as much. Not because of our friendship and my fondness of him, but because the way he sang and his great personality, something that\u2019s often lacking nowadays. Juan El Grande, as he was called by some late flamenco critics such as\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/opinion-archivo\/nos-consuela-su-luz-a-miguel-acal\">Miguel Acal<\/a>\u00a0and Jos\u00e9 Antonio Bl\u00e1zquez, had a unique style although we could sense the influence of\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Hablando-de-cante-con-Mairena\/c112t\/5760d1d50cf29542aa289730\">Antonio Mairena<\/a>, his uncle\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Perrate-de-Utrera\/c112t\/56cf7c600cf29064e5f24d50\">Perrate<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Sevilla-se-olvid%C3%B3-de-Pepe-Pinto\/c112t\/56a8644c0cf2296307164596\">Pepe Pinto<\/a>. He gave his voice to everything he knew he could make his own. Then there was his ability to create and re-create, which was huge. All that soon made him one of the great flamenco artists of his days.<\/p>\n<p>I was lucky to chat one day with Antonio Mairena about Juan El Lebrijano, and the truth is that the master of Los Alcores was worried about the commercial bent of this son of\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/08\/31\/La-Perrata\">La Perrata<\/a>. He didn\u2019t dare to tell me that what really worried him was the fact that Juan was steering away from orthodox\u00a0<i>mairenismo<\/i>, which in earlier days had been an important reference for Lebrijano and virtually all\u00a0<i>cantaores<\/i>\u00a0of his generation. In his first album,\u00a0<i>De Sevilla a C\u00e1diz<\/i>\u00a0(1969), Juan Pe\u00f1a was almost the carbon copy of Antonio, vocalizing and trying to sound like him, although Lebrijano\u2019s voice was somehow more pleasant to the ear and had the freshness of a young\u00a0<i>cantaor<\/i>. Antonio died feeling a bit disappointed with Juan and other of his followers because, as he said, they had steered away from his \u201cincorporeal reason\u201d doctrine, which was his obsession, unlike his brother\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/blog-archivo\/un-saetero-monumental\">Manolo<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/04\/20\/Honores-a-Menese-en-Guadalajara\">Jos\u00e9 Menese<\/a>, whom that the master of Mairena always held in high regard.<\/p>\n<p>It was thanks to the fact that Lebrijano was able to free himself from certain dogmas of\u00a0<i>mairenismo<\/i>\u00a0and\u00a0<i>gitanismo<\/i>\u00a0that he was able to leave us a treasure of Andalusian culture which was new and refreshing, not mothballed. Juan was a Gypsy\u00a0<i>cantaor<\/i>, son of a full-blooded Gypsy, La Perrata, and nephew of Vicente Pe\u00f1a y Perrate. He lived\u00a0<i>cante<\/i>\u00a0in his own house, in parties and in all those life experiences that gave him an important wisdom.\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Un-dolor-llamado-Morente\/c112t\/5665034b0cf203d325ed5a96\">Enrique Morente<\/a>\u00a0told me one day in Madrid, as we chatted about Juan, that he was an innovator, something I agreed with. He created over a solid base and provided an essential technique which allowed the Gypsy\u00a0<i>cante<\/i>\u00a0from Lebrija and Utrera to experience a noticeable change in its sound and form. A\u00a0<i>canti\u00f1a de Pop\u00e1 Pinini<\/i>\u00a0sounded anew in the voice of Lebrijano, as it happened with Pepe Pinto\u2019s\u00a0<i>tientos<\/i>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Pastora<\/a>\u2019s\u00a0<i>tangos<\/i>\u00a0or the\u00a0<i>buler\u00edas romanceadas<\/i>\u00a0of that land.<\/p>\n<p>It\u2019s not something mentioned often, but young\u00a0<i>cantaores<\/i>\u00a0admire Lebrijano\u2019s legacy and seek to have that technique of his. Jos\u00e9 Valencia is often mentioned in this regard, as he\u2019s a follower of Lebrijano, without a doubt, but there are many others. They won\u2019t copy him, as others do with Mairena or\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Camar%C3%B3n-de-la-Isla\/c112t\/5670af830cf2fb0fe5aff7eb\">Camar\u00f3n<\/a>, but they use his technique and his unique way of projecting his voice and then lowering it, keeping the beat with that very personal way of his. Lebrijano was a genius, and only geniuses change the course on an art genre, like he did, although he didn\u2019t do it single-handedly, but together with other geniuses such as Morente and Camar\u00f3n. In my opinion, those three were the key flamenco artists of those years, the 1970s, because they opened new paths, without closing others.<\/p>\n<p>I miss the\u00a0<i>cantaor<\/i>\u00a0and the friend. Juan had his quirks, but he was endearing and kind. He was a huge star who wouldn\u2019t have a problem to have a drink and chat about\u00a0<i>cante<\/i>\u00a0with just about anyone. He had that wide, welcoming smile which always invited a hug.<\/p>\n<p><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s been two years since the passing away of [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":8653,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5304","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Two years without Juan el Lebrijano - 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\/blog-archivo\/two-years-without-juan-el-lebrijano\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Two years without Juan el Lebrijano - 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