{"id":5743,"date":"2016-04-20T17:16:38","date_gmt":"2016-04-20T17:16:38","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/mairena-y-camaron\/"},"modified":"2019-02-28T23:43:20","modified_gmt":"2019-02-28T22:43:20","slug":"mairena-and-camaron","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/mairena-and-camaron\/","title":{"rendered":"Mairena and Camar\u00f3n"},"content":{"rendered":"<p>One day I had an argument with the well-known flamenco critic, the late\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/opinion-archivo\/nos-consuela-su-luz-a-miguel-acal\">Miguel Acal Jim\u00e9nez<\/a>\u00a0(also my master and great friend, by the way) because in a radio show in Seville he had said that\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/06\/18\/%E2%80%8B-Un-cuarto-de-siglo-sin-Camar%C3%B3n\">Camar\u00f3n<\/a>\u00a0was a follower of\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Hablando-de-cante-con-Mairena\/c112t\/5760d1d50cf29542aa289730\">Mairena<\/a>, and I begged to differ. The genius of\u00a0<i>Isla de San Fernando<\/i>\u00a0was like a sponge, absorbing knowledge and ideas from many other\u00a0<i>cantaores\u00a0<\/i>and\u00a0<i>cantaoras<\/i>, although everything passed through the sieve of his throat and his way of conceiving\u00a0<i>cante jondo<\/i>. I\u2019ve never associated Camar\u00f3n with Mairena because, frankly, I think they belonged to different worlds and they were too different from each other.<\/p>\n<p>Obviously, the great\u00a0<i>cantaor<\/i>\u00a0from Mairena influenced many other\u00a0<i>cantaores<\/i>\u00a0of Camar\u00f3n\u2019s generation, because, after he was awarded the third\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!%C2%BFVuelve-lo-de-la-Llave-del-Cante\/c112t\/563987c60cf275e9c596a72e\">Golden Key<\/a>\u00a0in C\u00f3rdoba in 1962, he became one of the main guiding lights in flamenco.\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-a%C3%B1o-de-Juan-Valderrama\/c112t\/560dd5620cf2a7bb74c22e90\">Valderrama<\/a>\u00a0once told me dryly that \u201cMairena sent us all to the basement\u201d. It was true. It\u2019s not that Mairena was better than\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Manolo-Caracol\/c112t\/5670b1be0cf274f69813e76e\">Caracol<\/a>\u00a0or\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-jilguero-de-Marchena\/c112t\/5661105c0cf25333685e0a03\">Marchena<\/a>, but it was his time to shine and he knew how to take the baton and control everything. Once I asked him if he was aware of the music being recorded by the new, young\u00a0<i>cantaores<\/i>\u00a0and he said that he was and that it was his responsibility to be aware of it. Besides, some\u00a0<i>cantaores<\/i>\u00a0would present Mairena with their albums dedicated to him. Others (no need to say names) would even take their demos to the master, asking for guidance.<\/p>\n<p>Camar\u00f3n never did those things, as far as I know. He always admired and loved Mairena, and the master of Alcores always saw in Camar\u00f3n a new-generation revolutionary of Gypsy\u00a0<i>cante<\/i>, from the day he performed in the\u00a0<i>Concurso de Cante Jondo de Mairena<\/i>\u00a0and delighted everyone with his Gypsy freshness, in 1966, winning the prize in the category of\u00a0<i>cantes festeros<\/i>. It is said the Mairena greatly influenced that contest\u2019s jury, which incidentally included\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/01\/26\/Centenario-de-Ricardo-Molina\">Ricardo Molina<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Juan-Talega-y-Diego-del-Gastor\/c112t\/56ef6b400cf276e9de24fd1a\">Juan Talega<\/a>, two great friends of the master. There is a recording of Camar\u00f3n\u2019s performance that night, and without a doubt we can sense hints of his innovations, even as he was clearly attached to traditional flamenco back then.<\/p>\n<p>As time went by, Jos\u00e9 Monje Cruz kept innovating more and more, and I know for a fact that Mairena didn\u2019t approve that new style, although he always respected Camar\u00f3n. Of all the new\u00a0<i>cantaores<\/i>\u00a0of that generation, the one Mairena really liked was\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Un-dolor-llamado-Morente\/c112t\/5665034b0cf203d325ed5a96\">Enrique Morente<\/a>, specially in his early years. Indeed, once he was asked who he thought the new master of\u00a0<i>cante<\/i>\u00a0would be, and he only mentioned Morente, highlighting the intelligence of his innovations, which didn\u2019t sit well with\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2017\/04\/20\/Honores-a-Menese-en-Guadalajara\">Jos\u00e9 Menese<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-abuelo-y-Juan-Pe%C3%B1a-El-Lebrijano\/c112t\/578855aa0cf28653c964403e\">Lebrijano<\/a>\u00a0and other followers of Mairena.<\/p>\n<p>Camar\u00f3n certainly wasn\u2019t from the Mairena school, yet that doesn\u2019t mean he didn\u2019t admire the Gypsy master, browsing his works now and then to find nuances and guidance about some basic palos, like everyone else did. Just like Mairena himself did with the works of\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Ni\u00f1a de los Peines<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-genial-Ni%C3%B1o-de-Torres\/c112t\/5785bdb80cf2e25833791608\">Manuel Torres<\/a>\u00a0and Juan Talega. There hasn\u2019t been one single\u00a0<i>cantaor<\/i>\u00a0in all history who has created a completely new style, without being influenced by other\u00a0<i>cantaores<\/i>\u00a0and\u00a0<i>cantaoras<\/i>. Not even Camar\u00f3n, the most personal\u00a0<i>cantaor<\/i>\u00a0of the last few decades. I didn\u2019t have a chance to talk many times with him, maybe two or three times, just enough to find out that he was a great aficionado, a true \u201csponge\u201d. All it takes is browsing his extensive works to realize that he was able to learn from almost everyone, excelling in the fandangos of El Rubio,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/single-post\/2016\/05\/17\/Un-cantaor-de-cantaores\">Antonio el de la Calz\u00e1<\/a>, el Gloria, Juan el Camas and Morente, and he even used Morente\u2019s tunes in\u00a0<i>seguiriyas<\/i>. Yet, Mairena\u2019s influence won\u2019t be found in his works.<\/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>One day I had an argument with the well-known [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":9321,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5743","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>Mairena and Camar\u00f3n - 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\/mairena-and-camaron\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mairena and Camar\u00f3n - 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