{"id":9716,"date":"2019-03-04T21:13:59","date_gmt":"2019-03-04T20:13:59","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=9716"},"modified":"2019-03-04T21:15:04","modified_gmt":"2019-03-04T20:15:04","slug":"the-guitars-of-javier-patino-and-bolita-shine-in-the-festival-de-jerez","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/chronicles\/the-guitars-of-javier-patino-and-bolita-shine-in-the-festival-de-jerez\/","title":{"rendered":"The guitars of Javier Patino and Bolita shine in the Festival de Jerez"},"content":{"rendered":"

It\u2019s time for flamenco guitar in the Festival de Jerez<\/strong>. Halfway through this event, we are faced with Javier Patino<\/strong> on March 1st<\/sup>, and Jos\u00e9 Quevedo \u2018El Bolita\u2019<\/strong>, the following evening. Two different concepts based on the schools of Balao and Carbonero, historic masters of Jerez whose important contribution to flamenco guitar has barely been acknowledged, since they\u2019ve spawned the most prolific generation of flamenco guitarists up to now. Having said that, we focus on each performance. Patino conceives his music from a traditional perspective, certainly creating his own language but sounding like 21st<\/sup> century flamenco. He\u2019s personal, introverted, distinct, a cante<\/em> aficionado, humble and grateful. This Festival continues to acknowledge his worth, although that\u2019s not the case of the city itself, where he seldom has the opportunity to perform. Yet, it doesn\u2019t matter, because who doesn\u2019t ask, doesn\u2019t owe. In his recital titled Deja que te lleve<\/em> (\u201cLet me take you<\/em>\u201d) he invites us on a delicious trip without barriers, where we make some stops, as in the buler\u00edas<\/em> together with Salmonete<\/strong>, whom Javier brings to this festival, or the composition Pepa<\/em>, dedicated to his wife, where he pours all the creativity of his mythological spirit. On the other hand, Jos\u00e9 Quevedo \u2018Bolita\u2019 demonstrates in this occasion a more extended universe regarding his concerns and signs. With Ca\u00f3tico Redux<\/em>, he continues to take to different parts of the world his most conceptual production, bringing his flamenco music closer to other genres such as jazz or blues, together with great percussionists, wind-instrument musicians or the great double bass of Pablo Mart\u00edn Caminero<\/strong>. We find buler\u00edas, sole\u00e1, tientos<\/em> and tangos<\/em> or alegr\u00edas<\/em>, but everything is done through his filter, which adds to each composition his own sounds, taking us to hidden places and making us feel things we had never felt before. It\u2019s fair to remember that an extended version of this production was awarded a Bienal de Sevilla<\/strong> \u2018Giraldillo\u2019 <\/strong>in the category \u201cdialogue with other genres\u201d and it will also be staged next summer in Jerez in the series Noches de Bohemia<\/em><\/strong>. Bolita is something else.<\/p>\n

Ana Morales<\/strong> and Mercedes Ruiz <\/strong>performed at the Villamarta theater. In Sin Permiso (Canciones para el silencio)<\/em>, the former chose to seek her inner self by pondering what happened in her past and discovering the meaning of each moment that made her into who she is now. Her memories \u2014 and perhaps temporary fears, existential doubts or dreams that propelled her to the present \u2014 are dissected through well-executed choreographies and a warm a simple staging. Everything follows a thread which leads us to the gift of her inner self. On the other hand, in Tauromagia<\/em> Mercedes ads yet another contribution to the work of the genius Manolo Sanl\u00facar<\/strong>, translating into baile<\/em> the tracks of that album. It sounds easy, and perhaps we summarize it too swiftly, but on stage she achieves a show of very high quality, where we fully understand the harmony between David Lagos<\/strong> (cante), Santi Lara<\/strong> (main guitar) and Mercedes. Having the music of the master Sanl\u00facar as a base may seem like an advantage, although it\u2019s also a great responsibility with a lot of weight. We once again enjoyed baile<\/em> without tricks by a bailaora<\/em> from Jerez who always keeps the common sense in her shows, something we appreciate.<\/p>\n

In the late hours of Friday, Beatriz Moralez <\/strong>performed in the Sala Compa\u00f1\u00eda venue her show Hembra Alpha<\/em>, a vindication of women\u2019s baile. She put a strong focus in her accompaniment, in cante<\/em> as well as in baile<\/em> and guitar, besides percussion and even in the violin of Bernardo Parrilla<\/strong>. We must highlight the performance of Antonio Agujetas Chico<\/strong>, one of the jewels of Jerez\u2019s young cante<\/em> who added his flavor to seguiriyas<\/em> and malague\u00f1as<\/em>, as well as to the tarantas<\/em> which introduced Morales\u2019 several bailes. He\u2019s visceral, with strength and nerve, giving it all at every moment. The voices of Sandra Zarzana, Carmen Grilo<\/strong> and Roc\u00edo Parrilla<\/strong> are well-suited for baile, particularly because their camaraderie and good spirits are apparent on stage, something that helps to maintain the rhythm. \u00a0Mar\u00eda Jos\u00e9 Franco<\/strong>, a bailaora from C\u00e1diz who enjoys maturity in her baile, showed her mastery in Volver<\/em> (\u201cReturn<\/em>\u201d). \u201cHow can you return if you\u2019re always dancing?\u201d, said the off-air voice of her little one. Mar\u00eda continues her long career, temporarily interrupted by the birth of her children, in this show together with Luis Moneo<\/strong>, that voice from La Plazuela district which makes everything better. Fine baile<\/em> in the alegr\u00edas<\/em>, more traditional in her tangos<\/em> and exceptional in the sole\u00e1<\/em>, which has been one of the best moments in the 23rd<\/sup> edition of this Festival.<\/p>\n

<\/div>\n
<\/div>\n
<\/div>\n
\n
\"Javier

Javier Patino, Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n<\/div>\n

\"'Tauromagia',

Mercedes Ruiz’s ‘Tauromagia’, Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

\"'Hembra

Beatriz Morales’ ‘Hembra alpha’, Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

\"'Volver',

Mar\u00eda Jos\u00e9 Franco’s ‘Volver’, Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"'Sin

Ana Morales’s ‘Sin Permiso (Canciones para el silencio)’, Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

Halfway through the Festival de Jerez, we are faced with Javier Patino and Jos\u00e9 Quevedo ‘El Bolita’. Two different concepts based on the schools of Balao and Carbonero, historic masters of flamenco guitar in Jerez.<\/p>\n","protected":false},"author":8,"featured_media":9654,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[70],"tags":[],"class_list":["post-9716","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles"],"yoast_head":"\nThe guitars of Javier Patino and Bolita shine in the Festival de Jerez - Archivo Expoflamenco<\/title>\n<meta name=\"description\" content=\"Halfway through the Festival de Jerez, we are faced with Javier Patino and Jos\u00e9 Quevedo 'El Bolita'. 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