I like simple guitars. Those that don't bother or interfere with the cante. Those that do not intend to stand out and, for that reason, attract attention. They do so if they are good, of course. And this is the case of Domingo Rubichi's. Flamenco, deep, intense and rancid. An infallible guitar, servile, forceful, with a lot of taste. Full of sharp drones, without fuss, full of arpeggios and old falsetas. It is one of those that enter alone, one of those that penetrate and please due to its apparent simplicity, one of those that draws oles from you without remedy. I like gypsy guitars. I like Domingo's guitar. And how he wrapped up the throat of Jose El Mijita.
And palmeros well dressed, without sneakers, or outlandish clothing. Those who mark the beat without crossing, know how to put their foot in the right place and cheer just the right amount, like Carlos Grilo, which accompanied it luxuriously.
Jose Carpio Fernandez 'El Mijita' He melted in voice five singing dynasties. Those of the Carpios, Rubichis, Agujetas, Moneos and Chalaos. And he left being carried on the shoulders of the Peña Flamenca Torres Macarena of Sevilla, being without a doubt, along with Dolores Agujetas, the best that Jerez has brought to the stage of this renowned venue.
He tempered his bronze throat with tonás and won over the fans, who began to shout oles. He broke the silence with echoes of big bells. He remembered the one who ha dejao una seguiriya gitana y un taranto bien cantao, emulationg Manuel Torre, warming up the repertoire of Jerez classicism by asking where is my boy?. And then with the same cut in the bulería pa escuchá, paying tribute to the styles of his land. It seemed short to me but it left honey on my lips. He rocked the tercios with aplomb in the tientos. El día que yo me muera dejadme ser un suspiro cantando por La Plazuela. Thus he paid homage to his cradle, then changing to the tangos asking for doubloons and singing the rintintinto close the first part.
«Jose Carpio Fernandez'El Mijita' He melted in his voice five singing dynasties. Those of the Carpios, Rubichis, Agujetas, Moneos and Chalaos. And he left being carried on the shoulders of the Peña Flamenca Torres Macarena of Sevilla, being without a doubt, along with Dolores Agujetas, the best that Jerez has brought to the stage of this renowned venue.
Far from cooling down during the break, the second was hotter and more forceful. He fought his muscles, clenching his fists and cracking his bones with soleá. Without lightening up with vereas albarizas. Pure soleá. And pressing on the brave highs without stridency with a powerful voice that endorse pellizcos tarnished with gypsyism. Uncontestable by La Andonda, La Serneta or in that of cien años después de muerto y de gusanos comío. The best palo of the night. Although he was not left behind by seguiriya, complaining in the depths of the darkness of a lament without consolation, throwing the asauras in a painful ending. He continued with a string of fandangos that sounded hollow and two big tears of emotion fell from his eyes when he wished que dure una mare lo que dura una palmera. He closed the recital with bulerías, strolling through the corners of Jerez, evoking the wickerwork of Juanito Villar and thanking Undibé for having been born a gypsy. The little kick of grace and the bolt was closed.
José sang to eat it. He left his skin on the boards. The cante rolling over his ribs. He gave it his all. He gave himself until his last breath. As if his life depended on it, squeezing himself until he broke, without breaking his voice but breaking entirely.
Credits
Recital of Jose El Mijita
Peña Flamenca Torres Macarena, Seville
November 2th 2024
Cante: Jose El Mijita
Guitar: Domingo Rubichi
Palmas: Carlos Grilo
