February 25th is the anniversary of the death of Paco de Lucía, the greatest flamenco guitarist of modern times and, for many, the greatest who ever lived. I wrote the following essay a couple of years ago about Paco de Lucía, the modernist and traditionalist tensions in his music and how that conflict can still be seen in flamenco today. Below is an excerpt; to read the whole thing, click here.
Antorrín Heredia stands on one side of the small stage. A stocky, middle-aged man, his black hair tumbles, long and greasy, over his shoulders and his eyes are closed. One hand is holding a walking cane, upon which he is leaning. The other grasps a short metal bar, which he suddenly lifts above his head and swings down onto a blacksmith’s anvil. The noise is surprisingly light and bell-like and Antorrín repeats the action again and again, beating out a complex, stop-start rhythm, before throwing his head back and singing.
This is flamenco, but not as most Spaniards know it. Singing a cappella like this – or a palo seco – is a throwback to the music’s 19th-century origins, when those who performed it frequently worked as blacksmiths, or travelling salesmen and even the accompaniment of a guitar was uncommon. It was a time when life was tough for most Spaniards, with poverty, disease and violence to contend with and flamenco music reflected that.
And yet, Antorrín is in 21st century Madrid, in La Quimera, a small venue which he owns on the edge of the relatively well-heeled Salamanca neighbourhood. Supermarkets, banks and bars are everywhere and a Cash Converters exchange store – that symbol of rampant consumerism – is nearby. Perhaps only Las Ventas bullring, sitting a few hundred yards away next to the Madrid ring-road, distinguishes this area from a middle-class district in almost any European city…. [To read more, click here.]