![]() PERRATE likes that hypothesis about his preceding Loreto -second last name of Manuel Soto, his grandfather, the legendary 'Manuel Torre'-, the idea that such Loreto name may well have developed from Leyton, a slave surname, which would vindicate his "black" origin. Three fingers signalling three beats that cue the music. And digital too, provided that digital has to do with the fingers. His expertise faces now raw singing, a voice that slit opens like the old grooves of a vinyl record. Here, with PERRATE, he has gone even further. He is the one who has best materialised the radical sound of the latest flamenco. Of course, this is why Raül Refree was chosen to conduct the production. Finally, in a similar way, tonás, romances, seguiriyas and seguidillas are given a new sound, a tactile sound that can be touched, felt, weighed. I am talking about the chacona, the jácara or the folía that Tomás does not sing with the attitude of an historicist, but imagining what would have happened with these palos if they had gone through the two centuries of metamorphosis -some call it "degeneration"- that forged flamenco. On the other hand, there is a singular approach to styles that may have been part of the origins of flamenco but disappeared with the time, for some reason. Rather than flamenco singing in the house, they originate at the house door, which is where they used to take place raw, unadorned. On the one hand, Tres golpes includes cantes in their own familiar form. To PERRATE, it also means a proclamation as, in a way, it arranges the variety of artistic approaches that this work contains. The original song "Tres golpes" is a street fandango by Los gaiteros de San Jacinto, a Colombian traditional folkloric group inspired by the African music brought by slaves and freedmen to the Pacific South America. ![]() Tres golpes has that: three glances at the cante, tradition and form, three knocks with the knuckles on the wooden table. ![]() Even something without a specific form can be pure. The Triana soleá and seguiriyas cabales are hybrids themselves, and yet they have their own defining form. It is always redundant to talk about hybridisation in flamenco music. PERRATE conveys the original meaning of 'pure', which is not something that has to do with blood, tradition or lineage. Tres golpes is PERRATE's radical bet on the present of his surname. Bergamín does not minimise here the "underground" effort, but he rather highlights the importance of escaping, getting lost in the fields of the meaning and the signifier. You know what José Bergamín once stated, "Seeking the roots is the underground way the aerial being takes to beat about the bush". Not only are they radical because of their extreme artistic projects but also because of the fact that they either get to the roots, in which they are well versed, or literally are the roots. With PERRATE -Tomás Fernández Soto, formerly Tomás de Perrate-, the characteristic of radical flamenco artists takes on its most profound meaning. ![]() ¿Por qué me manda a mí Dios este castigo? ![]()
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