The ten best records of the year
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The year 2005 has left us some important recording novelties: tradition and innovation, orthodoxy and fusion, high quality flamenco singing and guitar playing. José Menese, Enrique Morente, El Lebrijano, Diego el Cigala, Elbicho and Chambao were the authors of some of the best records of 2005. Moreover, before the year is over, more interesting new releases are expected which will make it possible to make a positive start to 2006: Miguel Poveda, Ojos de Brujo and a DVD by Chambao.
The cante (flamenco singing) has undoubtedly had a good harvest. This year that is about to finish began with one of the greats, Camarón, an innovator who has now become a classic. January saw the release of "En la Venta de Vargas", a record that collected and re-mastered some recordings – not professional - featuring a young 17-year-old Camarón in this legendary flamenco venue of the 1970s.
The orthodox school also got to work early on, with José Menese releasing "A mis soledades voy" in January, as a tribute to the great poets of the Siglo de Oro (Golden Century) of Spanish literature, the seventeenth century. Letrillas (poetic composition with a satyrical, festive or love theme, written in verses of lesser art, characterised by their shortness, and in which a refrain that encloses the message of the letrilla is repeated), couplets, romances and sonnets can be heard, sung by Menese's knowing and deep voice, old cante which is serious and full of depth; as the cantaor (flamenco singer) himself refers to it, "singing that hurts".
Paco de Lucía also gifted us with a little gem. He is still playing his "Cositas Buenas" around the world, but in 2005 he once again produced someone else's record, a facet that he had abandoned since "Potro de rabia y miel" (1992) by Camarón. The guitarist from Algeciras was the producer of "Tú ven a mí", the first album by La Tana, a young cantaora who is accompanying the maestro on his current tour.
"Tú ven a mí" is a very festive record, laden with rumbas, bulerías and tangos, but La Tana has also used up some space in her debut album to show that she can also master palos (flamenco forms) that are more solemn, like the soleá or seguidilla.
After "Lágrimas Negras", one of the best selling and most surprising records on the music scene – not just flamenco - Diego El Cigala announced that he would return with a record that has stronger flamenco and gypsy traits. It is precisely what he did. His eagerly awaited work, "Picasso en mis ojos", did not disappoint. It was dedicated to the great painter from Málaga – whose way of life was that of a true flamenco, according to the cantaor – and reeks of flamenco from every side.
The flamenco guitar, or toque, was magnificently represented by Vicente Amigo. The guitarist is undoubtedly undergoing a period of splendid creative and interpretative maturity. This is what he demonstrated with "Un momento en el sonido", his fifth solo album. Amigo himself says that it is the most flamenco record that he has made, because all its themes "harbour a lot of this flavour that I understand as traditional flamenco".
Lebrijano, Morente, Chambao and Elbicho
Enrique Morente and El Lebrijano are two of the most restless characters in present-day flamenco. They are two innovators and researchers whose feet are firmly settled in tradition and knowledge. Both of them have not stopped seeking out new paths for flamenco.
El Lebrijano once again submerged himself in Andalusí and Arabic history to present "Puertas Abiertas", in cooperation with the Moroccan violin player Faiçal Kourrich. Arabic and Andalusí music and flamenco are present in a very well made fusion record, in the words of El Lebrijano himself.
Morente has stunned the public once again with his latest record: "Morente sueña La Alhambra" is a heartfelt tribute to the Alhambra, in which the polifaceted cantaor enjoyed the cooperation of Tomatito, Juan Habichuela, Estrella Morente, Israel Galván and Blanca Li; non-flamenco musicians like Ute Lemper, Pat Metheny and Cheb Khaled also took part.
So-called new flamenco also enjoyed a good year: Chambao and Elbicho have offered us two good records. In Chambao's case, it was "Pokito a Poko", the second record of their career in which they once again create the enveloping, smooth and relaxed atmospheres of flamenco chill, which the band invented.
Elbicho also released their second record during the year which is about to end. "Elbicho II" was an eagerly awaited record which has not disppointed. It seemed difficult to improve upon the first release, "Elbicho I", but the band has passed the test with an excellent mark.
There is no better way to finish off the review of the year's discographic releases than "Pa saber de flamenco 3", one of the best compilations of flamenco that have appeared in recent times. It features the best flamenco of all time, both classic and contemporary.
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