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Roll back the forces to take a vertiginous leap forward.
It is about presenting the enormous dimension of this singer, so often blurred by the themes of the Flemish industry and the weight of family history. Perrate, as the name implies, is the son of Perrate de Utrera, a myth for the so-called Andalusian gypsy cante. But Thomas is more than his offspring, nothing less. Its opening to different music and scenic experiments, protected by its sandy voice, an inimitable slit, does not stop surprising in the areas that appear. To this record he would like to return to this singular position and, in a certain sense, the solitude of his figure. Therefore, we want to pivot around the three musical axes that Tomás has been going through in recent years.
On the one hand the responsibility of Utrera cante, we could say the tradition or the canon, and we would not be wrong, but also the assumption of a radical sensibility that was illuminated in flamenco in the 50s and 60s, while it appeared in the world rural blues or the people of the root, to put simple examples. Of course, this is what is expected from Tomás’s throat. Thus, the soleá of his house, naked of any accessory, with the guitar scratching from a seat of enea.
But, on the other hand, there is that querencia of Tomás for musical experiments, for the spectrum of contemporary music, as we can see in his collaborations with the dancer Israel Galván. Experiment is simply the name given to what constitutes an extension of experience. It’s always a flamenco bet, of course, because Perrate moves his fretboard. For example, his version of Karawane by Hugo Ball is actually a lot of old flamenco tonás. What Tomás does is to put that sound in another place and thus open the surprise, so deep and flamenco.
Finally, another of the facets developed in recent years, the singer who faces standards of jazz or rock, tango or copla in various collaborations, with Belén Maya, for example, or with Sistema Tango, a young southern formation with which he develops the imaginary of a Polish Goyeneche Flamenco. Notice now how his Greek declines in rebética, a kind of wild of Tom Waits with the Borrico de Jerez, if it is possible to establish comparisons between the thousand plateaus of the sand voices.
And the team that Tomás de Perrate has tried to rewrite his understanding of flamenco is not bad. There is the guitar of Alfredo Lagos and the people of Proyecto Lorca who are also from Utrera. José Manuel Gamboa accompanies us in the archaeological coves and Raúl Fernández Miro Refree in the production, and also in the guitar, and the writer, Pedro G. Romero, in his work of apparatus and artistic direction.
For that, look at the origins, the tradition, the roots, since we want to call everything that is left behind, with the intention of jumping forward, updating, taking a determined step and walking. In that we are, in the walk, in the walk, walking.
Soleá sola is, thus, the name with which Tomás de Perrate refers to the musical work he has in progress. In the design of the same have scheduled a series of live recordings (we prefer that word to others as live recording) to help reflect and configure an idea of how this flamenco should sound that Tomás de Perrate wants to do now. In recent times it is still common: the demands of the music industry impose this type of recordings among flamenco artists. And well, in that same sense, we have decided to argue the program there precisely, in the very dynamics of obtaining a particular form of sonar.
To get that sound, the album project and the live performances are not separated, they are combined in a similar job to the recording studio, a sound that we try to integrate into a kind of “rite and geography of cante”, a recreation of the ethnographic turn starring José Manuel Caballero Bonald and José María Velázquez Gasteluz, a futuristic “rite and geography” that someone from Utrera would say when listening to us.
Of course, now, very conscious, we know that any recording is an electrical signal, that everything that sounds is the product of the bit, the units of sound information that we can always overflow, that is our intention and that is precisely one of the functions or luck with which flamenco continues to be deployed in the 21st century.
The recording of this sound, directed by Refree, will make the concerts (in theaters, concert halls, cellars, clubs, private houses, churches, even in some recording studio) privileged places for the registration, production and elaboration of a particular sound. We are guided by the recommendations that Manuel de Falla made to José de Val del Omar, anticipating in years the birth of concrete music, let us think about matching the electric signal of the gramophone with the harpsichord wood or the gut of a drum or a zither, think that sound is matter, what the master of Cádiz had interested, first, in flamenco and, later, in Spanish music of the sixteenth and seventeenth centuries. What we know is that sound is not only a matter of time, rhythm or beat, sound also builds a space, becomes a body, the sound rises, it also weighs.
Pedro G. Romero
Tomás de Perrate: Voice and guitar
Alfredo Lagos: Guitar
Juan M. Jiménez (Lorca Project): Saxos
Antonio Moreno (Lorca Project): Percussions
Raúl Fernandez “Refree”: Guitar
Inés Bacán: Cante
Paco de Amparo: Guitar
Apparatus and artistic direction: Pedro G. Romero
With the collaboration of Jose Manuel Gamboa
Lighting design: Manu Madueño
Sound design: Manu Meñaca
Production A Black productions (Cisco Casado and Raquel Gutiérrez)
Management and contracting: – A Negro Producciones (Cisco Casado) email@example.com / +34 670 81 99 70