Escorted by the pianist Chano Domínguez, the coplera sang great, heartfelt, fun and theatrical to Bola de Nieve at the 25th Flamenco Fridays at the Barakaldo Theater
If we take the concert schedule as a locomotive, its boiler begins to provide maximum speed. For November, the number of scheduled events is going to constitute a real avalanche and many days will have to be chosen. As we had to choose this Friday, when the three most attractive acts coincided in the same time slot: at 7 in the Sala BBK Kiko Veneno in sextet, with La Banda del Retumbe (in 25 minutes we had time to see four songs, two of his latest album, ‘Hambre’ and ‘La Happiness’, and two classics like ‘Lobo López’ and a recharged ‘Los delincuentes’, in a 97% full room, as about fifteen tickets were left unsold), at 7.30 at the Arriaga the third performance of the five that the Iparralde Kalakan vocal trio will give with the Euskadiko Orkestra (we were ahead of time and we saw them on Thursday in Vitoria, on the second evening), and at 8 at the Teatro Barakaldo a Martirio in duet with Chano Domínguez reviewing his album dedicated to Bola de Nieve before only 200 souls in the third of the five sessions of the 25th Flamenco Fridays.
We already saw in July, at the 44th Getxo International Jazz Festival, the duo formed by the Cádiz flamenco jazz pianist Chano Domínguez (National Prize for Current Music 2020) and the singular and Huelva-born singer Martirio (National Prize for Current Music 2016) both reviewing the same setlist dedicated to the fat black bolero player Bola de Nieve (Ignacio Jacinto Villa Fernández born in Guanabacoa, Cuba, in 1911, and died in Mexico City in 1971). And if 17 pieces sounded in Getxo in 92 minutes, this Friday in Barakaldo there were 17 in 93, with Chano more prominent and Martirio singing better, although perhaps less exciting for acting before half the people, although the parish applauded him sincerely from the beginning to end.
Chano sounded high and masterful on the piano. /
Chano appeared first to star in an instrumental prologue in two parts (the second more Cuban), and before the second Martirio came out wearing a spectacular, beautiful, maroon dress, with flowers and transparencies (prettier than Getxo’s, blue and with a palmera), and he proceeded to sing the fifteen songs from the album ‘A Bola de Nieve’ (Universal, 19), that is, all of him, and the show arrived at 17 o’clock adding the initial instrumental plus the funny ‘Mesié Julián’. And this time in his introduction Martirio said: «Good evening, our love. Thanks to each and every one of you for having come to this intimate, exciting concert, for tears, for smiles, for lovers … A meeting for all states of mind with these bolero songs filin, which is the Cuban influenced by jazz, and which we have adapted to different flamenco structures. Now that there is a lot of fake music, this songbook is an exponent of the truth. I get very soft with this repertoire, and Chano too, and I hope you do too ».
Playing with the fan in ‘Alma mía’. /
Soft, calm, receptive, communicative, respectful and applauding was the audience of the Barakaldo Theater, who laughed at the two humorous monologues (almost three) of Martirio (the same ones that also led to the hilarity in Algorta). Chano was superlative (from blues to flamenco, from tropical to Scandinavian jazz in ‘Se equivocó la paloma’, Alberti’s poem whose “polysemy we will take in its political sense, so that peace in Spain will not be distorted again” , she reflected) and Martirio sang better than ever, like Carlos Cano aflamencado (‘If you could love me’), drawing geometries with the fan (‘My soul’), acting as a neo-folkloric in a musical (‘You don’t love me anymore’, ‘Vete de mí’ …), focusing on the theatrical in the lullaby ‘Grume negrita’ (the most famous theme of Bola de Nieve), singing “and I suffer the martyrdom of living without you” in ‘What would you say about me’ , surpassing this time in the French version of ‘La vie en rose’ (Martirio explained that Snowball sang in the languages of the countries where he performed, which he also did in Catalan), making us laugh again with the picturesque ‘ You don’t know English, Vito Manué ‘, and saying goodbye with’ El manisero ‘and his polysemy to the consumer’s taste (el cucuruc ho de peanut, in her case, he suggested a phallic metaphor, and there are plausible explanations that assure that this peanut is cocaine: “if you want to have fun, buy yourself a peanut cone”; and I have always believed that it was a nursery rhyme …).
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Martirio and the peanut cucuruch