Podcast Summary: Nuestro Flamenco — "Flamencos de La Puebla" (Radio Clásica, 31/03/26)

Overview

This episode of Nuestro Flamenco, hosted by José María Velázquez Gaztelu, offers a rich, chronological journey through the pivotal flamenco figures associated with La Puebla de Cazalla, Sevilla. The program explores the origins, development, and evolution of the "Escuela Flamenca de La Puebla," highlighting key artists, their unique styles, social contexts, and the generational legacy from the late 19th century to the present day.

Key Discussion Points & Insights

1. La Puebla de Cazalla: Flamenco's Cradle in Sevilla

• La Puebla de Cazalla is profiled as a historic and influential flamenco center.
• Early figures like Lola de Lucena set a precedent, but the true group identity emerges in the 1960s.
  • Quote: “Realmente La Puebla de Cazalla, si exceptuamos la figura de esta cantaora y posteriormente la de Dolores Jiménez Alcántara, la niña de la Puebla... no comenzó a tener entidad flamenca hasta la primera mitad de la década de los 60.” (Velázquez, [02:10])

2. Foundational Artists and the Rise of a School

• José Menese (1942-2016) is recognized as the flagship figure, discovered by the poet and painter Francisco Moreno Galván.
  • Menese championed expressive delivery, introducing new literary elements to traditional forms.
  • Quote: “Su cante se distingue por... la originalidad de unas letras escritas por Francisco Moreno Galván que refrescan el repertorio literario tradicional.” (Velázquez, [09:10])
• Dolores Jiménez Alcántara (La Niña de la Puebla) stands out for her extensive discography and popular renditions like Los campanilleros.
• Francisco Moreno Galván is cited as the intellectual and creative engine behind the modern “Escuela de Cante”, influencing text, expressive force, and repertoire diversity.

3. Key Figures in the Modern School of La Puebla

• Diego Clavel:
  • Praised for his emotional intensity and antological approach.
  • Noted for strong versions of seguirilla, alegrías, and tangos.
  • “Diego Clavel... hace una versión estremecedora, así como su personal lectura de las alegrías, la farruca o los tangos.” (Velázquez, [24:10])
• Miguel Vargas:
  • Emerged from agricultural roots, his career shaped by encouragement from friends and mentorship by Moreno Galván.
  • Balanced artistry and dignity, blended flamenco with theatrical work.
• Manuel Gerena:
  • Positioned outside the main group, Gerena infused protest song elements and social critique.
  • Quote: “Prohibiciones de conciertos, retiradas de pasaporte, arrestos y multas fueron la tónica general en la vida artística de Manuel Gerena...” (Velázquez, [32:30])
  • Acclaimed for his “desgarrado” (raw, torn) singing style during Spain’s political turmoil.

4. The New Generation: Heirs, Not Renegades

• The transmission of flamenco tradition in La Puebla continues smoothly, building upon the foundations established in previous decades.
• Leading voices:
  • Raúl Montesino (b. 1974): Winner of the “Lámpara Minera” and multiple albums, praised for technical mastery and poetic depth.
  • Rubito Hijo (Manuel González Cabrera): Son of another renowned cantaor, winner of the same national prize, with a robust discography.
  • Ana María Ramírez Limones (La Gilla): Early starter in the flamenco world, recognized for her interpretative range.
  • María Jesús Bernal: Represents the youngest wave, fusing tradition and innovation.

Notable Quotes & Memorable Moments

• On Francisco Moreno Galván as the School’s Ideologue:
  “Podemos decir que fue su ideólogo o el creador de una estética.” (Velázquez, [14:30])
• Blas de Otero on Manuel Gerena:
  “Manuel Gerena canta desde los pies a la cabeza del cuerpo y el alma. Y el cante queda vapuleado y vapuleado queda el que escucha...” (Velázquez quoting Otero, [37:52])
• On the Transmission Between Generations:
  “Ha surgido una nueva generación. Una nueva generación no rompedora con la anterior, sino más bien... como su heredera.” (Velázquez, [40:00])

Featured Music & Artists (with Timestamps)

• José Menese
  • Soleá ("Fuente de Pilla Soleá", 1967, with Melchor de Marchena) [04:37–08:15]
• Diego Clavel
  • Seguirilla de Manuel Molina (Antonio Carrión guitar) [15:59–23:20]
• Miguel Vargas
  • Mariana ("En Torna la Puerta", Manolo Franco guitar) [29:00–32:03]
• Manuel Gerena
  • Alboreá (Juan y Pepe Habichuela guitars) [34:51–37:52]
• Raúl Montesino
  • Rondeña del Negro ("Homenaje a Silverio Franconetti", Ángel Mata guitar) [41:02–44:09]
• Rubito Hijo
  • Romera ("Mucho ruido y pocas nueces", Patrocinio Hijo guitar) [46:05–49:13]
• La Gilla
  • Malagueña ("A fuerza de corazón", Antonio García guitar) [50:53–52:49]
• María Jesús Bernal
  • Bulería (Manuel Jesús Carrillo guitar) [54:38–57:23]

Structure & Flow

• The episode is a meticulous, respectful homage, using a storytelling tone elevated by poetic language and historical context.
• Audio samples contextualize each artist within their musical and social lineage.
• The host maintains a formal yet warm style, addressing both aficionados and newcomers to flamenco.

Timestamps for Key Segments

• Introduction & Historic Roots: [00:00–08:41]
• José Menese’s Profile: [08:41–15:59]
• Diego Clavel & La Escuela: [15:59–23:20]
• Miguel Vargas: [23:20–32:03]
• Manuel Gerena & Protest: [32:03–37:52]
• New Generation: [40:00–57:23]

Conclusion

"Flamencos de La Puebla" artfully illustrates both the tradition and progression of flamenco in La Puebla de Cazalla. By interweaving biography, critical insight, and authentic recordings, José María Velázquez Gaztelu paints a vivid tapestry of the region’s enduring artistry and its living legacy. This episode serves as both a tribute and a guide for anyone interested in the roots and future of flamenco.