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Carmen Amaya Flamencan Songs and Dances Vols. 1 and 2

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Carmen Amaya Flamencan Songs and Dances Vols. 1 and 2 DL 8027 c en a a FLAMENCAN SONGS AND DANCES • VOLS. 1 AND 2 ~D LA TANA - Zambra Gitana TONDERO - Bulerias DECCA I , RECORDS CORAZON OE ACERO - Bulenas FIESTA JEREZANA - Fiesta VETE CON LOS TUYOS - Bulerias I JALEO POR BULERIAS - Bulerias CANASTEROS DE TRIANA - Bulerias FANDANGOS - Canto Flamenco ADELFA - Bulerias A LOS PIES DEL GRAN PODER - Fandangos SAN MIGUEL DE LOS REYES - Tientos TU MAL NO TIE REMEDIO - Fandangos Printed in U.S.A OL 8027 CARMEN AMAYA FLAMENCAN · SONGS ANO DANCES Vol s. 1 and 2 n FLAMENCAN SONGS AND DANCES >;a VOLUMES ONE and TWO SELECTIONS INCLUDE: Flamencos. Crying out in wild shouts and weaving the JALEO POl! HULEJUA (Bulerias). This song, recorded intricate melodic patterns which the gypsies inherited from by the diminutive Leonor, is a typical Flamencan impro- ~ Side One: Volume One the Moors, her voice, strong, low and husky, st1'ikes the ear visation, such as is heard among the environs of Granada. rn of the listener with an almost stinging expressiveness. Only Jaleo is the general encouragement, through the medium 1. LA TANA-Zam bra Gitano the deaf (or the dead) can resist the overwhelming effect of song and hand-clapping, which is given to the dancer (Fiesta In The Sacred Mountain) Arr.: Jose Palomo-M. Motos of the raw emotion with which she surcharges every word. of the Bulerias. Guitar Accompaniment by Paco Amoyo z During her teens she toured the peninsula and appeared CANASTEROS DE TRIANA (The Basketmakers of Tri- 2. TONDERO-Bulerias in several motion pictures, in which she danced with the ana). A gypsy sings her baby to sleep as the caravan (Popular Peruvian Song In Flamenco) Arr.: Jose Polomo-M. Matos most famous of all gypsy dancers, Pastora Imperio, called breaks camp. The gypsies are headed for the next town, Guitar Accompaniment by Paco Amaya the Divine Pastora. Carmen's style is similar to that of where they hope to sell the baskets which they have made Pastora, who was prnbably a strong influence in the de- during theiT journey. The song begins in the slower za111b1·ri 3. CORAZON DE ACERO-Bulerias Vis anli-Currito velopment of the young dancer's art. It was for Pastora rhythm and then changes to the lively bule1-ias tempo. The Guitar Accomponi ment by Jose and Paco Amaya that Manuel de Falla composed his Amor Brujo, and the bule1·ias is a gay Flamencan dance marked by sudden 4. FIESTA JEREZANA-Fiesta Quinteros brothe1·s wrote the famous farce entitled Lei breaks and changes of tempo. In spite of its sprightly Guitar Accompaniment by Jose and Paco Amaya Historia de Sevilla (The Story of Seville) . rhythm, the theme of the song is the wretchedness which The entire Amaya family are so loyal to the dance - the gypsies endure - and their determination to make 5. VETE CON LOS TUYOS-Bulerias Ma nuel Mato s-Pe rez Ortiz merry in spite of it. Guitar Accompaniment by Jos8 and Paco Amaya and to themselves - that they are known as La Sag1·ada Familia, the Consecrated Family. Jose, Carmen's father, FANDANGOS (Flamencan Song). Fandangos are among 6. JALEO POR BULERIAS-Bulerias Arr.: J. Pa lomo-M. Matos her brnther, Paco, the guitarists of the group; and her sis- the most characteristic of Cales songs and originated in LEONOR AMAYA ters, Antonia and Leonor, constitute an amazing troupe. Almeria and the city of Jerez. They are one of the more Guitar Accompaniment by Paco Amaya When they came to America they were sensationally suc- modern of gypsy forms, far less restricted than the older • cessful. They toured Mexico and South America; appeared Flamencan rhythms. The verses of the fandan,qos do not • in various night-clubs as well as Carnegie Hall; were fea- necessarily have a definite story. They are either in 3/ 4 "'l'I Side Two: Volume Two tured in Hollywood (notably in "Panama Hattie") and or 6/ 8 time and arc notable for a gradual increase in invited to the White House. Both continents welcomed the tempo and for sudden stops - as in the bulerias - during a- 1. CANASTEROS DE TRIANA-Bulerias Motos- Currito extraordinary blend of routine and improvisation, of which the dance1·s remain "frozen" in theil' poses. One of (from M·G-M Prod . "Ziegfeld Girl") rhythms \Yhich range swiftly from deep sadness to wild Guitar Accompaniment by Jose and Paco Amaya the most famous, known as El Albaicin, exists in two ver- 3 mirth. sions, that of the country or plain, and that of the moun- CD 2. FANDANGOS-Canto Flamenco tains. It is this second vel'sion, that of the sierra, that Guitar Accompaniment by Jost? Amaya Carmen interprets here. It is the wilder, the more truly - I\ About the Songs and Dances ... gypsy of the two. El Albaicin is a gate of Seville. = 3. ADELFA-Bulerias Quiroga-Valverde-De Leo n a Guitar Accompaniment by Paco and Jose Amaya LA TANA (Zambra Gitana - Fiesta in the Sacred Moun- ADELFA (Bulerias). According to an old Flamencan tain). This celebrates one of the oldest festivals on the legend, Adelfa was so beautiful that every man who saw 4. A LOS PIES DEL GRAN PODER-Fandangos Flamencan calendar. Carmen sings of her gypsy bi1th and her fell in love with her. This beauty had a sinister quality CA= Guitar Accompaniment by Paco Amaya explains why the true fire and rhythm of Flamencan art however - every man who kissed Adelfa died soon after, 0 5. SAN MIGUEL DE LOS REYES-Tientos flows in her veins. The Zambra is a festival song, probablv and the superstitious Cales concluded that she was be- G. Monrr eal-Jose M. Granado of Moorish origin, which the Andalusians, and later the ·witched. Curro, the young king of the gypsies, determined Guitor Accompaniment by Jose Arnoya gypsies, adapted to their own styles. The perfection of to defy the belief, and came to her cave, where, in the face ca= Carmen's art is displayed here even in the tiniest snap of entreaties, he kissed the fatal Adelfa. Unfortunately 6. TU MAL NO TIE REMEDIO-Fandangos of her fingers, the slig-htest click of her heels. for the romantic Curro, the curse was quite impartial, and "' LEONOR AMAYA TONDE RO (Bulerias - Peruvian Song in Flamenco). he met his death at the door of the cave. Carmen, reared a Guitar Accompaniment by Paco Amaya This is a free adaptation, by Carmen herself, of a Peru- in the caves of the same Sacro Monte as Adelfa, is an vian song which she heard during her tour of the country. ideal interpreter of her story. a.= Although the original melody is still faintly discernible, A LOS PIES DEL CRAN PODEH (At the feet of El she has completely transformed the rhythm and made the Gran Poder). El Gran Poder (The Great Power) is a c About Carmen Amaya .• • music her own. statue of Jesus on the Cross which is much revered by the "'C CORAZON DE ACERO (Bulerias) . This was originally people of Seville. Bullfighters, in particular, pray for good c a In Carmen Amaya the savage rhythm of the tribes of luck at its feet. In this song a gypsy tells of the sonow Cales, the gypsies of Andalucla, lives in all its perfection. a popular Spanish song, but Carmen has changed it to c I\ suit herself. She sings of a gypsy who pretends to have a caused by a perfidious lover. = So compellingly does this gypsy of Sacra Monte (the Vl CD Sacred Mountain) personify the soul of her race that she coraz6n cle acern, or heart of steel, hiding, beneath a gay SAN MIGUEL DE LOS HEYES (Tientos. G. Monl'real- has conquered not only the general public but also the exterior, the sorrow caused by a faithless lover. J ose M. Granada). San Miguel de los Heyes is a notorious c "' se\'e1·est critics and the loftiest figures of the musical world. FIESTA J ER EZ\ A (Fiesta). This is also an improvi- Spanish prison. A gypsy, incarcerated therein, expresses c She was born to dance, and 11othing else matters. Crowds sation. Carmen's unpredictable changes of mood and tempo his resentment against the injustice of his plight. His c • gathered to watch the little Carmen when she was only keep her accompanists, Jose and Paco, on their toes, and crime was to sell his wife, as if she had been a mule or CIJ four years old. At the age of eight, already a veteran per- the artists work as spontaneously as the participants in an inanimate object. To him, any interference with his < former, sne was billed with the famous Raquel Meller in an American jam session. Je1·ez, famed for its wine (sher- prerogatives is quite incomprehensible. He believes his c 0 a revue which was the hit of the Paris season. If any one ry) is located close to Gibraltar, and was in Moorish hands wife belongs to him alone, and that what he does with her r- dares to ask who taught her to dance she replies that no longer than any other region of Spain. is no concen1 of anyone else. The tientos is a gypsy song c one teaches a gypsy to dance, that the gypsy learns by comparable in form to the prelude. Always extremely gay \ii . watching other gypsies, does what he feels, and therefore VET E CON LOS T UYOS (Bulerias) . This relates the in mood, it is in slower tempo than the bulerias . c "'.... does it well. story of a gypsy, and Carmen interprets only as a true GJ gypsy can.
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