Camarón de la Isla - Flamenco singing / "Cante"
About Camarón de la Isla
Camarón de la Isla
Name: José Monge Cruz
Type: Flamenco singing / "Cante"
Place of birth: Cádiz
Fecha de Nacimiento: 1950
JOSÉ MONGE CRUZ "Camarón de la Isla", singer. He was born in 1950 on the island of San Fernando (Cádiz), in a humble gypsy family, he was the eighth child in a family of nine.
His uncle José named him "Camarón" when he was a child, because he was very thin, blond and fair skin, without any idea at the time, how immensely big this name would become.
Camarón had a highly gifted throat to sing, the doctors talked about a special configuration of their vocal cords, that it gave a perfect tuning, and also he had got a musical sense and of the compass beyond the common.
In 1958 he begins to sing in the evenings, of sporadic form, in the "Venta de Vargas" de San Fernando (because he was too small to go by night). And already great understood of the Flamenco Music, they call to Camarón " gipsy blond that he had an old man inside ", which gave to him reputation between the consecrated masters.
He begins to win prizes; With twelve years, he obtains the first prize of the " Concurso Flamenco del Festival de Montilla" in Córdoba. Of there, and little by little, he is announced in the world of the Flamenco, he throws as professional of the hand of, for then his best friend, the great flamenco singer "Rancapino". Both cross together the big fairs of Andalucia, folding his sings for infinity of festivals, sharing scenes with the big ones of the time.
One of his counselors was Miguel de los Reyes and other important person, that he supposed for Camarón's career, he was Juanito Valderrama. Juanito was the godfather of dozens of artists who passed for his environment, and there wasn't honoring help to the Flamencos where he was not taking part. With Juanito Valderrama's company, and after an evil beginning of tour, he manages to captivate the public when he enters the company.
Camarón was capable of assimilating styles and tones of an unusual form due to the capacity of his brain. Recent neurological studies, the last ones realized by the scientists of the Institute Karolinska, confirm the coincidence in the human brain of the sense of the compass with the capacity of reasoning and the intelligence.
He knows to Paco de Lucía in Madrid. Camarón becomes emotional of the guitar Paco de Lucía, and Paco de Lucía of Camarón's throat. In this time Camarón, assimilates the knowledge of all the sticks of the Flamenco, thanks to the father of Paco of Lucía and both geniuses sign an epoch gilded for the Flamenco with the recording of more a dozen of discs.
Camarón revolutionizes the Flamenco unconsciously since with his mere interpretation he adds a musicality which before he didn't have. This makes it be followed by a fans' mass that it had never existed in the Flamenco. His Art penetrates our borders and not only Europe meditates and yields to this brilliant flamenco singer, but, also, he)crosses the puddle to America.
One of the principal provinces that marked the trajectory of "Camarón" is undoubtedly Málaga. He traveled here on many occasions to enjoy the art of "El Chino" and in the "Tavern Gitanilla" of Torremolinos. It was where he met his guitarist accompanying until the end of his days: "Tomatito." There is in this respect a book - which includes the wanderings and describes its passage in this land - entitled "Boquerón de la Isla." De las huellas dejadas by José Monge Cruz in Malaga and the Malagueños " written by journalist Francis Mármol.
Many are Camarón's discography, between them: " la Leyenda del Tiempo ", of 1979, song that supposes an authentic revolution on having included sounds and Own rhythms of the rock and of the jazz, he returned madmen to the orthodox ones of the time. He includes adjustments of Lorca's poems with music of "Alameda" (coproductores of the album), besides Ricardo Pachón, Kiko Veneno and the brothers Amador: Rafael and Raimundo. His followers didn't recognize him on this album and many they went to return it because the one that appeared there "he wasn't Camarón".
This disc has had his recognition later to there be understood(included) the jump that he(she) supposed for the Fleming, to happen(pass) from the sales minority to which any Fleming's disc of the epoch was coming in Spain up to the big quantities sold internationally.
In 1989 he recorded "Soy Gitano" accompanied by Vicente Amigo, becoming the best sellin album in the history of Flamenco.
In 1992, he published his last album before his death: "Potro de rabia y miel" with the guitars Paco de Lucía y Tomatito. The recording of this album was interrupted because Camarón de la Isla was diagnosed with lung cancer due to his great addiction to smoke and this was the reason why he died months later, his trip to the United States wasn't worth anything, looking for a possible remedy.
Camarón de la Isla becomes by antonomasia, the best singer of all time. The second half of the twentieth century can't be understand in the study of Flamenco Art without this figure. The emptiness he has left us is unquestionably irreplaceable.
Camarón de la Isla Has no events scheduled by now
Camarón de la Isla Has no festivals scheduled at the moment