The Three Thousand pure and pure…

Guitarists Raimundo Amador and Emilio Caracafé shared the stage of the Alameda Theater, La Bienal, on a night filled with the fragrance of the porches of the Tres Mil Viviendas.

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It does not play in the time of the taranto but it is a full-fledged taranto, not from Almería, but from the alleys of South Polygon, Falconde, Of the Vegas to Browns, where the gypsies create and recreate musically their own sounds with identity. That taranto with which Emilio Caracafe The concert opened with the most original piece I have ever heard played on the simplicity of a guitar. Clean playing, with bare strings, with no resources other than the alzapúa for the bass strings and the plucking of the first strings. No tremolos, no single or double arpeggios, no staves, no melodic phrases. Passing chords, yes, all those necessary to reach the destination. Some of them do not even have names, because they are the guitarist's own creation. He does not need more, since his demand is based on the pieces sounding gypsy and flamenco. That, first: "Many thanks to the organization for counting on me and this very gypsy line-up, with all due respect," he said with that humility that characterizes him. Dr. Keli, a great master of percussion, took care of the beats, caressing them with the djembe and the snare drum at the same time as required by the genius of the guitarist. That piece is worth a Biennial and a half. At times it had an arabesque "roll", at times it seemed like a waltz, when not jazz, when not a mixture of fragrances from the arcades of The 800 Homes, stuck to the Zúa. I am convinced that he has the base in his head, but then he improvises according to the dialogue that the tuning fork gives him on the fly. He is not a technical virtuoso, thank God, but when he took the Philharmonic out of Las Tres Mil he messed up again in the alegrías, with the resistant dance of the Torombo, which Caracafé likes "everything, even its nose", palmas of the teacher Bobote and the cante pure of William Manzano. There are the neighborhood bushes. The authentic sounds. The guitarist put the nylon strings between the shoes of the dancer, who completed the falsetas with melodic and percussive brushes with great cleanliness and flamenco style. Caracafé has originality, we have already said, but it is also a great version: in the program, the piece is titled Andalusian song, and there went the signs with Carmen from Spain, The well paid y Green eyes, in another dazzling touch. By then the public was already devoted to this thin and shy man who seems to hide behind a gray beard and a bald head. Little monkey. Then he let loose in the bulería; before that he sewed a suit for the Alameda Theater playing soleá. Once again, the peculiarities, or rather the personality of the artist, created a composition as simple as it was immense. He left the bulería for the end, playing it standing up, bending over, dancing to himself, and sharing little feet with Bobote and Torombo. “Las Tres Mil, pure and pure,” said the man who knows so much about what the neighborhood in which he lives has given and continues to give.

«The two guitarists from Las Tres Mil joined together on stage to seal the gypsy sound of origin, wherever they play»

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