Some keys to the history of the zambomba (6): a new sound, the artistic one

If the appearance of the recording series 'Así canta nuestra tierra en Navidad' was an unprecedented milestone in the historical development of the zambomba, a name by its own merits was left in golden letters: Parrilla de Jerez. (Painting by José Gutiérrez Montiel for the collection 'Así canta nuestra tierra por Navidad')

It is fair to point out a precedent in the flamencoization of the old songs of the neighbors that, perhaps, had less scope and media power. From the hand of the poet Antonio Gallardo Molina A similar process was carried out but in reverse. Let me explain. Antonio uses the melody of the Christmas carols but changes the lyrics for ones of his own. There are many examples on those small 45 rpm records that La Paquera de Jerez recorded in the 60s of the last century with the guitars of the brothers Manuel and Juan Morao. However, this concession does not fall squarely into the field of zambomba, as we said in the previous entry, but rather into individual versions of artists about Christmas:

The great contribution of Jerez Grill, Instead, it is also using the old melody and the same popular lyrics but changing the rhythmic structure and maintaining the chorus; not the individuality (with some exceptions). An adaptation that will forever change the way of interpreting the carol by grouping it with flamenco. In this way, the traditional three-four rhythm is generally transferred to bulerías, tangos and tanguillos.

The flamenco guitar becomes part of the zambomba

A very significant change in the Savings Bank collection is the appearance of the flamenco guitar in the old meeting scheme. Until then, the neighborhood used an entire orchestra of homemade instruments, with the zambomba in the center, which They did not require learning nor artistic talent. Anise bottles grooved with a spoon, the classic tambourine, flattened cans on a wire, a jar struck in its mouth with a sandal... any element of the house was recruited with such purposes to accompany the carol. The coupling of the artistic instrument gave way not only to the guitar, but also to the Peruvian box; even the flute and the piano that are even seen on some occasions.

However, the guitar requires special skills to play. And not only that, it also transforms the sound of the singing group; among other reasons because it sets a tone to which all collective voices must adjust. Although this may seem trivial, it is not so. The traditional zambomba is a whole polyphony (*) that has a very particular sound, very much of a patio, with each neighbor placing his voice in a different place. On the other hand, in the artistic one not just any voice will do. It must be one with the ability to tune and that knows how to adapt to a specific tonality and with ease for rhythmic framing.

(*) We thank the professor and musician Marcelo Gálvez Jiménez, who clarifies that this phenomenon corresponds to the concept of heterophony, a phenomenon in which variants of the same melody are played simultaneously and which is common in popular music, although it is cante In the same tone you can make flourishes and flourishes in different places.

In addition, the discs standardized the many versions that were scattered around. For example, it is known that 'Passing through Casablanca' began in some places with 'It was the day of the tournaments'; a preamble that disappeared completely when the recording was played back.

The artists, the new spokespeople for the zambomba

Once the use of the guitar was implemented and the zambomba entered fully into the world of flamenco, it was very logical that the artistic voice prevailed. Echoes and voices, also masters of the beat, such as those of Paquera, Macanita, Torrito, Fernando Torre or Ángel Vargas, among others, prevailed over the voices of amateur neighbors who sang once a year. It was a development that would end up reigning by decantation, largely enriching a musical part no longer so accessible to the common people.

This evolution brought with it another great scheme: the zambomba (not always) went from being a participatory unit of all its members to a level of performers and spectators. Thus was born what could be understood as a christmas show based on the ancient zambombera celebration and on the way, the Christmas carol by a renowned author with Antonio Gallardo and Terremoto Jr. at the forefront.

Finally, the collection left behind the mastery of the compositions that, once learned by artists from many other latitudes, They no longer need a designation of origin to advertise the flamenco-style zambomba. Nowadays, we see them advertised in all the cities of Spain and abroad, most of the time as a mere flamenco party and, sometimes, as an item of consumption. And of course, our politicians also enter the scene with their dubious abilities and always taking advantage of the situation they talk so much about.

At this point, read the admired professor María Jesús Ruiz:

http://caocultura.com/como-me-despatrimonializaria-yo/

With all this I am not saying that evolution is for better or worse, it is simply the inevitable development of history like so many other matters to which we are invited. new TimesAnd as that one said, Let the songs of my land ring with joy and long live the Baby Jesus who was born on Christmas Eve!

Merry Christmas from Expoflamenco!

Jose Maria Castano