Flamenco is a poor, monotonous, repetitive and homogeneous genre where the referents have long since they are completely fixed, are invariable and uniquely recognized; It is a “stabilized” music, in the sense (pejorative) that gives twist. They are all notes at the foot of, and. To the point that the limits of gender are the limits of the aesthetic imaginary generated by them.
In the touch, the ubiquitous presence of Paco de Lucía acquires dramatic dyes, but not precisely in the sense of generating a paralyzer anxiety of influence but, quite, in the offer of an itinerary indicated and approved, with certain competencies and consensual criteria that, despite demanding a very high technical level, says, such as professional degrees, an initial acceptance in the dominant sector of the market. It is a crowded territory, fierce competition and movements and position shots that rarely surprise in a true meaning. The alleged Personal footprint .
Although the previous paragraph has a point of boutadewith a fat line (that is, sociological …), speaking without Epatar, certainly the flamenco field is virtually unable to assume milestones that do not have the shrimp/paco/paco triad as a center. That is why, although they were no longer active, the death occurred in a few days of the Perico Tocaores that of the Lunar Son (Madrid, March 13, 1940-27 of August 2025) and Diego de Morón (Morón de la Frontera, April 18, 1947-31 of August 2025) has a huge symbolic burden.
Diego de Morón and Perico that of the Lunar Son inhabited regions far away from Paco de Lucía. Although they shared a mutual admiration and similar historical and teachers, even faced.
Paco de Lucía generated an original paradigm with an unique adaptive efficacy until the time. His touch devastated the practice with all the rest of schools, which only persisted well until their prompt Inanión well through the rancid link of family lines. (And even in many cases within this lineage structure, the posterior links and even contemporary to the emergence of Paco de Lucía modified and even almost eliminated the elements own of the family school, leaving vestigial winks in the form of paraphrase).
Diego de Morón and Perico The Lunar Son are examples of this untouched structure. They never intended to be original (term that asks for quotes) but decided to continue urbanizing a field that demarcated, respectively, their uncle and his father. and Perico that of the Lunar Father created two schools, both of very defined, original and radical aesthetics. When he died, the inheritance fell on the nephew and son, and they took the inheritance as a commission. They are not epigons, they are continuators, and both brought those schools to the extreme, to a point that, surely, their predecessors could not have come.
It is not now about drawing the ideological valence of the policy of the lineage – that is another issue – but to point out the anomalous and powerful musical findings, artistic, that this policy has given birth. The symbolic revolution (in a literal sense of dislocation of the symbols) that both touches assumed to flamenco a wealth without which, and however residual, he would be completely dead, stabilized. Few are already those who live, and of the few who do, less are those who can have enough space to develop with the available time of a professional (the examples are counted).
Diego de Morón’s touch follows his uncle Diego’s that of Gastor, a true unclassifiable in the history of flamenco touch. Neither of them was very neat recording. When the Gastor did it was recorded live. His touches are preserved, but in very improvable recordings, many times private parties other times taken at festivals and in some point, in a more careful environment. Diego de Morón has had better luck. Cult guitarist they came to look for everywhere to listen (and that has allowed the circulation – or at least registration … – of hundreds of interventions of his), in 1975 he records accompanying his father, the undervalued Joselero de Morón, two long duration titled To Diegotrue milestones of flamenco.
Subsequently, in 1977 he records for Movieplay, under the production of Garciapelayo and with the collaboration, among others, of Jesús de la Rosa and the TV, a currency of study of study simply titled Diego de Morón. Supposedly his peculiar character left him out of the studies since then, being even uncommon for times his live performances. It is already at the end of the 1990s that two other splendid albums appear, Diego. I live in Japan y To Diego the Gastor, in Morónwithin the series JONDA CULTUREAlso unavoidable recordings.
Perico the lunar father had to invent the touches. When in 1954 he directed and recorded the guitars of the pioneer of Hispavox, he himself reported that he was forced to differentiate touches where they did not differ before to be able to highlight the difference between the songs of the same branch (differentiate variations such as the cane and the pole or the Pole, of the Siguiya, the light and the mountain). His touch was put at the service of the cante in a much more refined and aware manner of what in any other previous touch. There was no concert or show guitar vocation.
And it is under this list that the guitar takes its radical character. That lipotote was taken to the extreme by her son with a watchmaker’s precision, both in the false and, above all, in the understanding of the song. Containing it brought the most extreme part of José Menee (see the followed and registered balances for the Flamenco Cante Archive of), by Rafael Romero, Juan Varea, Chocolate and of all the one he accompanied, who were practically all the figures of the song of his time (including albums of singers associated with the extreme left such as Paco Moyano or Luis Marín). He directed an unjustly ignored Flemish anthology (Original Future Sounds), with an aesthetic criterion similar to that of his 1954 father (broad but not encyclopedic, critical and non -generic) but with a touch full of unpublished wealth that brings to the flamenco guitar a huge amount of resources and ideas.
None of the aforementioned discs are available in the market.
If the dramatic of Paco de Lucía is that his proposal overcrowded a region, the dramatic of the touches of Diego and Perico is that his death leaves ruins territories. Perhaps in the case of Morón, the so -called Touch of Morón (in a peculiar synecdoque that makes a personal touch a regional brand) the tragedy is taima as long as there are some players that maintain that style (although not with the freedom that gives known continuator and not epigone), but, in the case of the lunar, the tragedy is consummated.
