I'm Always Crying
Niña de la Puebla
I'm Always Crying
Boomkat Product Review:
Death is Not the End unearth captivating songs by blind flamenco singer Dolores Jiminéz Alcántara aka Niña de la Puebla, recorded between 1932-1949.
As previewed on the label’s recent flamenco showcase for NTS, the music of Niña de la Puebla (*1908-†1999) heralds a bygone era of Spanish folk-classical that, for context, would resurface more recently in Rosalía recordings. OK, there are no dembow grooves or rudegal posturing here, but it’s not hard to draw links between Niña’s colourfully plumed vocal flights and anguished laments, and Rosalía’s modern iterations, where needed.
While Niña was also noted among the greatest singers of Copla - the Andalusian folk form - this set focusses on her related flamenco songs with 14 haunting works set to floral guitar, circa and after the time she married another singer, Lucas Soto Martin, and had five children, two of whom, Adelfa Soto & Pepe Soto, also became flamenco professionals.
From her keening, fluttering ululations on ‘Tinieblas’, (trans: Darkness) to the almost Indian classical inflections of ‘Entre breñas y zarzales’ that possibly betray flamenco’s speculated roots in Romani music and kathak dance, this is a beautiful, if thorny bouquet from what now feels like another world entirely, yet still resonates with contemporary, human feelings.
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Boomkat Product Review:
Death is Not the End unearth captivating songs by blind flamenco singer Dolores Jiminéz Alcántara aka Niña de la Puebla, recorded between 1932-1949.
As previewed on the label’s recent flamenco showcase for NTS, the music of Niña de la Puebla (*1908-†1999) heralds a bygone era of Spanish folk-classical that, for context, would resurface more recently in Rosalía recordings. OK, there are no dembow grooves or rudegal posturing here, but it’s not hard to draw links between Niña’s colourfully plumed vocal flights and anguished laments, and Rosalía’s modern iterations, where needed.
While Niña was also noted among the greatest singers of Copla - the Andalusian folk form - this set focusses on her related flamenco songs with 14 haunting works set to floral guitar, circa and after the time she married another singer, Lucas Soto Martin, and had five children, two of whom, Adelfa Soto & Pepe Soto, also became flamenco professionals.
From her keening, fluttering ululations on ‘Tinieblas’, (trans: Darkness) to the almost Indian classical inflections of ‘Entre breñas y zarzales’ that possibly betray flamenco’s speculated roots in Romani music and kathak dance, this is a beautiful, if thorny bouquet from what now feels like another world entirely, yet still resonates with contemporary, human feelings.
Boomkat Product Review:
Death is Not the End unearth captivating songs by blind flamenco singer Dolores Jiminéz Alcántara aka Niña de la Puebla, recorded between 1932-1949.
As previewed on the label’s recent flamenco showcase for NTS, the music of Niña de la Puebla (*1908-†1999) heralds a bygone era of Spanish folk-classical that, for context, would resurface more recently in Rosalía recordings. OK, there are no dembow grooves or rudegal posturing here, but it’s not hard to draw links between Niña’s colourfully plumed vocal flights and anguished laments, and Rosalía’s modern iterations, where needed.
While Niña was also noted among the greatest singers of Copla - the Andalusian folk form - this set focusses on her related flamenco songs with 14 haunting works set to floral guitar, circa and after the time she married another singer, Lucas Soto Martin, and had five children, two of whom, Adelfa Soto & Pepe Soto, also became flamenco professionals.
From her keening, fluttering ululations on ‘Tinieblas’, (trans: Darkness) to the almost Indian classical inflections of ‘Entre breñas y zarzales’ that possibly betray flamenco’s speculated roots in Romani music and kathak dance, this is a beautiful, if thorny bouquet from what now feels like another world entirely, yet still resonates with contemporary, human feelings.
Boomkat Product Review:
Death is Not the End unearth captivating songs by blind flamenco singer Dolores Jiminéz Alcántara aka Niña de la Puebla, recorded between 1932-1949.
As previewed on the label’s recent flamenco showcase for NTS, the music of Niña de la Puebla (*1908-†1999) heralds a bygone era of Spanish folk-classical that, for context, would resurface more recently in Rosalía recordings. OK, there are no dembow grooves or rudegal posturing here, but it’s not hard to draw links between Niña’s colourfully plumed vocal flights and anguished laments, and Rosalía’s modern iterations, where needed.
While Niña was also noted among the greatest singers of Copla - the Andalusian folk form - this set focusses on her related flamenco songs with 14 haunting works set to floral guitar, circa and after the time she married another singer, Lucas Soto Martin, and had five children, two of whom, Adelfa Soto & Pepe Soto, also became flamenco professionals.
From her keening, fluttering ululations on ‘Tinieblas’, (trans: Darkness) to the almost Indian classical inflections of ‘Entre breñas y zarzales’ that possibly betray flamenco’s speculated roots in Romani music and kathak dance, this is a beautiful, if thorny bouquet from what now feels like another world entirely, yet still resonates with contemporary, human feelings.
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Boomkat Product Review:
Death is Not the End unearth captivating songs by blind flamenco singer Dolores Jiminéz Alcántara aka Niña de la Puebla, recorded between 1932-1949.
As previewed on the label’s recent flamenco showcase for NTS, the music of Niña de la Puebla (*1908-†1999) heralds a bygone era of Spanish folk-classical that, for context, would resurface more recently in Rosalía recordings. OK, there are no dembow grooves or rudegal posturing here, but it’s not hard to draw links between Niña’s colourfully plumed vocal flights and anguished laments, and Rosalía’s modern iterations, where needed.
While Niña was also noted among the greatest singers of Copla - the Andalusian folk form - this set focusses on her related flamenco songs with 14 haunting works set to floral guitar, circa and after the time she married another singer, Lucas Soto Martin, and had five children, two of whom, Adelfa Soto & Pepe Soto, also became flamenco professionals.
From her keening, fluttering ululations on ‘Tinieblas’, (trans: Darkness) to the almost Indian classical inflections of ‘Entre breñas y zarzales’ that possibly betray flamenco’s speculated roots in Romani music and kathak dance, this is a beautiful, if thorny bouquet from what now feels like another world entirely, yet still resonates with contemporary, human feelings.
Out of Stock
Boomkat Product Review:
Death is Not the End unearth captivating songs by blind flamenco singer Dolores Jiminéz Alcántara aka Niña de la Puebla, recorded between 1932-1949.
As previewed on the label’s recent flamenco showcase for NTS, the music of Niña de la Puebla (*1908-†1999) heralds a bygone era of Spanish folk-classical that, for context, would resurface more recently in Rosalía recordings. OK, there are no dembow grooves or rudegal posturing here, but it’s not hard to draw links between Niña’s colourfully plumed vocal flights and anguished laments, and Rosalía’s modern iterations, where needed.
While Niña was also noted among the greatest singers of Copla - the Andalusian folk form - this set focusses on her related flamenco songs with 14 haunting works set to floral guitar, circa and after the time she married another singer, Lucas Soto Martin, and had five children, two of whom, Adelfa Soto & Pepe Soto, also became flamenco professionals.
From her keening, fluttering ululations on ‘Tinieblas’, (trans: Darkness) to the almost Indian classical inflections of ‘Entre breñas y zarzales’ that possibly betray flamenco’s speculated roots in Romani music and kathak dance, this is a beautiful, if thorny bouquet from what now feels like another world entirely, yet still resonates with contemporary, human feelings.
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