Miguel Poveda

Flamenco is a genre whose roots and traditions run deep - experimentation is looked upon with some degree of suspicion by old-timers (as in any artistic pursuit). Miguel Poveda has created a body of work over the past 15 years or so that is strong testament to the fact that among the younger cantaores there are individual artists who feel a strong respect for and connection to the traditions that have made flamenco live and breathe. He is not above crossing the genre frontiers - his 2005 release Desglaç is a great example of how this can be done with taste and respect - but for the most part, his albums are documents of pure cante flamenco, in the spirit of the great voices who have come before him. His heart and soul pour into his music - his love for his mentors, both direct and in spirit, is blindingly apparent. On one track, the listener is treated to a guest performance by the great Diego Carrasco - the wonderful bulería `Alfileres de colores', co-written by Carrasco and Pedro Rivera.

TIERRA DE CALMA was the first CD I acquired by Miguel - it's still my favorite. His incredible voice is mostly accompanied only by the amazing guitars of Juan Carlos Romero (Romero's CD Azulejo is a also great recording); percussive touches added by a small number of friends; and David Peña `Dorantes' plays piano on one track. The arrangements therefore remain uncluttered, allowing Miguel's voice, and the interplay and communication between him and Romero to take center stage - the results are breathtaking.

True flamenco singing can take some first-time listeners by surprise. It's extremely emotional, coming from the deepest part of the soul of the cantaor. They work hard to get the feelings and meaning of the music they hear inside out into the air and into the hearts of their listeners. This is not ballad singing by any means, although in some cases the lyrics can express things that are incredibly beautiful and tender. On some tunes, Poveda sounds as if he's about to spontaneously combust, on others he caresses the melody as if he were holding the heart of a lover in his hands. It's amazing stuff.

Anyone who is under the impression that true flamenco is dying off with the older performers needs to listen to Miguel Poveda - and this album is a great place to start - it's alive and well. Another great example is the fine band Son de la Frontera (check out the samples on Amazon's site for their first album, Son de la Frontera as well as Cal).

Miguel's voice has me under its spell (Me tiene embrujada). His powerful voice evokes a mixture of deep masculinity, raw lyricism and heady sensuality that is mesmerizing. It reaches into the primitive and mystical areas of your soul and doesn't let go. How does he get his voice to do that?!

The accompanists are outstanding, (guitar) on this CD, (piano) on the other (Suena Flamenco). Try listening to this CD in the dark with headphones on... a rich albeit humbling experience. Buy anything you can get your hands on by these guys. Your life will never be the same.

If you are a real flamenco fan, this CD is for you.
Manuel Poveda is part of the new generation of flamenco singers (Poveda, Duquende between others) that received the heritage of Camaron de la Isla and some other fantastic artists.
I agree with a previous comment regarding La Salvaora as one of the best pieces of the CD but I can strongly recommend you to hear carefully De Querer o No Querer. This is a piece sung in one of the sticks (palos) of the Flamenco, the Martinete. A very difficult form of cante where the the singer must to include their soul to receive the duende and bring it to the audience. The tran tran (a very singular voice of the flamenco to call the "duende", almost as a rit) is present here and in a very emotional way (as Flamenco requires).
Some arrangement by Joan Amargos and their presence in some numbers are a minimum guarantee about the quality of this album. Yes, it sounds Flamenco.

If you are an afionado of Flamenco music, then Poveda's Suena Flamenco will be found as a jewel in your collection. The most enduring song in the set is La Salvaora. Wth a brilliant chorus at the end the piece; the deeply romantic, bitter sweet lyricism; and the wonderul orchestration are truly impressive and heart felt. Povedo sings with the demure of an opera singer with some flash. He takes Flamenco to a classy level with his voice and, most uniquely, the introduction of the piano--thanks to Joan Albert Amargos. The melodies are unforgetful throughout some of the pieces with the piano. The introduction of the piano work is truly welcomed. Some of the songs, I could definitely imagine hearing them live at a classy bar in Madrid. Truly it is a romantic and serious work in the cante of Flamenco by Poveda. Hence, it is a must have in any serious Flamenco music collection.