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In Flamencum Revolutum, dear friend, do not look for erudition, interest in pontificating or literary delicacy, qualities - or defects, depending on how you look at it - far removed from the author's way of thinking, feeling and acting. If you feel like it, you will find a dose of simple and sincere flamenco experience that is highly varied (at La Puente, at school, in the field of controversy or with the musical dimension of cante): that of the last decade of Álvaro de la Fuente in his relationship with the jondo. An experience publicized, in a very dispersed way, in other places, but now collected and synthesized, with no other intention than to share it with the interested party, in the pages that we publish from Saludos Flamencos, with the collaboration of the peculiar Agorero de lo Jondo, a curious character who introduces each of the five chapters with a lively chat with the author himself.
However, the author has finally dared to show the most demanding aficionados his reflections, threaded together over the last three years in the solitude of research activity, around Zángano Flamenco, a cante of which he barely we knew nothing. With firm decision, enormous objectivity and great responsibility towards his town and people, Álvaro has delved into the possible origins, variants, kinships and legends of this abandolao court cante that was recorded for the first time by maestro Fosforito in 1957. As a result: a set of well-founded reflections that will rigorously bring us closer to its authentic historical and musical reality. Perhaps not everything has been said about this cante, but a path has been opened for future investigations.
