Paco Cepero: "We've gained a lot in technique and harmonization... But we've lost the flamenco flavor."

Since his debut in 1958 at the Manuel de Falla Theater in Cádiz (he was just 16 years old), Paco Cepero (Jerez de la Frontera, 1942) has had time to write more than eight hundred songs and other compositions that have been performed by, among others, Rocío Jurado, Julio Iglesias , and Isabel Pantoja ; he has accompanied artists such as Lola Flores, Manolo Caracol, Antonio Mairena, La Paquera de Jerez , and Camarón de la Isla; he has played alongside Paco de Lucía and in all corners of the world, and has received countless awards. He is, without a doubt, one of the historic figures of flamenco, and this Friday the 27th, he will be able to demonstrate this once again at the Teatro de la Zarzuela , a stage he will grace for the second time in his career—"I played here at Paco de Lucía's presentation, many years ago"—and where he will offer the show 'Corazón y bordón'. Paco López has directed it, and together with Cepero there will be David Lagos and Melchora Ortega (vocals), Sergio de Lope (woodwinds), Paco León and Diego Amaya (guitars) and Perico Navarro (percussion).

"This concert means a lot to me," he says on the other end of the phone. "I've lived in Madrid for 36 years, my children were born there, and I became an artist there. I owe it everything; returning to Madrid and having the privilege of playing at the Teatro de la Zarzuela is an honor for me." He recalls that it had been more than fifteen years since he last played in the capital.

Guitarist and composer Paco Cepero assures that when he dedicates himself to either of the two activities, "he dedicates himself to it body and soul. You can't mix apples and oranges." But he feels most at home accompanying flamenco singing. "I've accompanied the greatest in the history of flamenco, both ancient and modern; I've been in the profession for 68 years now and have played alongside Antonio Mairena, Fernanda and Bernarda de Utrera, El Sevillano, Tío Borrico, Sordera, Sernita, La Perla de Cádiz ... I don't know... And also with the young people and everyone of my generation."

And what does a good accompanist need? "First of all, knowledge of the cante ; without it, he won't accompany well, that's for sure. You have to know where to put your hand, where to stand... That's extremely important. If you don't know the cante, I find it very complicated."

Paco Cepero recalls that he started in 1958 at the Gran Teatro Falla in Cádiz. "Well, that was professional. I'd already been playing for several years. My father gave me my first guitar because I was really drawn to it and that's what I wanted, although my father, like all fathers, wanted me to study, and I wasn't a bad student... But he bought me a Valencian guitar, by Telesforo Julve... I remember the price perfectly: 525 pesetas, payable in installments. 25 pesetas every month."

It's clear that the investment was worth it, because seventy years have passed since then, and Paco Cepero has been one of the protagonists of the recent history of flamenco, an art that has evolved significantly in these seven decades. "We've gained a lot in technique, in harmonization... But the flamenco flavor has been lost." Is there a lot of confusion surrounding flamenco? " There isn't a bit of confusion about the purity of flamenco," he answers emphatically. "The confusion is created by those who want to sell a product by saying it's very valuable, and whoever corroborates it. But, in short, flamenco is very well defined in the legacy left to us by our ancestors, and I think that's where we should base ourselves."

Speaking of legacy, Paco Cepero doesn't want to talk about his own. "I'm not one to talk about myself; time is infallible and will say the things it has to say about me. The only thing I ask of God is that, since I've been here so many years, at least a crumb, a speck, a grain of sand, and the aroma of Paco Cepeda remain in flamenco. With that, I consider myself well served."

"I have the enthusiasm of a kid just starting out," he says, erasing all traces of fatigue, "but at the same time I say one thing: blessed lesson of time, the older I get, the more I learn, and I'm going to die learning. An artist can't believe they're in possession of the truth, and that's something the new generations must learn."

Is there true artistry in today's young flamenco artists, or is there more mediocrity? "There's a bit of everything in the Lord's vineyard... What I can tell you is that the way the guitar is being played today... come on, not even dreaming. Today there are kids who play marvelously, and there's a generation that's setting the bar extremely high. But I tell them: the avant-garde is extremely important, but we mustn't break our roots. Don't go over to the enemy. Al di Meola, John McLaughlin have come here... The best have come to learn about flamenco."

The two names mentioned lead directly to Paco de Lucía , with whom he formed a legendary trio. "It's going to be very difficult for someone to come along who can surpass Paco. Paco had all the qualities: technique, sensitivity, flamenco flair, creativity, personality. With those components and his way of playing, Paco put flamenco guitar where it is today. Give Caesar what belongs to Caesar."

"I'm the biggest fan Paco could have," he continues, "and he spoke highly of me. I once told him it was his fault that Spanish guitarists were doing the things they were doing, because they all wanted to be Paco de Lucía." He, however, only wanted to remain Paco Cepero. " Short, but it sounded like me ." And it's important to have personality. My guitar can be recognized from ten kilometers away; I don't confuse anyone, and that's extremely important."

Retirement is on the horizon . "Everything has a beginning and an end. I'm already saying goodbye to concerts, because it's not worth the suffering. To play in a theater, you have to have very good fingering, and the years are unforgiving; you decline, and I don't want them to see me on stage and say: 'Poor thing, what a man he was, and look at how he is.' I don't want that. So the moment I see that I'm faltering... Although I'm fine, I want to retire in full swing, to say goodbye elegantly and with happiness for all the years I've been able to be there."

But he'll continue composing and producing. " Don't you see, that's what gives me life ! I keep composing, going into the studio and recording. I see myself as young, my spirit is young. But of course, I'm not stupid. It's funny to me when people tell me: 'Maestro, we'll call you for next year.' How the hell do I know where I'll be next year? I know how I am now. Tomorrow doesn't exist."