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| TRADUCCIÓN REALIZADA POR | JABERA. f. [Of habera, saleswoman of beans, which in Andalusian phonetics it(he,she) does jabera for conversion of her (it) h inhaled in j orthographic. It seems that the first flamenco singer of this style was nicknaming The Jabera.] Song with couplet of four verses , that belongs to the group of the of Malaga fandangoes. It is a song without compass and it offers big possibilities of interpretation to the flamenco singer, being able to express all kinds of flourishes and arabesques. It acquired its peak in the mid-nineteenth century, although perhaps then it was sung in a different way from today. The first reports we have of this style, is offered by Serafin Estébanez Calderon, in his Andalusian scenes of 1847, where he writes: "Erase una Málaga by the style of The Jabera ... Famous singer.” Jose Luque Navajas, a scholar of the malagueña songs , states the following regarding the jabera: "It's tradition in Malaga that this song, as well as its name, is due to two sisters in the neighborhood of La Trinidad, in which the Calle Mármoles in the beginning of the last century had a depot of dry beans. These sisters sang very well, and prays in the pregones of their merchandise, or in their leisure time, they were spontaneously interpreting a way of singing a malagueña fandango, which they had set up very beautifully, in accordance with its authority and good taste. " Alfredo Arrebola, singer and theorist of his art, considers it to be a style that is seldom implemented due to its difficulcy and argues as follows: "The Jabera song is somewhat mysterious because it does not match the birth nor its coeval with the Malagueña, but quite the opposite: it differs, and it's historically earlier. But there is something clear: that is flamenco in the same family as of the fandango abandolao. It is a song that begins with it and ends up with it. It has therefore defined its personality perfectly. It is configured as a song away from the fandangos themselves (primitive fandango Malagueño), and also of the Málagueñas, although it contains its own melodies of Malagueña. Musically, it is quite difficult because the jabera has some traits and nuances of its own. Viewing the Jabera from the musical and flamenco angle, it has been characterized by what the singers call broken chains. The voice seems not to reach, it gives the impression that it breaks. In jabera you perceive clearly echoes siguiriyas. It passes, incredible fast, between serious and acute tones. And vice versa. It is a rough, tough and serious song. It is all that different from the malagueñas: sweet song, touching and profound. Quality and differential characteristics of jaberas is that it is carrying all the thirds linked fluently in the voice of the singer who, keeping the melodies, can give free rein to his inspiration. " It should be remembered that in the Málagueña zone Vélez-Málaga and Torrox, where the style has been cultivated, it was once known as the songs of María Tacón. Some flamencologists claim that the jabera has been long in disuse, and brought back into circulation by El Niño de Malaga, which registered it in the record book Anthology of flamenco singing, which originated in 1955, but it should be borne in mind that it was usual in the repertoires of the madrilenian singers El Mimi and El Canario de Madrid, and also in the flamenco environments of the capital of Spain through El Chato Jerez. At present there are many interpreters of it, from Fosforito Fernando Galvez, through Antonio de Canillas, Alfredo Arrebola, Angel de Alora, Juan Villodres, Jarrito, Jose Salazar, El Chocolate, Juan de la Loma, Curro de Utrera, Pepe de la Isla. Etc.. Therefore its effect is noticeable. |
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El Niño de la Albarizuela |
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