How the (Afro-Peruvian) cajón entered (Spanish) flamenco - part 2 of 2

When I told this story to some flamenco friends, they said “we heard a different story” and recounted how Paco de Lucías’s percussionist (a palmero - a person who does the hand-clapping that is the usual accompaniment for traditional flamenco) went to Perú where he “discovered” the cajón, bought one, and brought it back to Spain.

Well, I was surfing YouTube one day, and happened across this video in which Paco de Lucía confirms Lalo’s story;  if you don't understand Spanish, you'll just have to take my word for it:

Paco de Lucia explaining how he was introduced to the cajón in Peru.

Again, for those of you who can read Spanish, this interview with Caitro Soto adds more detail LINK. 

Apparently, el Comercio, a newspaper in Lima, arranged for Paco de Lucía to explain how he learned about the cajón by watching Caitro Soto (and others) at an after-party, and then purchased one, which he gave to his percussionist.  LINK.  According to Paco, it was easier for flamenco percussionists to use the cajón than to do the traditional palmas (hand clapping), which is why the cajón caught on so rapidly.

So there you have it.

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Author Eve A. Ma, who dances flamenco, is the producer/director of two documentaries about Afro-Peruvian music and dance.   Lalo Izquierdo appears in both;  here's a LINK to one of them.   

Keep up with Ma's work:  http://PalominoPro-signup.com

NOTE:  this article first appeared in the on-line magazine, www.SomosPrimos.com.  It is reprinted here with permission.

How the (Afro-Peruvian) cajón entered (Spanish) flamenco - part 1 of 2

If you are either a flamenco aficionado or a cajón enthusiast, here's a story that you will enjoy.

I consider myself fortunate to have a friend, Lalo izquierdo, who is a master of the Afro-Peruvian cajón (or, if you will, the Peruvian cajón)., a percussion instruments that you see in almost every Afro-Peruvian performance, in much of Latin jazz, in other styles of jazz and in modern flamenco.

Lalo is a percussionist, a dancer, a choreographer and a folklorist of his Afro-Peruvian community.  He lives in Lima, but has spent many months in the United States.  I have seen – and filmed – him in both places.

Lalo Izquierdo with a quijada de burro

Once, he told me a story about how the Afro-Peruvian cajón became incorporated into flamenco.  He said that he along with others, including Caitro Soto, were enjoying themselves in an after-performance party for Paco de Lucía, a seminal flamenco guitarist then on tour in Peru.  Lao, Caitro Soto and others started playing the cajón and Paco de Lucía came over.

Lao Izquierdo playing the cajón

Paco was very, very interested.  He wanted to know more about the instrument and its capacities.  At some point, Caitro Soto offered him one, and he accepted.  Later, he purchased another one.

And that's how the (Afro-Peruvian) cajón entered (Spanish) flamenco.

(Don't forget to read part 2!)

____________________

Author Eve A. Ma, who dances flamenco, is the producer/director of two documentaries about Afro-Peruvian music and dance.   Lalo Izquierdo appears in both;  here's a LINK to one of them.   

Keep up with Ma's work:  http://PalominoPro-signup.com

NOTE:  this article first appeared in the on-line magazine, www.SomosPrimos.com.  It is reprinted here with permission.