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.