Has done well Diego el Cigala, reinventing its past record about the melisma bolero flamenco company in the unforgettable Bebo Valdes Lagrimas Negras then two tears, and last year with Cigala & Tango, flamenco pinching Gardel's repertoire , Cadícamo or Yupanqui. His live album, recorded a July 29, 2010 at the Grand Rex theater on Corrientes Buenos Aires, is a marvel, a meeting of two worlds, that of flamenco and tango, joined by a great artist as is the Cigala, and a bestseller that some still unexplained.
The Friday 20 May at the Laboral Theatre was something like a copy of that unforgettable Buenos Aires, but had not invited Gijón and the singer from Madrid was the only actor to a pit and upper floors crowded. El Cigala Diego El Morao to flamenco guitar, Cuban bassist Yelsi Heredia, pianist Jaime Calabug 'Jumitus', percussionist Sabu Porrina and violinist Bernardo Parrilla, form an alliance on stage together, or split, creates magic and that is very difficult to achieve if one is not more than a good musician.
Sound did not fail nor failed the public, always attentive to detail, which made him a nod of Lavapies, a given melisma. We did all issues Cigala & Tango less' The Brothers', a classic Yupanqui in which that night was seconded by Andrés Calamaro, but in return we sang to close the Argentine cast 'the dove was wrong, "quid pro quo called.
De 'sand Throat' and 'The Forty', the first two parts of the night, went to 'The Day You Love Me' and nostalgia for a drummer and guitarist left alone on stage. Then came 'I drink and I', the tango of Carlos Gardel 'His eyes closed', 'Alfonsina y el mar', the mysterious' Yukali 'and' In this gray afternoon.
" No objection, except that some feel more connection than others, I imagine that as a matter of feeling more than anything else. The audience applauded wildly and was thrilled with the songs that we have hurt small human tragedies that happen at night. And after a couple of concessions to cantejondo soleá and tangos, rumba, where El Cigala turned to show one of the big time.
Then, recalled his work with Bebo Valdés doing 'Unforgettable' and 'Crazy Heart', leaving for the encore 'The well pagá', paying more because they confessed publicly that he had passed a good night. He pulled the sleeve 'Dos gardenias', Antonio Machin's classic, reinvented in key Cuban jazz and familiar interspersed with verses of songs like' Thanks to life.
" 
The Friday 20 May at the Laboral Theatre was something like a copy of that unforgettable Buenos Aires, but had not invited Gijón and the singer from Madrid was the only actor to a pit and upper floors crowded. El Cigala Diego El Morao to flamenco guitar, Cuban bassist Yelsi Heredia, pianist Jaime Calabug 'Jumitus', percussionist Sabu Porrina and violinist Bernardo Parrilla, form an alliance on stage together, or split, creates magic and that is very difficult to achieve if one is not more than a good musician.
Sound did not fail nor failed the public, always attentive to detail, which made him a nod of Lavapies, a given melisma. We did all issues Cigala & Tango less' The Brothers', a classic Yupanqui in which that night was seconded by Andrés Calamaro, but in return we sang to close the Argentine cast 'the dove was wrong, "quid pro quo called.
De 'sand Throat' and 'The Forty', the first two parts of the night, went to 'The Day You Love Me' and nostalgia for a drummer and guitarist left alone on stage. Then came 'I drink and I', the tango of Carlos Gardel 'His eyes closed', 'Alfonsina y el mar', the mysterious' Yukali 'and' In this gray afternoon.
" No objection, except that some feel more connection than others, I imagine that as a matter of feeling more than anything else. The audience applauded wildly and was thrilled with the songs that we have hurt small human tragedies that happen at night. And after a couple of concessions to cantejondo soleá and tangos, rumba, where El Cigala turned to show one of the big time.
Then, recalled his work with Bebo Valdés doing 'Unforgettable' and 'Crazy Heart', leaving for the encore 'The well pagá', paying more because they confessed publicly that he had passed a good night. He pulled the sleeve 'Dos gardenias', Antonio Machin's classic, reinvented in key Cuban jazz and familiar interspersed with verses of songs like' Thanks to life.
"
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