Walking down Juan Rufo Street, as soon as you leave the Fuenseca cinema behind you, the flamenco ropes It reverberates between the broken walls and the cobblestone floor. Music comes from the guts La Fuenseca Pub, where Jesus Almilos plays his guitar. “This is not a bar, it is a cultural cathedral,” says the pub owner, in tune with the paintings, the tiles and the scent of fine wine after a life between the two communities and the artists.
Although the origin of the building dates back to 1850, during the reign of Isabel II, it was at the end of the seventies when Emilio Alvarez, grandfather of the current manager, acquired the company. It was he who preferred bohemian ambiance With the establishment of the exhibition hall – on the second floor of the building – and the good reception of painters, poets, writers, Flemish artists, speakers, in short, anyone who understands life as a search for elves and recreation in beauty and hedonism. Jesus was a witness to everything he said “My grandfather wanted me to play guitar, even though it was an excuse to be in these environments,” he recalls. In 2013, Alamillos started running the business with a clear vision to follow in his grandfather’s footsteps and it is this spirit that makes La Fuenseca a treasure frozen in time; A pub that doesn’t smell, it smells The purest tradition refreshed by the experience of new generations.
In addition to hosting pioneering initiatives such as those of artist Francis Arroyo, who has entered the Guinness Book of Records for collecting 1,000 works of art in a solo exhibition within La Fuenteca, it is also a meeting place. The Contemporary Cordoba Collection, formed by some of the current artists most connected to the capital such as José Manuel Belmonte and Francis Arroyo himself, and usually frequent its halls. Comparsa la Bohème members can also be seen there, during their practice sessions on dates close to their performance at the Cordovan Carnival.
But what really makes up the essence of La Fuenseca is its welcoming character, like a home you can always return to in search of lost warmth amid the disappointments of everyday life. “This is my first house, then there is the other house, where I sleep”Jesús, who is in no way responsive to the prototype of hoteliers, shows concern about high or low seasons, the splendor of gastronomic proposals or efforts to please diners at any cost. “Here we have five cold appetizers, and some days, he cooks, because I don’t want to complicate myself, I just want to earn to live while I’m happy with my people,” Alamillos says. Named for this hospitality, well-known names were repeated in flamenco on the place, such as Guanma “Altomati” is the brother of Las Ketchup; Savior Manuel Jiménez “El Niño Montes”; Singer Miguel del Pino. Manuel Ruiz “Koiko”; guitarist Jesus Gomez; gypsy dancer Laura Granados; Malagueño José Parra or “Chaparro Hijo” flamenco guitarist Rafael Montella. And the list goes on and on, endlessly, impervious to the memory of Jesús Alamillos. These are some of the more recent ones, but many years before La Niña de los Peines or Manolo Caracol took part in seguiriyas and tonás. naturally, Paco de Lucia Came to visit the place. Even the former producer of Camarón, Ricardo Pachón, comes to Córdoba from time to time just to salute ‘fuensequeños’.
Everything is recorded Marie Filaturo, another of La Fuencica’s essential spirits, under her sharp and wise outlook as a hostel. Every time an impromptu tablao is prepared or several veterans teach them directly to young adults, Maria works as a historian for the national magazine Zucco Flamenco. She and Jesus are both wonderful and strange souls. Unidentified faces appear to have come from a Romero de Torres painting or a movie from the old national cinema. Not so long ago they diversified the business. Jesús creates a brand of Hans shirts that he sews himself and sells on the premises. Musicians and flamenco personalities from all over the province bet on his designs. “I carried my grandfather’s essence since I started working in the pub and my grandmother’s essence in T-shirts, because she was a seamstress, even though I taught myself to sew,” Jesus Alamillos says.
As soon as the waiter starts playing the guitar, the singer Fran Reeve from Córdoba starts playing Sola music. Surrounded by other young men clapping. Next to them is Baylaura Aitana Muñoz, granddaughter of Juan “Al Tomati”, and porter Raúl Alba. They don’t know if they will quit. Maybe another day. They sucked flamenco from a young age and in La Fuenseca they found a way to live.
Although the passion for flamenco is identical, the idiosyncrasies change when talking about pinas. Baby Carmonapresident Regional Federation of Flamenco Clubs of CórdobaIn Peña Rincón Flamenco, he finds a meeting place for the nuances of brotherhood. The building is located in Carretera de Trassierra, at number 37 of the Sagrada Familia’s commercial corridor. Its origins go back to 1970, when it was established in the now defunct La Barrera bar in Calleja de Munda. Part of this original was Cantor Antonio de Patrosinho or Antonio Muñoz “El Toto”. Supporters of that time went through different places until they found “two small rooms, one with tables and chairs and the other with a barrel, for good wine” and which “you must enter quietly because there is usually always someone singing or playing,” says Pepe Carmona. The essence of that original meeting remains the same: “Above all it is to meet friends who love flamenco,” Carmona explains. As such, they try to promote new voices by organizing their own competitions. But the most wonderful thing is the intimate and traditional atmosphere in which we live inside.
Some penistas are hunters, so there is always stewed game meat to accompany it with the fino. Then, the conservatory musicians started with singers like Curro Díaz, El Bonera (Hijo) or David Palomar and “if there are any of the new kids who like to open their mouths, they join in too,” Pepe Carmona adds. Of course, “if strangers come and see that they are not what they are, they are called to pay attention, because here they come for glorification,” emphasizes Carmona.
So if a foreigner, whether he understands duende or not, wants to attend a pure flamenco show, the best option is the El Almíbar flamenco club’s Tablao, which shares the venue with El Rincón del Cante. Located on Calleja del Niño Perdido No. 2, it shows 100-person programs in an “oasis” for artists within their regular routine. Or at least that’s how Luis Carrillo, Vice President of El Almíbar, emphasized the artists’ sense of Mayte Martín’s standing when they stopped there. “I think the Maybar has a more modern taste and infinitely understands flamenco and I am referring to the proposals of Lin Cortes, Maria José Lergo or Viol Fandango”, confirms Carrillo. This bet emerged in 2010, when a group of flamenco lovers sought to bring the best of the art to the city in an intimate format. The way to get some appetizers, whether they’re preserves or cake, while drinking and listening to Farruquito, Chano Domínguez, Rocío Márquez, or David Palomar, among others, works. As does the older group that meets in Rincón del Cante, founded at the end of the seventies and which reached its greatest splendor in the eighties, in the presence of Camaron, Enrique Morente or Fosforetto. Neither yesterday nor today nor anyway, the goal was other than to share the passion for an unspeakable magical art.
La Fuenseca hosts recording of a documentary on El Pele
Director Juan Manuel Roa is responsible for “El Pele, Leyenda Viva”, a feature documentary promoted by the production company Trafalgar Cinema, whose main goal is to glorify the character of Manuel Moreno Maya as one of the most important artists in the world. The world of flamenco. Sites in the historic center of Córdoba frequented by the cantor were chosen as the stage, including La Fuenseca pub. That is why the artist has been visiting the pub so frequently lately. Another reason is to buy Hans t-shirts that bar owner Jesus Alamillos made to size. “El Pele fetches tomatoes from his garden and gives me flamenco lessons. What I learn the most from those lessons is that he is a genius and ahead of his time”, says Almilos. He is not the only one who learns from the experience of the cantor, because Manuel Moreno is used to singing along with young people. Running to him in one of his jam sessions is not easy. To “incarnate” and be part of this family without blood ties.