Joaquín Marín Flores, better known artistically as “El Quini de Jerez” was born in Jerez, in the la Plazuela neighborhood, in the gipsy family of Los Pastillas.
Being only 12 years he made his debut in professional singing as a support clapper for the dancer Manuela Carpio. With 15, he entered the Antonio el Pipa dance company. During his long career, he has worked with many important artists, such as Tomasa Guerrero “La Macanita”, Fernando Terremoto, Elu de Jerez or Merchora Ortega, among others
Already 20, as a mature artist, he decides to leave behind his stage as a support clapper and dedicate himself to singing. In the Lagar de Parrilla, one of the most emblematic flamenco venues of Jerez, he started working as a singer. He started to attend flamenco clubs, contests and festivals, winning the first prize in the Jerez’s Bulería Singing Contest only a year later.
After his success he entered the Antonio Gades dance company, touring the world: US, France, London, Morocco or Brasil have been some of his destinations.
Interview in the blog Flamenco en personaGoogle Translate
-Where you been singing?
Well, I think I take singing since I was little, to listen at parties my family and the things that made me my Father.
-Why Did you decide to stop being palmero to be singer?
Very simple, because singing is what I like best in the world, could not touch the palms watching the singers they enjoyed singing and put all their hardships and joys in their songs.
You think there’s difference between singing a gipsy to a gypsy? Well look I think if there is a difference.
Well, because I think the gypsy singing fills much and transmits more because it takes in, as to sing a gipsy you can like a lot and do it very well but transmit the gypsy singing without being it is very difficult is not, it is my way of thinking.
I’re characterized by your soniquete and compass when singing Do you think that you owe it to Jerez?
Sure, certainly that gives it the land in which you are born, bring a sense of rhythm is very difficult.
‘Your favorite stick to singing it Laora?
The buleria, I feel very agusto when singing and when I dance.
‘What you think when you get on stage?
That’s a question I can not tell you if I wanted to, many feelings together when singing, what if I can say that I always think of my mother Joaquina unfortunately do not have it here, and for me is my Guardian Angel , and when climb on stage is always with me, I know.
You like to sing abroad?
Sure, it is not the same but I also like because people often respect a lot more.
-What Do you think of women singer?
That man is blessed for my glory, I think he should respect that even the same man and I thank God have their place in the world of flamenco.
‘Your favorite singer?
Manuel de los Santos Pastor, “Agujetas” because it is the singer Favorite transmitted from each and has a beautiful and unique eco also says singing as it really is, is not put to squeal like many singers today.
‘Any dancer who excites you while you sing?
If, Juan Manuel Fernandez Montoya “Farruquito”.
How do you see flamenco today?
Man there are things that megustan, if you say I will sing seguirilla pos do it and that’s it, but do not get into the world that what they’re singing not seguirilla, seguirilla or other clubs, plus I’m from the old singers I like modern singers but I rather like the old such as Earthquake, moneybag, Caracol, Mairena, Fernanda de Utrera and many more.
‘And that Quini where it comes from because your real name is Joaquin?
Well, I can not say it comes from small Quini Joaquín, what if I put my mother.
-¿Para When a disc market alone?
Well until the moment do not know, but if I told you I’d much this project for me would be the most important in my artistic life, but we gradually are becoming things slowly and without running better go.
Well and to say goodbye Any dream to fulfill?
If I have one look, sing soleá shoelaces his side that would be the ultimate for me.
Well no more to wish you luck, a hug and thank you for this interview.
Nothing man, thank you, a big product for this piece of flamenco besazo.
Critic of his show in Jerez JondoGoogle Translate
Surrounded by a bustling public and dump the star of the night, Joaquín Marín ‘El Quini’ opened the Flemish summer season Nights cycle Summer City of Jerez with an extensive recital in which exhibited the best of his repertoire accompanied by several colleagues and friends, who wanted to share a special moment.
The Quini, true to its principles, put it everything from the first moment he left not a drop of his effort to the end, so from start to finish showed his inherent compass and especially a range of styles and variants cante that has assumed and assimilated after many years singing for dancing. Perhaps for this reason also, on occasion, it has joined its way to interpret a tempo a little faster than normal, a detail that despite his good mounted desmereció show.
More nervous than usual, and staring, he came to play a zambra. The piano Rosario Montoya ‘La Reina Gitana’ was introduced, with that delicacy and flamencura it holds in his hands, one of the most beautiful pieces of music sound. El Quini he could the tension at times, but was able to bring singing to his land, without making it too caracolero, a circumstance that in which artists often fall if you listen to the Sevillian genius, a singer who bewitches you.
Once past the first drink, he sought shelter in Malaga, accompanied by guitarist Juan Manuel Moneo impeccable. Time has been polishing the guitar of this young guitarist, and so made clear, not only leading the po sing the right track but running with falsetas mastery of enormous difficulty. Mellizo letter to finish by abandolaos, another field in which swimmingly develops as dominates the times with ease. Joys of great taste and offering another review of the airs of Cadiz, call it romeras or cantiñas, was this.
Then tango, this time with Manuel Jero’s guitar. Here, and much quieter El Quini, an eminently festive singer, settled in full, playing a handful of letters and styles at its best. Of course it helped, at least to put the public environment, spectacular guitar Jerito. We never saw Manuel with such aplomb, that old runaway horse, where the strumming and alzapúa predominated in his sound has become rested, knowing influence the exact point, which touches the fiber. His falsetas rose applause, tangos and seguiriyas, normal among people sounded the now famous: ‘Live your stop’.
The Quini was chivalrous to remember, before making two letters of seguiriyas and the male which some attribute to the Planet, “by Manuel de Barullo, go for it,” he said, to wide acclaim. The highlight, however, was to come. On stage, the star of the night was calling his fellow workers, Javier Flores, Luis Moneo and Miguel Lavi. The four face to face with the public to be labeled a batch of bulerías al golpe sat carats. Four completely different voices seized the Cloisters. Javier, with that shrimper air, Lavi, with a black and plaintive throat, those already there, Luis Moneo that metal as clean as hieriente, and El Quini, collecting all witnessed another display of experience. There were two rounds, all of great skill, although the public, who knows what he wants, enjoyed the genius of Luis Moneo and Miguel Lavi of brash.
The last touch could not get otherwise than by bulerías. The Quini took command under the rhythmic tapping guitars of Manuel and Juan Manuel ceded the land to Gema Moneo, the young dancer umbrella gestures and details of old dance with a current temperament and technique. He has charisma, and have race and that like. The finale served to rehear the other metals, to redisplay Gema and especially to enjoy another little dance art at the hands of Manuela Carpio that rose from the audience to demand that dancing Jerez Manuela It has its place.