How do you focus building pieces like the milonga in ‘Algo’?
I suffered a lot with the milonga. As a bailaora I need to be given music, to be given ideas, even if we throw them all out later on. And it was a really long process. And I had to listen to a lot of milongas. And I put on a song from the year 1920 for violinist Kosio and made him listen to the guitar to start off with that idea. In the end the result’s been really good; people have liked it a lot. I was really sure of the lyrics, the ones by Juan Simón; I heard them and I was touched from the very start, they seemed really harsh to me and since they came after the piece ‘Fugaz’, they fit very well. Really, the show is a process between everyone. I propose and the others give their ideas. Nacho Arimany proposed the compás – he couldn’t be there in Jerez and that was just half-maintained; the change was hard -, the times of the milonga were proposed by him. It gets put together between everyone. At first it was Pedro Obregón who sang it, he was the one who suffered, who had to fit it in
