FLAMENCO GUITAR MAGAZINE ISSUE #1 FALL 2015
Who is the next Paco?
Jose Luis Rodriguez Interview and Transcriptions The Practice of Picado by Adam Del Monte New Releases and Videos Beyond Flamenco FlamencoGuitarClass.com Essential Album Reviews
www.FlamencoGuitarMagazine.com
FLAMENCO GUITAR MAGAZINE’S 1ST ISSUE Letter from the editor; Hola Tocaores Flamencos, and welcome to the first issue of Flamenco Guitar Magazine (Fall 2015) the only magazine for Flamenco Guitarists, by Flamenco Guitarists! Why did I create Flamenco Guitar Magazine? Because it's something I would like to read, but didn't exist. I strive to make FGM a FREE quarterly digital publication photo by Vince Trupsin with quality articles, interviews, transcriptions and album reviews important to Flamenco Guitarists around the world. Also it’s a platform to feature new video and album releases from myself, my colleagues and important artists. I keep it short and simple, in an easy and instantly downloadable PDF form. Flamenco Guitar around the world is far too big for me to cover everything, so I can not take responsibility of that burden. In this publication we will put more attention on Flamenco Guitar studies, and Flamenco Guitar in online media and releases (albums and videos). -Ben Woods
Senior Editor Contributing Editor Columnist Album Reviews
Ben Woods Berto Boyd Adam Del Monte Eric Jeager Ben Woods Kai Narezo
US PERFORMANCES Flamenco Agenda - Created by Bryan Douglas (Seattle based Flamenco Guitarist) Bryan saw there was a lack of exposure for Flamenco live shows in the USA so he created this blog.
1
WHO IS THE NEXT PACO?
photo taken from Google Images
We are all mourning the loss of our dear hero Paco de Lucia. The simple answer to the question “Who is the next Paco?” is that there isn’t one. The fact that he almost single-handedly expanded the harmonic vocabulary of Flamenco can never be imitated or duplicated. Of course there are the artists we’ve grown to know and love; Gerardo Nuñez, Vicente Amigo, Tomatito, Nino de Pura, Pedro Sierra and many others who are all contenders and whom we hope to interview in the coming issues. It’s hard to say if there can or will EVER be another artist as great as Paco de Lucia, but there are certainly some amazing ones out there. For instance...Jose Luis Rodriguez (our featured interview). -Ben Woods
2
FEATURED VIDEOS This issue’s videos are dedicated to the late, great Paco de Lucia!
Brand new video from ERIC & ENCARNACION of Seattle called “Rumba al Maestro” dedicated to Paco De Lucia. Available on iTunes
BEN WOODS’ arrangement of Paco’s “Solo Quiero Caminar” for solo guitar. Sheet music in notation and tabs are FREE here. 3
JOSE LUIS RODRIGUEZ
Interview by Berto Boyd
Watch Bulerias
Watch Seguiriyas
Official website
1)What does Flamenco mean to you? Flamenco is the art form with which I express myself. It is the form through which I understand the world and the form on which my creativity is based. 2)What was it like growing up Huelva? Huelva is a small place, almost secluded from the rest of Andalucía. For the most part, Huelva faces west (Iberoamerica and Portugal) rather than the interior of Spain. It’s a city of sailors, and people from the northern part of the province, from the mountainous regions where the folklore, the dances, and music have preChristian and medieval roots. The sound of the Fandango, the singers (cantaores) in the taverns, the aficionados in the bars, the house parties, and the many popular melodies (tonas), were all part of the soundtrack of my childhood. The music culture of this province is very rich and offered me a very fresh and different perspective on flamenco music. I always say that the sound of Huelva is a mix of ocean, horses, wines, mountains, and bandits all neatly packaged in a nostalgia that constantly embraces the past. 3)Who would you say were your earliest influences? My father was a huge aficionado of the singing (cante) and the flamenco guitar. This sounds of the singing and flamenco guitar became part of the normal sounds I grew up with at home. As a child, I had a couple of teachers, aficionados to the Fandango de Huelva. However, in reality, my first formal teacher was Antonio Sousa. He used to give me classes and take me to the flamenco festivals where he would perform and take me backstage where I learned how to listen to flamenco cante sung by the greatest artist of that era. Later, I became part of the “Peña Flamenca de Huleva, where I use to accompany the singing for different artist and aficionados who would go by there on a regular basis. In the Peña Fla-
4
menca, flamenco talk was continuous. There were hours of singing, explanations of the different cantes, and a variety of anecdotes surrounding the different styles of cante. I used to play with the performance troupe of the Peña and one day ended up playing with Niño Miguel. As a child, I knew who he was because at one point he had been a patient of my father’s. Niño Miguel use to play with such an aggressive style that he used to intimidate other artists. He used to love to play guitar and would spend hours composing new works and I was there to just follow along. 4)What was it like to be the prized pupil of Mario Escudero? In 1983, I met “Maestro” Mario Escudero who later became my teacher and mentor for the following five years. Mario gave me the opportunity to experience the history of the concert flamenco guitar from as early as the 1920s up to 1960 in my own hands. His legacy not only gave me a different perspective in relation to many of the other guitarist of my generation, but also the privilege of seeing and listening to where most of the techniques and forms of composition for the modern guitar came from. Mario was a great composer, and instilled in me and my playing a series of important elements: a distinct personality, a different process for composition, an ability listen to classical music, and a method for dissecting classical music’s elements and recomposing them to create a new form of musical expression. 5)Can you tell us the story of when you played for Sabicas? I was about 12 or 13 years old and there was a festival in Huelva where Sabicas came to play in concert. I went out to see him and when it was over, I went home. My father who was with me, decided that he would go with his friends to the Peña Flamenca. It was about 3 or 4 in the morning when someone called my home. My startled mother answered the phone thinking something had happened to my father. “Yes?...What!?...But now!? Hes sleeping! What!? Are you sure?? Alright…” My mother woke me up and said “Get dressed. You need to go this address. I will call you a taxi. Take your guitar.” The whole time I was thinking my dad was probably drunk with his friends and just wanted me to go so that I can play guitar for them. I went grudgingly. When I got there, one of the aficionados of the Peña Flamenca came to greet me. The men in the Peña began shouting “The boy is here!” as they courted me over to a hall where everyone was gathered. My father came over to me with a huge grin on his face. There were cups, sherry glasses, and bottles of Tio Pepe all over the place. Cigarette smoke billowed out of the ash smoking up the place. That was the smell of flamenco back then. At the bottom of the hall, like a king on his throne sat Sabicas in a winged chair with his high-class wool suit. “This is the boy, Maestro…” Sabicas, condescendingly, asked “How are you? What is your 5
name? They tell me you play the guitar very well. Would you like to play something for me?” I was terrified. My father, with a bright smile and happy for the opportunity Sabicas was offering kept urging me on “Come on now Jose Luis. Take out your guitar. Don’t make us beg…” I can’t remember what I played. I don’t know if it was a guajiras or a granaína. Later, the men asked me to play por Fandangos, then a little por Solea with various aficionados singing. Today I can tell this story because I wrote it down in my diary but it is a very faint memory because of how nervous I was. 6)I heard you played with the late great El Niño Miguel in a tablao as a teenager. What was that like and what did it do for your training? Well, like I said earlier. One day while I was in the Peña Flamenca, they asked me to play for the dancers and singers with Niño Miguel. That “special schizophrenic man” whom my father would tell me so much about, was always smiling and would often say incoherent phrases. Miguel used to love competitive games that consisted of countless amount of time composing and evolving musical ideas. He use to find base musical ideas from which to start and then would tell me…. “I got it my friend!” I would learn it and he would say, “Now you do something”. I would play the first thing that would come to my hands. Then he would learn what I played and would continue composing a new piece to what I played. We would spend hours playing like this. I use to just play the game. I wasn’t conscious of what I was actually learning. So it would become a competition to see who would compose a musical segment faster. Of course, I would always let him win..Hahahahaha… 7)You have a huge work in the making right now called Suite Avalon. What can you tell us about it? Who are the supporting artists? Avalon is a project that started to evolve and become a reality with this concert. I had had in mind the creation of a musical work for orchestra for a long time, but because of circumstances I was unable to complete it. I then ran into a pianist/composer, Alex Conde, whom I was going to work with on a new upcoming performance at the time in California. I believe that it was mutual admiration y feeling a bit alone in our trying to create a form of flamenco so distant to the stereotype that brought us talking about the possibility of collaborating. We began with small arrangements for a couple of small jobs of mine that included the pianist’s new CD and one of my musical projects here in Miami. It was then that we started to write a series of arrangements for some guitar solos. Shortly thereafter, we had the opportunity to do a very successful performance in Oakland with music students of OSA. The music students were under the direction of Omid Zoufonoun who I had the pleasure to meet and work with. We continued developing the project until we began receiving the support we needed, and here we are…completely enslaved with the production. They say when you put things out to the universe, the universe conspires in your favor. A short time thereafter, a beloved friend and student reappeared after almost 8 years of being out of touch. We had worked together on several occasions and had developed a meaningful friendship. Berto Boyd was designing a webpage that was for private online music lessons, which turned out 6
to be the webpage that will be used as my system of teaching guitar online and to demonstrate my form of playing. In less than 6 months, Robert became involved in project Avalon transcribing the guitar solos and putting together all of the informational texts and videos that will be visible on the web for the online music classes: flamencoguitarclass.com. Avalon, to me, has become a project that can help musicians trained in formal settings and professional musicians better understand flamenco music. It will help them better understand musical accents, intentions, and the movement of the rhythmic structures and will provide an opportunity to create labs or workshops with these musicians. These labs and workshop will be taught in a popular and contemporary form that can later be translated into the academic language. This is intended give continuity to the work proposed in “Avalon” and is also a way of creating work that transcends what can be considered flamenco repertoire.
The project also includes a collaboration with Maestro Federico Britos (violinist), a classically trained individual that has played with the best symphonies of Latin America, has received various Grammies, and who has a very particular and unique sound. Maestro Britos collaborated with me on one of my projects “De la Esencia y el Tiempo” and to some extent has become an ambassador for the project. Having his support and affection gives us a great amount of unwavering confidence.
7
The rest of the musical team, Antonio Camuñez (percussion), Rodrigo Valdes (guitar), are dear friends that are always there for me and have involved themselves without wavering. The rest of the production team includes, Gabriel Ramirez (Video), Fernando Gonzalez (Advisor), Olga Perez (Publicist), Damaris Ferrer (Producer), and Niurca Marquez (Producer, Director, and my beloved lifetime partner). Avalon would not be possible without them all. 8)What is the history of Flamenco guitar music and orchestration? (Who were the guitarists who pioneered this? Paco, El Nino Miguel,Manolo Sanlucar) Some precedents do exist between 1940 and 1950, if I remember correctly. Maestro Moreno Torroba did compose some pieces played by Sabicas and others played by Mario Escudero recorded here in the United States. However, the compositions were always based on the traditional guitar with a very rigid structure and without a lot of harmonic evolution. In the 1970s, Maestro Jose Torregrosa was the one who orchestrated various pieces composed by Paco de Lucia and Niño Miguel. Manolo Sanlucar is composed “Fantasia” for Guitar and Orchestra, a concert composed of three movements. Later, he composed “Medea” for the National Ballet of Spain. After those compositions, other guitarists composed works with orchestral arrangements as well such as “Suite Sevilla” by Rafael Riqueni, “El Guitarrista Azul” (The Blue Guitarist) by Jose Antonio Rodriguez, “Poeta” by Vicente Amigo” etc.… Perhaps some of the most recognized Composers/Arranger in this circle would be Joan Albert Amargos and Jose Miguel Evora, who have orchestrated many musical pieces over time. 9)Did Manolo Sanlucar have a big influence on you growing up in Huelva? The influence of Paco de Lucia and Manolo Sanlucar for guitarists of my generation is evident. Both Paco del Lucia and Manolo Sanlucar in their own way brought new hand techniques, sound formulas, and rhythms the revolutionized the guitar of the era. Manolo Sanlucar concretely influenced my interest in classical music and the composition of flamenco music for orchestra. 10) You wrote a tremendous tremolo section in Suite Avalon that pulls from your childhood musical experience with Mario Escudero, did you ever envision performing with an orchestra one day using this technique? When I use to think of orchestra, more than thinking about musical sections, I thought about the sensations I wanted to convey, so for that reason, I would have to answer “Yes” and “No.” I did not have the vision to create something using the tremolo technique. The tremolo is a technique that I like and that I dominate pretty well. It allows me to create an emotional environment similar to what an adagio of strings can do, and it was this environment that I was after and why I chose to use it. When I was composing “Avalon”, I thought I it would be really nice to create a duet with Maestro Federico Britos, whose sound is quite unique and has the ability to transport an audience to the beginning of the 20th Century. The tremolo technique along with the sound of the violin cre8
ates a velvety, opaque, scruffy, wood-like texture that is very particular and that I like a lot for the guitar. The tremolo was created based on the environment I was trying to create and was then supported by the idea of a duet. At that moment in the composition it marks a before and after because it is a moment where a lot of reflection takes place, a place of great spiritual inspiration. 11) A big part of the charm of your music is that it is modern but still has elements of the traditional Flamenco that you played as a child, do you think guitarists like Tomatito have gone too far with the whole Flamenco and Jazz influence? I believe that, in general, the guitarists of various generations since Paco de Lucia are pursuit of a new sound. We find ourselves very curious about other genres of music and feel the need to find a new way of expressing ourselves musically without losing our flamenco identity. In this process, which is an empirical process with constant obstacles and experimentation, it is natural to hear everything musically imaginable. Only time will set everything in a proper balance. In the case of artist like Tomatito, Vicente Amigo, and many other guitarists, I find that they maintain the flamenco tradition and make it surface when they want to, so for that reason, I don’t think we need to question their work. Perhaps the question you are asking has two possible sources for doubting these developments. I believe that sometimes flamenco is fused with other genres of music for marketing reasons and not as something sought out by the musician. This type of marketing reaches a certain type of public but, rarely, is it every a true growth for the artist. The other question is the thinking that if we don’t play certain world-renowned pieces, we are not going to be respected or we are not going to be able to reach the same number of audiences, and so we fuse our music with other genres to accomplish that. In part, its true that artists feel obligated to do certain things. However, once artists give in, we end up becoming the product people want us to be rather than who we really are. I strongly believe that flamenco has raw potential in and of itself. Perhaps the way it is packaged would help, but with the awareness doing something new. In other words, creating new compositions or doing some adaptations based on new sounds, on the union of musicians or disciplines, not simply doing what is always done and just bulking sounds together. That takes time though, and as I say, the only way to know what will remain is to let time run its course.
12)Not many flamenco guitarists have ever written an actual Concierto or Suite for guitar and orchestra, do you see this as the future frontier of flamenco music? I believe this is one path. There are others. In fact, I believe that there are new technologies, and electronic and experimental music that can be a potential musical composition path for flamenco. In the case of classical music, I believe it is a musical form of expression that allows a variety of sound colors. Consequently, this leads to the possibility of encounters with new performance spaces, audiences, and a new path for creative ideas. Nonetheless, the essence of flamenco (guitar and cantaor) will always remain in the music. 9
13)How is Suite Avalon different than anything you've ever written? (You wrote it with the intention of it being with orchestra correct?) The guitar compositions of “Avalon” can work independently as concert pieces. The orchestra is an element that creates a musical component that opens the guitar compositions to orchestral support. The orchestra waits for the guitar to introduce the theme or introduces the theme as the guitar waits. The result is a unified compact composition, but one that can also function independently or in a modular format. 14)Where did the inspiration for Suite Avalon come from? The idea of “Avalon” comes from a series of ideas. It comes from the necessity of finding common ground between musicians with formal training and popular musicians. It is also born from my own journey in life; the leaving of my own country in search of a place where I can develop my own compositions and my concert career. “Avalon” is an idyllic, mystical place we all seek at some moment in our lives. Perhaps the interesting part of this search is the discovery that that place is inside of us. 15) What guitars are you playing these days? In my concerts, I usually play my 1971 Ramirez. On this occasion, however, I will be playing a Jorge de Zofia guitar, with antique style tuning pegs (clavijero de palillos) for some of the pieces. 16) How do you like living in the U.S. now? Is it a big change from Spain? Sometimes it’s difficult and sometimes not so much. Flamenco is considered something exotic here, but at the same time it is very attractive to the American public. The cultural shift is huge and we must focus on breaking the preconceptions that many already have about this art form. This makes my commitment to my art stronger and, as a result, I don’t tend to dwell on the distance. Instead I choose to focus on offering flamenco from a place of honesty, thereby opening door or those who will come after me. 17) Given the current economical crisis in Spain, do you see other guitarists wanting to move here? It is very possible, some with the intention of staying and others with the intention to eventually return to Spain. Moments of crisis always lead to movement. 18)Where do you see yourself going with your music? Wherever life takes me, as long as I can express my emotions with my guitar.
19)What's the future look like for flamenco and Jose Luis Rodriguez? Who knows…the future is yet to come. I believe that right now we have to learn to balance all that we have gathered in the last 30 years in musical, technical, and compositional terms. Creating new forms without losing the original essence of flamenco is an accomplishment in and of 10
itself. The death of Paco de Lucia, Camaron de la Isla, and Enrique Morente have resulted in a pause to a certain level and has caused us to re-examine flamenco from a technical and interpretative stand point. We will be able to see how flamenco evolves as time goes by. 20) Any other projects you'd like to mention? This year has brought three large projects to which I would like to give continuity: First, is “Avalon” which is not only a concert, but also a series of workshops and labs with musicians and youth to create a hybrid musical language with which flamenco can be better understood. It is my hope that new concert pieces for guitar and orchestra in different musical forms and presentation formats will evolve out of these labs. Secondly, I am composing the music for a new movie called “ Finding Compass” directed by Kathy Douglas, who is collaborating with several well known American flamenco artists and with Spanish flamenco artist Farruquito as a guest artist. I believe it is a very good opportunity to demonstrate the way that flamenco can enrich our lives at a subtle level outside of the stereotypes of the “passion and fire” in the framework of a movie that speaks of our everyday lives. The third and last, is a teaching-learning project titled: www.FLAMENCOGUITARCLASS.com Its purpose is showcase Flamenco in a holistic manner through popular forms of learning. The platform will include many explanations about the culture and the historical context, as well as, information about the rhythms, melodies and structures. Our intention is to go beyond rhythms, melodies, and technique, to pass on the legacy that Mario Escudero, Niño Ricardo, and others have left for us. I’m very excited about this project and I’ll be accompanied by other great artists, like Berto Boyd and Gabriel Ramirez, who are working on the scores and writing all the details for the website.
11
THE PRACTICE OF PICADO: by Adam Del Monte
The approach to pedagogy is some thing that has been slowly transforming from a dogmatic to a more adaptive style. The old school Maestros used to be very authoritarian and “my way or the highway” kind of philosophy with out taking too much into account the ways in which we are all different physically, emotionally and psychologically. Having never quite listened to my teachers enough (for better and for worse) I was determined to figure things out for myself. However, I also started teaching at age 17 and realized that many people had similar problems but the solutions they needed where a bit different for each one. It is from this point of view that I will approach this article. In the playing of Picado, or rest strokes scale passages in flamenco, (and classical with certain modifications) I would invite everyone to see for themselves how their fingers are. Are they stiff, strong, flexible, long and lanky, short and stubby? How flexible are your joints? How do they respond to pressure on the string? Do they bend at the tip joint or do they resist easily and stay firm? All those are questions one must answer for one self. In my opinion the lion share of power comes from the knuckle joint, because that is where we draw the most power from, by tapping into larger muscles from the forearm. How ever the other joints, (middle and tip) also participate in the striking of the string and over all motion. Focusing on Picado i.e. rest stroke, we must consider a few things:
12
1. First start by feeling the level of resistance on the string and pay attention to how much power you need to press it down and to make a decent sound. 2. Make sure that when you have released the string that you really feel the lower string you are landing on as you rest on it. Like diving into a deep pool of water; the fastest way back up to the surface is going all the way to the bottom and kicking your self up. The string you are landing on is the bottom of the pool. Feel the bounce back as a release, also allow you finger to relax and reposition its’ self for the next note. 3. Make sure your wrist has a bit of a curve to it. Not too much so that you have tension and too much pressure on you tendons, but just enough to have sufficient elastic energy so as to help you with a faster release for the reset of the finger. 4. It’s up to you if you want to play with straight fingers or bend them at the joints, as long as you push from the knuckles!! This is the personal part. You may experiment with different ways. Sabicas played with straight fingers, whereas Paco de Lucia had a bend at the tip for more power. He also would curve his thumb inward for that extra turbo power when going really fast. That would provide a whole other level of elastic energy in his hand. 5. When practicing Picado it’s best to start with simple short drills like 2,3, and 4 notes per string, even open string and make it really good. Nothing is too simple or easy or not worthy of doing. Every thing must be done with focus and passion, even 4 notes on one string. 6. Work on the quality of the succession of notes and listen to them and see if you’re happy with it. It is hard to get a nice legato sound but at the same time punchy and articulated. 7. String crossing is the biggest obstacle to speed and fluidity. It is more pleasant to go down with the i finger and up with the m finger than the other way round. It is there for that we need to practice becoming comfortable with the sensation of both variations of string crossings, i.e. up or down with the i finger and up or down with m finger. By playing 3 notes on a string from op to bottom, we are forced to change fingers as we cross strings thus having to adapt to the sensation of constant change. That will make your Picado more agile and adaptive to any scenario, which is especially good for improvising. 8. Make sure that you as relaxed yet alert as possible. You don’t want to have any excessive tension or misalignment in any way. That is of course hard to address in an article, it’s easier to see it in person. However, the angle of approach to the string must be from above and with the feeling of power and control over the string. 13
Also, it must be even i.e. the ideal leveraged control one has over the first string up until the third is the basic guideline for the optimal position. After that, it gets cramped. To avoid that cramping feeling there are two things we can do: a) lift the wrist and forearm as we go down, or lift from the whole arm from the shoulder. Now, here is the big issue: If we lift from the shoulder and stay there for too long, you’ll start building up bad tension in your upper back and shoulder and it will mess you up big time! So, what is the reality of the issue: A Picado scale at best lasts 3-7,8 seconds, unless you’re on some crazy race….. But realistically and musically speaking, your shoulder need not be up in the air for more than 5-7 seconds. Which means, that you have to consciously RELEASE your shoulder immediately after the scale passage!! And relax your arm. So the problem/question then continues when you’re practicing Picado for a long period of time… solution: Do a scale passage, lift your arm or shoulder as need, BUT ALWAYS BE MINDFUL OF RELEASING THE ARM AFTER 7-10 SECONDS! Once you get used to releasing the arm by resting it on the body of the guitar on a regular basis, you’ll actually realize that you can do that during the playing of Picado passages, by also leaning the cushion of your forearm on the guitar, rather than straight on the pleat on the other side of your elbow. One can go on and on about more details, but I think it’s enough for a first article and discussion. Start experimenting with different drills and exercises, but remember, what matters in an exercise is HOW you’re practicing it. Start by doing things slowly and make sure you’re comfortable and then gradually build up speed and power. In a future article I’ll talk about different issue regarding practice routines and how to get over blockages and the science of improvement. Bye for now, and good luck. And remember, enjoy the process! -Adam Del Monte (click for his website)
14
Check out Adam’s material and online lessons at www.newlearningvision.com Check out Adam’s Classical Guitar video series: https://www.youtube.com/watch?v=TpS0NBrf6eA&list=PLYOYnG4kdjm6wXmL_ttwDDEscE0vBCKh
Adam del Monte’s new Flamenco OPERA: Llantos A flamenco opera, Composer and Libretto: Adam del Monte. This is the first press release of del Monte’s latest endeavor. Over the past two and a half years, Adam has been composing and recently finished his first opera. It is a tale of Gypsies, Jews, Christians and Moors at the beginning of the Spanish Inquisition. Set during the height of the Spanish Inquisition, Llantos is an opera about the persistence and ultimate triumph of identity, both religious and ethnic, in a time of intolerance. At its musical core, it utilizes the rhythms and forms of flamenco – especially the Cante Jondo – as a strong musical and stylistic template, yet ventures into more contemporary realms. The opera is flamenco in character, but not limited to only that genre, having an almost even distribution of lyrical operatic singing, and cante flamenco. This epic tale, which is steeped in historical research, retraces the origins and influences of flamenco through historical and personal interactions. A Seguiriya sung by a classical baritone voice with full orchestral accompaniment, a Solea sung and played by classical and flamenco singers with full orchestration; The new roll of the flamenco guitar as a fundamental color and voice in an opera, are only some of the newly explored territories taken on by this work. Stay tuned for more updates on this groundbreaking project.
15
NEW RELEASES Vahagni Featured Video New Album “Imagined Frequencies” Album available on iTunes Weaving classical, jazz and folk music into a fresh flamenco guitar sound. Vahagni’s style is unmistakably unique and this album shows it off. “9 Guitarras” by Amir John Haddad “El Amir” Featured Video “Bulerias” Album available at iTunes 9 sublime Flamenco compositions played on 9 different Flamenco guitars. The force behind Radio Tarifa, he also plays several instruments very well. “Rumba al Maestro” by Eric & Encarnacion Featured Video Single available at iTunes A glorious instrumental Flamenco Guitar Rumba. Catchy yet sophisticated, this was composed as a dedication to maestro Paco de Lucia.
“Bamboleo for Solo Guitar” by Ben Woods Featured Video Single available Mp3 with Tab and notation here Arranged for solo guitar, outlining the melodies and always keeping that driving rhythm. Get the tab and play it yourself. A great standard for any gig!
16
ESSENTIAL ALBUM REVIEWS Albums every Flamenco guitarist must have
Paco de Lucia - Almoraima (1976)
BY BEN WOODS | SEPTEMBER 14, 2015 I honestly love all of Paco’s albums but for me, Almoraima is my favorite. It’s just SO Flamenco. From the opening track you know you’re in for some of the best guitar playing ever recorded. That first bulerias showing groove and aggression with those explosive alzapuas! But what’s interesting to me is not only is it Paco’s best studio production IMO, but that he knows just how bad-ass those riffs are so he repeats them as recuring themes. Making a song, instead of just a string of falsettas in between compas. To me, this shows his maturity as a songwriter, not just amazing player. Obviously all the other songs are brilliant as well (especially the Sevillanas and Solea IMO), and all contain a special magic that never get tiresome. The album Sirocco is just as good, however this one is not as brittle and drowning in too much reverb as Siroco. For me, this album “Almoraima” showcases the maestro at his absolute peak of Flamenco playing and composing. It is widely known that Paco is the best, this is the BEST of the best.
Pedro Sierra - El Toque Flamenco BY ERIC JAEGER | SEPTEMBER 14, 2015
If you’re into flamenco guitar, there’s more access to great recordings than ever these days. Still, modern classics are hard to come by. “El Toque Flamenco” is a stellar example of kick ass modern flamenco guitar, firmly rooted in tradition. Compás/aire. Technique. Dynamics. Original and creative compositions. Pedro has it all. His solid production values are stripped down and bare bones. He obviously set out to make a pure flamenco guitar record that defied the trendy, overly orchestrated and produced crap so prevalent today. The obligatory 2 songs that give the worst wedding jazz a run for its money not included. Instead we get pure flamenco guitar played by one of the best in the biz. Solid palmas and a little jaleo puro from Bobote hold together the entire record aside from a touch of percussion on the Fandangos and some bass/piano on the remix of “La Serranía” at the end. This review proved difficult to keep short. I could easily have reviewed every song as they are all worthy. Let’s just say that Pedro knocks it out of the park on this one. He reminds us that flamenco guitar on it’s own is more than enough in the hands of a master.
17
Paco Heredia – El Niño De La Bella Sonrisa (2009) BY KAI NAREZO | SEPTEMBER 14, 2015
Out of all the flamenco CDs I’ve bought in the last 10 years (yes, I still buy CDs) the one I probably go back to the most is Paco Heredia’s ‘El Niño De La Bella Sonrisa’. It may be because I still like to listen to a whole album and this one feels like a unified work as well as an exploration. I like how the first track, Me Pinta, opens with a programmed beat that feels perfectly appropriate, nothing crazy, and settles into a beat that could just as easily be a cajón and palmas – but of course it isn’t. There are hints like this throughout the album, but the focus is not actually on any major innovations as much as it is on melodies, cante from Guadiana, Montse Cortés and Genara Cortés, and of course some great guitar playing. The little bit of programming and some of the arrangements could turn off the more rigid purists, but what I love is that the record sounds like what it is – seasoned flamencos playing and having fun with some great music. And I think the fun and the love of the music are what come through and keep pulling me back in.
Pepe Justicia - "Solo Agua" (2002) BY BERTO BOYD | SEPTEMBER 22, 2015
With the proliferation of music online today it is harder than ever to find recordings like "Solo Agua" that are destined to become classics. I ordered this album after it being recommended in Flamenco Connection's newsletter that they used to send out (by mail). I am one of the few musicians that doesn't care for subscription streaming services not only because they don't pay the musicians a fair wage, but for the main reason that I like to be in control of what I listen to. I want an album that is worthy of invading my headspace and will ultimately influence me in my own compositions. "Solo Agua" is one of my personal all-time favorite albums ever recorded. I love how in the opening track "Cepa Jerezana" you instantly get that Jerez playfulness and that Pepe has something unique to say. Each track on this album has an abundance of material and creativity but the soul of the album lies within his Rondeña entitled "Mirando Al Mar". Amongst the ocean soundscape in the beginning to the lush sounds filled with masterful improvisation at the end, Pepe takes us on journey to some far out places and shows us his musical depth. I could literally go on and on because there are just so many cool moments on this album. So just do yourself a favor and buy this album and keep it on repeat for a few years and you will soon understand why it is on my desert island list of CD's.
18
www.FlamencoGuitarClass.com Discover what molded the hands of the world’s top Flamenco guitarists from Spain. Learn not only the studies and compositions they played for hours and hours as young children, but why it is important for students of the guitar to understand the harmonic and technical evolution of where the guitar came from and where it is today in its present form.
The following free transcriptions are graciously provided by the good people at FlamencoGuitarClass.com
19
FlamencoGuitarClass.com
Watch Bulerias Video
" Bulerias no. 5"
Transcription Berto Boyd
# # # 3 # œœ œœ œœ & 4 œœ œœ œœ
T A B
6 7 6 4
# # # # œœ œœœ & œ œ œ œ
5
5
6 7 6 4 9
&
###
9
4 6 7 6 4
&
###
13
17
&
17
###
6 7 6 4
4
œœœ œ
œœœ œ œ
6 7 6 4
4 6 7 6 4
4
6
4
6 4
4
6
7
4
œ 5
7
œœ œ œ œ œ œ 4 5 5
4
6
7
6
4 6
œœœ œœœ # œœ œœœ œœ œœœ ¿ œœœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ ] 4 4 4 4 4 4 4 6 6 6 6 6 6 6 6 6 7 7 7 7 7 7 ¿ 7 7 7
œœ œ œ œ œ œ œ 4 5 5
œœ # œœ ¿
3
œœ œ œ œ œ œ 4
13
6 7 6 4
œœœ œœœ # œœ œœ œœ œœ ¿ œœ œœ œœ œœ œœ ] 4 4 4 4 6 6 6 6 6 6 ¿ 7 7 7 7 6 6 6
6 4
œ
œœ œœ
œœ œœ
4
3 2 4 2
3 2 4 2
6 4
4
5
8
œ œ œ œ œ œ 5
4
2
4
2
¿
4 6 7 6 4
4 6 7 6 4
4 6
6 7 6
6 4
4 6 7 6 4
4
5
5
˙
6 7
4
5
4 5 5
7
4 5 5
œ œ œ œ œœœ œœœ
7
œ
5
5
4
5
7
4 5 5
4 5 5
œ
œ œ œ œ œœœ œœœ
4
5
7
œ
6 7 6
j # œœœ ‰ Œ ‰ j œ œ œ œœ œœ œ œ œ œ œ œ
6 4
4
6
4
œœœ œœœ # œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ ]
œœ œœ œ œ œ œ
œ œ #œ œ œ œ
5
Performer/Composer Jose Luis Rodriguez
4
5
7
4 5 5
4 5 5
œ œ œ œ
œ œ œ œ œœœ œœœ
4
5
3
©Flamenco Guitar Class.com 2015
20
5
5
7
4
5
7
4 5 5
4 5 5
2 21
&
21
###
"Bulerias no.5"
œœ œ œ œ œ œ œ
œ œ œ œ œ
œ œ # œœ œœ œœ ¿ œ ]
4 4 5 5
4
6
7
5
4
# # # œœœ # œœ œœ œ œœœ œœ & œ œ œ œ œ œ > > 25 25
6 7 6 4
4
4 6 7 6 4
4 6
5
7
5
4
7
6
# œœ œ œœ œ œ 6 7 6
4
4 6
œœœ œœœ œœœ œ œ œ œ œ œ 3
4 6 7 6 4
6 7 6
4 6 7 6 4
4 6 7 6 4
¿
4 6
œœœ œœ ¿ œœœ
4 6 7
4 6
j # œœœ œœœ œœœ œœœ œœœ ‰ œ œ œ œ œ > > 4 6 7 6 4
©Flamenco Guitar Class.com 2015
21
# œœœ
4 6 7
4 6 7 6
4 6 7 6 4
¿ !
4 6 7
Watch Seguiriyas Video Transcription Berto Boyd
FlamencoGuitarClass.com " Seguiriya no.7"
œ œ n œœ œ 3 n œœœ œœœ œ œœœ œœ œ 4 œœ œ
# # # # 2 Œ . n œœ n œœ œœ œœ & # 4 J 1
T A B
8 9 8 6
()
8 9 8 6
9 9
2
3
8 9 8 6
6 8 9 8 6
9 8
+
6 8 9 9 8
œœœ œ
0
2
7 9
6 8 9
3
6 8 9
6 8
0
9
6 8 9
4
6 8 9
7
0
6 9 7 6 8 6
+
6 8 9 8 6
6
+
7 9
n œœœ œœœ œœœ œœœ œœœ œœœ œœœ 2 n œœœ œœ œœ œœ 4 œœ Œ
a
a œ œ œ œœœ #### œ œ œ 3 œ œ œ œ œœ & # œœœœœ œ œœœ 4 œ œ œ œ 7 1
7
Performer/Composer Jose Luis Rodriguez
œœ œœ œ
4
6 8 9
a
6 8 9
5
6 8 9 8 6
6 8 9 8 6
6 8 9 8 6
a 5 œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ 42 œœ œ œ +
8 9
7 9
6 7 9 6 7 9 8 9 7
11 9 9 7 7 6
œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ # # # # œœ œœ œ œ 3 œœœ œœ œœ œœ œœ 2 # œ & 4 4 œ œ œ œ œ œ
12
12
6 6 6 7 7 7 7 6 6 8 6
#### & #
17
17
11
9
9 7 7 6
6 7 6 8 6
7 9 8 9 7
9
6 7 9 7 6
œ œ œ œœ œ œ œ 3 œ œ œœ œ œ œœœœ 4 œœ œ œ œ œ œ œ œ œ 0
7 9
6 8 9
6 8 9
6 8
0
9
6 8 9
0
œ œ œœœœ œ œ # # # # œœœ œœœ œœ œ œœ œœœ 3 & # œœ 4 œœ œ
22
22
6 6 6 7 7 7 7 6 6 8 6
11
9
7 9
9 7 7 6
6 7 6 8 6
7 9 8 9 7
7
6 9 7 6 8 6
7
7 9 8 9 7
9
6 7 9 7 6
9 7
9
œœ œ œ œ œ œ œ œ œ œœœ 2 œœœ œ œ œ œ œ œ œœ œ 4 œ œ œ œ 8 9
7 9
6 7 9 6 7 9 8 9 7
11 9 9 7 7 6
œœ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ 2 4 œ œ œ 9
6 7 9 7 6
7
©Flamenco Guitar Class.com 2015
22
7 9 8 9 7
9
6 7 9 7 6
9 7
9
2
Seguiriya no.7 27
&
####
27
œ œ œ œ 3 œ 2 œœ œœœ œœœœ # œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ 4 œ œœ œœ œœ œœ œ œ œ œ 4 œ œœ œ œ 6 7 6 7 9
6 8 9
# # # # ˙˙ & # ˙˙
6
8 8 6 6 6 6 6 9 9 8 7
6 6
6 6 7 7
0 8 8 6 6 7 9 7
&
37
0
9
6
9 7
6
0
9 8 6 6
9 7
9 9 7 7
6
11 11 9 9
11 11 9
0
10 10 8
8 8 8 8 7 6 6
7 6
¿
8 8 8 8 7 6 6
7 6
8 8 6
0 0
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
©Flamenco Guitar Class.com 2015
23
9 9 9 7 6 7 7
8 8 6 6 7 9 7
n œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ 3 œ # œœ œ œ œ œ œ œ œœœœœœœœ ¿ œœ œ ¿ œœœ œœ 4 œ œœœœœœœœ ¿
6
œœ œœ œ n n œœ œ œ œ 3 œœ œ œ œ œ œ œ 4 œ œ n œ œœ œ œ œ œ œ œ œ œœ 42 œœ œ œ œ œ œ œ œ œ
32
####
6
œ
32
37
8
8 9
œœ œœ
œœ œœ
n œœ œ œ
œœ œ œ
0 8 9 8 6
0 8 9 8 6
8 8 6
7
6
œœ œœ œœ œœ œœ œœ œœ œœ 2 n œœ œœœœœœœœ 4 œ ‰ Œ œœœœœœœœ œ J 0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
0 8 9 8 6
7
BEYOND FLAMENCO
Fusions, experiments, nouveau, jazz, metal, etc. In an ever changing art form, these diversions from tradition are what keeps this style growing and alive. FLAMETAL “FLAMETAL” Style: Flamenco + Metal Featured Video (click) Sevillanas Available at iTunes Original Flamenco-Metal imagined and produced by Ben Woods with a few guest musicians of famous metal bands.
“SURF FLAMINGO” by Ben Woods Style: Surf + Flamenco Featured Video (click) Mr. Moto New Album “Surf Flamingo” Available at iTunes Popular Surf tunes re-imagined through the idiom of Flamenco guitar with Flamenco percussion.
“ENCANTADO” by Jim Stubblefield Style: Nouveau Flamenco Featured Video ACROSS THE BURNING SANDS Available at iTunes Encantado, a sonic global journey, featuring virtuoso exotic guitar, world percussion, languid strings and gorgeous nonlyric vocals.
“FLAMETALLICA” by Ben Woods Style: Acoustic Metallica Featured Video “Motorbreath” Available at iTunes Classic Metallica songs arranged for Flamenco guitar and cajon
24
“FLAMETAL PRIEST” Ben Woods Style: Judas Priest Classics on Flamenco Guitar Featured Video “Breaking the Law” Available at iTunes 2 Flamenco guitars playing Judas Priest classics.
“HEAVY MELLOW Volumes 1 & 2” Heavy Mellow Style: Metal Classics on Flamenco Guitars and cajon Featured Video “Over the Mountain” Available at iTunes A double album for the price of one: 2 Flamenco guitars + 1 cajon playing 20 metal classics
“DIVIDE AND UNITE” Thomas Zwijsen Style: Classical and Flamenco guitar Fusion Featured Video “Tango on the Edge of the World” Available here Contains 11 original compositions. The songs clearly display Thomas' classical background, as well as his influences of flamenco, rock and metal. “THE FREEDOM” Roberto Amaral Style: Flamenco, pop, rock, fusion in English and Spanish Featured Video “Con Mucho Fuego” Available on iTunes .... a dynamic vocal and instrumental fusion of Pop, Flamenco, Latin, Jazz, Rock and R&B. Featuring original compositions written and sung by Roberto Amaral, singer/ songwriter of the legendary Flamenco Rock band "Carmen".
25
26
27
28