lat, How do you feel about it? ‘CARLOS: Well, it may be kind of “pop” commercial, but think what's happening fe very natural, Because with the media there's mare and mare information to absorb, and the more thore is to absorb...well, take jazz, for example. ‘Do you think jazz went “pop?” SFA: Well in a sense it did. Its certainly not how it used to be. ‘CARLOS: And I fe! the same thing is going on with other kinds of music, JPA: And part of it's going to Inst, and part of i sn"t ‘CARLOS: I think Flamenco is going direcho. It's ok, but it has to be done with heart und honesty. “JPA: What will you do in the future? ‘CARLOS: I think the same as now. Playing with Jorge. Playing with Paco JPA: And session work, and working on your own projects ‘What projects do you have in mind? CARLOS: I want to make another record for myself SFA: A symphony? ‘CARLOS: No, not a symphony. But Thave lots of musi in ray computer that T composed when I wasn’t working. I used that year to learn about composing with computers. LJFA: So you didn't waste any time. CARLOS: And I recorded with a guitar player in Spain ‘using the computer to play basslines. SEA: Who was that? ‘CARLOS: Max Une. He calls his group Pegasus JFA: What is your advice for people who are learning Flamenco? . CARLOS: Pay attention to the accents. Leam the compas. sand the right accent intensity. [He acats rhythmically]. The accents are the most important, but they're not that complicated, Listen to music and enjoy it. ‘And remember, what’s done with feeling is direct ‘communication It's eary to communicate when youre working sae Flamenco Week 98% stanford university Fee emcee ed Peete a ee ra eR Cds ea fects eeu) PAE CeLLa res with heart Guillermo’s Salad Bar Lucia’s Legacy eB ‘The display ad for Paco de Lucia’s local concert with sextet promised a sneak preview of music from his fortheoming CD _Lugia. Word spread quickly of the new refease, which had been The Journal of Flamenco Artistry Le Page 11 by Guillermo Salazar tnnounced in the atest edition of E Repertorio, the catalog of the shop I Flamenco Vive. Hopes arise for all young guitwiss, racking their brains for ideas, as well as for older ones, who keep hoping against hope that Paco might abandon the sextet and return fo playing as he used to. Of cours, there is litle change ho sill ful the lter’ssbsurd pipe dream, since that ‘would be tantamount toa champion throwing in the towel. ‘Undoubtedly, both jubilation and disappointment are assured “The wave of guitarists who have followed in Paco's footsteps is, just wating to pounce on any tidbit ofa new tral In this issue's instalment, PU review some of the more prominent “Lucistas” ‘wha have made recordings in the lst several years, “To those of us who remember the way fiamenco wes prio 10 Paco's revolution, all of his followers sound very much like Paco. To those who grew up during the revolution, i's easier to hhear the “propio sello”, or at least the striving for personal identity, of the other guitarists of Paco’s school. With the later view a bit more in focus when possible, let's examine some reoordings of the so-called “clones”. Within these boundaries, Juan Manual Cafizares shows that he’s one of the artists of great potential with the recording ockes de min y Luna, This is surely «job that Paco himselE Spring-Early Summer 1998AMAYA Flamenco... Annual DANCE WORKSHOP 1998, Boston w.Omayra Amaya & Moayuin Encinas + Three levels of intensive classes » Choreography * Technique * Final performance in theatre Cost: © $320/level pats by Jone 1.1898. © $370/level aaron 1 998. ($540/3610 for two levels) © $25 Single class We provide help to find affordable accomadation for out of town students. For information and registration Call 888-88AMAYA(s82-6292) or Write to: AMAYA Flamenco, P.O. Box 1040, Boston MA 02123 July 1-July 31 Omayra Ami grandniece of ‘Amaya, is on fac dance departmentat The Boston Conservatory, Harvard Universtiy and ‘The Boston Ballet. She hhas been teaching and performing inthe United States since 1993. ‘Tdare anyone 19 take his a her eyes off Omayra ‘Amaya when shes perform ing the flamenco she was born to dane Debra Cas, Jona Fone ofthe few flamenco amiles here Inthe U.S. He has studied with Antonio Canales, La Tatl and many ‘others. He has been Invi {to be on faculty of Walnut Performing Arts School would have been proud to have done. I hed first heard Juan ‘Manvel and his brother Rafbel accompany caniaor Sime Rejano with some great suprises, On tit new release, the inital sapateado shows attention to dynamics within this dencable stythen. Iuirrmentation in the rumba seems close enough again to make all but the experienced the listener guess wrong, it's ot Paco! Finally in La Pajarraca, buleia, it's quite obvious ‘hat Juan Manual is showing signs of individuality. Aer hearing ‘his and looking at his photo on the CD, he reminded me of ‘Pasao or Dali, some of his fellow catalanes. Weird but tasteil, ‘nonetholes, and what « surprise ending! Inthe colombiana, he sounds ike Paoo aguin,exoept fra few litle details. The Balada ia yt another imitation of Paco's Cancién de Amer. Just when ‘nis about to write off this recording as another in the long list, he comes through very effectively with Cadencia soled \Nice pace, nice falsetas, nice tremolo section, and nive surprise ending! The solek and the buleris alone make the recording & ucoeas. Tanguitlos and tengas round out the selections with litle reoments hore nd there among the expected sounds, One more surpie: no appearance by Duguende, El Potito or other young ‘caniaore vo common these days on guitar recordings. ‘Vicente Amigo makes his presence felt again with Boeta, in third solo recording. On his previous CD, Vivencias Trwarinadas, 1 wan worriod thet he was being influenced too ‘much by an older ahd mellower Paco de Lucie, who oven made ‘a guest appearance on it. Apparently, Vicente decided to opt for the “cojones” approach, which he had shown on his debut recording. His paying in cleat and strong. even so, the production 1.2 whole soeas to have many extraneous influences, fone is very familiar with the famenco repertory, Paeta obviously torows Litle moments from Lebrjano’s Persecucién, Paco de ‘pgs fama oem Falla and works by Manolo. journal of Flamenco Artistry ‘Page 12 . i ‘Sencar and the composer Rodrigo. The use ofthe oboe gives & typical Spanish sound to some of the orchestral parts, Inthe ‘minera,alegrias and nana the sound is very familar the canie cither being taken directly from Camasén, or vey similar guitar ccompaniment and orchestration being re-used by Vicente from Camarén’s Soy Gitano. Overall, this recording is « good one, but docan't appear to be of major importance in Dameneo history. tis an important experienee and accomplishment in Vicente ‘Amigo's young, carer, though. Juan Catlos Romero, a new figure, has emerged on the scene with dzuleio. A student of Manolo Sanlicer, Juan Carlos defends himself very capably in ths fret recording. He seems to be a cross between Tomatito and Manolo, showing lots of freedom to oun the fretboard with a far amount of surprises. It's the kind of recording that one has 1 hear many times to appresate fly ‘Small quest appearances by cantaores Enrique ol Extremefio, Enrique Morente and Diego Carrasco lend some great aire. Juan Carlos uses some diferent tunings, « Ix Tomatto, particularly fective inthe soled por bulerias. On the bask cover of the CD there iz an endorsement frorn Manolo Sanlcar in which he ys that Romero's flamenco is “comprometido, responsible, y de contenido.” 1°6 agree with that, an acknowledgement that some of the other stuf! coming out these days doesn't measure up to. T.you Tike the exploration aspect of modem flamenco guts, there ae three more CDs worthy of attention. Gerardo Nuilez has made one called Calinz, on which he does few new things ‘and restates much of his older material to different instrumentation, Another nice CD 10 play in the car in leisure time is Vuelo Flamenco by Agustin Carbonell “Bola”, There sre {to nice bulerias, a hard-to-immediatly-ecognize fandango de ‘Huelva and. ots of non traditional instrumentation, The third is Corales by Gerardo NuBez’ brotherinlaw, Mario Cortés. Mario bas a gutsy gypry sound, somewhat in the direction of Quique i Summer 1998Paredes. like his presentation alt, except for the oseasional intrusive use of soprano sax. ‘You may have missed a very good guitar recording that was not ‘widely distnbuted. Primer Certamen Paco de Lucia, from 1995, has the finalists fram that contest doing studio recordings. It is obviously rot a live recording of the contest, won by Juan Carmona, Juan, not to be confused with the other Juan Carmone of Ketama and the Habichuela family, went on to record a CD titled Borboree. Among, ‘other guitarists who appear on it are Juan Carlos Gémez, with two ‘als taken from his CD Cabalgando; and Miguel Angel Cortés, who does a fine job with buleria and farruca. SALAD DRESSING: English-speaking afcionadas vill be pleased Yo hear of the new quartely publication, Flamenco International Mogazine, from England. Volume One isa beau mixture of color and black-and- white glorry pages. It features interviews with Vicente Amigo, El Lebaiano, andthe group Radi Tarifa Also there ate articles such ‘ata review of Paco de Lucia's concert at the Barbican, and one by Dona Pobren about La Alameda de Hercules in Sevilla. The ‘center section hes a transcription of Soled por Bulerias by Merengue de Cérdoba Rounding out the presentation are Tots ‘of photographs and all flamenco advertizing, ‘The next issue promises interviews with Cristina Hoyos, Raféel Riqueni, and cestanet maker Vietor Galiano, as well as ‘an article about Antonio Muirena and more transcriptions and rows. Their mailing address is: PO Box 15085, London NB Two. ‘One more recerding of interct to aficionados of traditional ‘ammenco guitar: Jondura by Parla de Jerez. This seems to be ‘an anachronism, if one has just heard many recordings in the ‘modem style, but Parla shows lots of enthusiasm for his vintage Jerez style, Notable were the beautiful and long siguiriya and ‘several sharp bulerias. I's a good place to start for beginner collectors seeking old style guitar, as well as the seasoned aficionado wanting to make a new purchase of flamence pure. END FLAMENCO IS NOT ASSIMILATED, IT ASSIMILATES! by Emma Martinez-Hockley “Mamenco is not assimilated, it assimilates,” writes Frederic Deval, diretor of the Flamenco Vvo.CD serie, prize winner inthe 1997 Céitedra de Flamencologia awards’ Assuming that what we begin with is Pameneo, this statement is tue. But iit n't Flamenco, then what? ‘Manolo Sankicar As today’s flamenco odyssey unfurls, there are two predominating lines of tansformation. One conscientiously wes influences fram rusial styles ouside the Mamenco ttaditions; combines harmonies and styfitic cements with a solid understanding and experience of flamenco forms, The other, particularly in the case of guitarists and performers (rom other dance and instrumental musi disciplines, The Journal of Flamenco Artistry Page 13 approaches Flamenco with a merely superficial knowledge. In the words of Manolo Sanlicar: “To understand well what Flamenco is, you must know the canie very well. Hamenco is bom inthe cant, and if you take the experience ofthe cante away from young peopl, they're eft with no roots. They're eft with empty musical forms, and when they build on them, they build without understanding the emotiontl substance that characterizes and differentiates the various forms.” ? ‘The ttle of Otmar Leibert’s atest CD, inclinando en da [ache translates into Spanish as “leaning i the aight.” which really means nothing. Nor does his guitar music; full of styistic clichés famencovish Qourishes and a commercialyaffectacious indiference to authenticity: Many people ae drawn tothe guitar and want to play like Paco de Lucia without realising that for Paco de Lucla and Manolo Sanlucar (and s new generation represented by Rafael Riqueni, Vicente Amigo and Gerardo [Nufiez), reaching this creative level has required many years of sasiduous apprenticeahip. It is this solid grounding in an accompanying role that has made each of their innovations Flamenco. ‘Today's aspiring solo flamenco guitarists often lack this experience, and the subsequent misunderstanding, makes for ciche-filed emptiness. We are all fee to make judgments fom personel or informed viewpoints, but there isa diference between how something feels tous or how much we know about it, Without the knowledge of Flamenco's basic roots, making critical choices about “innovations” from players who cannot themselves explain or analyse what they are doing or why they are doing it can place us on dangerous ground. -Fiamenco's essence was built long ago. Today's challenge is to innovate within the established forms: to accept the challenge to enrich these forms harmonically, to invent new steps and movements, and to bring Flamenco, in effect, up to ate, Professionals ultimately bear this responsibilty. Theit efforts and contributions for Flamenco’s evolution and ‘maintenance will be judged by their pubic and, if warranted, rewarded a place in history. is vital, therefore, that the public realizes what itis witnessing. The first step is the question of definition, Flamenco ‘can be defined as a feeling, but hardly ilustrated without a substantial frame of reference. Consequentty, the serious Spring-Early Summer 1998