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 MAGAZINES
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 Gui-
tarists!
Why did I create Flamenco Guitar Maga-
zine? Because it's something I would like
to read, but didn't exist. I strive to make
FGM a FREE quarterly digital publication
with quality articles, interviews, transcrip- photo by Vince Trupsin

tions and album reviews important to Flamenco Guitarists around the world. Also its a plat-
form to feature new video and album releases from myself, my colleagues and important art-
ists. 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 Gui-
tar studies, and Flamenco Guitar in online media and releases (albums and videos).
-Ben Woods

Senior Editor Ben Woods

Contributing Editor Berto Boyd
Columnist Adam Del Monte
Album Reviews 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 isnt one. The fact that he almost
single-handedly expanded the harmonic vocabulary of Flamenco can never be imi-
tated or duplicated.

Of course there are the artists weve grown to know and love; Gerardo Nuez, 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. Its 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 issues 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 Pacos 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 crea-
tivity is based.

2)What was it like growing up

Huelva?
Huelva is a small place, almost se-
cluded from the rest of Andaluca.
For the most part, Huelva faces west
(Iberoamerica and Portugal) rather
than the interior of Spain. Its a city
of sailors, and people from the north-
ern part of the province, from the
mountainous regions where the folk-
lore, the dances, and music have pre-
Christian and medieval roots. The
sound of the Fandango, the singers
(cantaores) in the taverns, the aficio-
nados 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 per-
spective 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 fla-
menco cante sung by the greatest artist of that era.

Later, I became part of the Pea Flamenca de Huleva, where I use to accompany the sing-
ing for different artist and aficionados who would go by there on a regular basis. In the Pea 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 Pea and one day ended up playing with
Nio Miguel. As a child, I knew who he was because at one point he had been a patient of my fa-
thers. Nio Miguel use to play with such an aggressive style that he used to intimidate other art-
ists. 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 con-

cert 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 re-
lation 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 proc-
ess for composition, an ability listen to classical music, and a
method for dissecting classical musics 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 Pea Flamenca. It was about 3 or 4 in the morn-
ing 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?? Al-
right 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 Pea Flamenca came to greet me. The men in the Pea began
shouting The boy is here! as they courted me over to a hall where everyone was gathered. My fa-
ther 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 bot-
tom 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. Dont make us beg

I cant remember what I played. I dont know if it was a guajiras or a granana. Later, the
men asked me to play por Fandangos, then a little por Solea with various aficionados singing. To-
day 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 Nio Miguel in a tablao as a teen-
ager. What was that like and what did it do for your training?
Well, like I said earlier. One day while I was in the Pea Flamenca, they asked me to play for
the dancers and singers with Nio 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 evolv-
ing 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 wasnt conscious of what I was actually learning. So it would become a competi-
tion 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 stereo-
type that brought us talking about the possibility of collaborating. We began with small arrange-
ments for a couple of small jobs of mine that included the pianists 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 gui-
tar solos. Shortly thereafter, we had the opportunity to do a very successful performance in Oak-
land with music students of OSA. The music students were under the direction of Omid Zou-
fonoun 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 arecompletely enslaved with the produc-
tion.

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 mu-
sical accents, intentions, and the movement of the rhythmic structures and will provide an oppor-
tunity 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 classi-
cally 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 am-
bassador for the project. Having his support and affection gives us a great amount of unwavering
confidence.

7
 The rest of the musical team, Antonio Camuez (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 (Ad-
visor), Olga Perez (Publicist), Damaris Ferrer (Producer), and Niurca Marquez (Producer, Direc-
tor, 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 re-
corded 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
Nio 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 com-
positions, 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 evi-
dent. 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 per-
forming 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 environ-
ment 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 cre-

8
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 sup-
ported by the idea of a duet. At that moment in the composition it marks a before and after be-
cause 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 ele-
ments 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 pur-
suit 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 dont think we
need to question their work.

Perhaps the question you are asking has two possible sources for doubting these develop-
ments. I believe that sometimes flamenco is fused with other genres of music for marketing rea-
sons 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 dont 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 audi-
ences, 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 be-
lieve 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 do-
ing 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 fla-
menco. In the case of classical music, I believe it is a musical form of expression that allows a vari-
ety of sound colors. Consequently, this leads to the possibility of encounters with new perform-
ance 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 orches-
tra is an element that creates a musical component that opens the guitar compositions to orches-
tral 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 inde-
pendently 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 de-
velop 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 its difficult and sometimes not so much. Flamenco is considered something ex-
otic 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 dont 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 even-
tually 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 knowsthe 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. Cre-
ating 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 interpreta-
tive 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 under-
stood. 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 dem-
onstrate 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, Nio Ricardo, and others have left for us. Im very excited about this project and
Ill 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 Maes-
tros used to be very
authoritarian and
my way or the high-
way kind of philoso-
phy with out taking
too much into ac-
count 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 fig-
ure 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 fin-
gers 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, be-
cause 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 atten-
tion 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 wa-
ter; the fastest way back up to the surface is going all the way to the bottom and kick-
ing 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 suffi-
cient elastic energy so as to help you with a faster release for the reset of the finger.
4. Its 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 its 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 youre 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 dont want to
have any excessive tension or misalignment in any way. That is of course hard to ad-
dress in an article, its 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 un-
til 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 fore-
arm 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, youll 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 youre
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 youre practicing Picado for a long period
of time solution: Do a scale passage, lift your arm or shoulder as need, BUT AL-
WAYS 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,
youll 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 its enough for a first article and discus-
sion. Start experimenting with different drills
and exercises, but remember, what matters in
an exercise is HOW youre practicing it. Start
by doing things slowly and make sure youre
comfortable and then gradually build up speed
and power. In a future article Ill talk about dif-
ferent issue regarding practice routines and
how to get over blockages and the science of im-
provement. Bye for now, and good luck. And
remember, enjoy the process!
-Adam Del Monte (click for his website)

14
 Check out Adams material and online lessons at www.newlearningvision.com

Check out Adams Classical Guitar video series:

https://www.youtube.com/watch?v=TpS0NBrf6eA&list=PLYOYnG4kdjm6wXmL_tt-
wDDEscE0vBCKh

Adam del Montes new Flamenco OPERA:

Llantos

A flamenco opera,
Composer and Libretto: Adam del Monte.

This is the first press release of del Montes latest endeavor.

Over the past two and a half years, Adam has been composing and recently fin-
ished 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 in-
tolerance. At its musical core, it utilizes the rhythms and forms of flamenco espe-
cially 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 fla-
menco.
This epic tale, which is steeped in historical research, retraces the origins and in-
fluences of flamenco through historical and personal interactions.
A Seguiriya sung by a classical baritone voice with full orchestral accompani-
ment, a Solea sung and played by classical and flamenco singers with full orchestra-
tion; 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. Vahagnis 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 Pacos albums but for me, Almoraima is my fa-
vorite. Its just SO Flamenco. From the opening track you know
youre in for some of the best guitar playing ever recorded. That
first bulerias showing groove and aggression with those explosive
alzapuas! But whats interesting to me is not only is it Pacos 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, in-
stead 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 brit-
tle 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 youre into flamenco guitar, theres more access to great record-

ings than ever these days. Still, modern classics are hard to come by.
El Toque Flamenco is a stellar example of kick ass modern fla-
menco guitar, firmly rooted in tradition. Comps/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 orches-
trated 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 Serrana at the end.

This review proved difficult to keep short. I could easily have reviewed every song as they are all
worthy. Lets just say that Pedro knocks it out of the park on this one. He reminds us that fla-
menco guitar on its own is more than enough in the hands of a master.

17
 Paco Heredia El Nio De La Bella Sonrisa
(2009)
BY KAI NAREZO | SEPTEMBER 14, 2015

Out of all the flamenco CDs Ive bought in the last 10 years (yes, I still
buy CDs) the one I probably go back to the most is Paco Heredias El
Nio 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 explo-
ration.

I like how the first track, Me Pinta, opens with a programmed beat that feels perfectly appropri-
ate, nothing crazy, and settles into a beat that could just as easily be a cajn and palmas but of
course it isnt. 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 Corts and Genara
Corts, 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 Connec-
tion'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 lis-
ten 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 Rondea 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 un-
derstand why it is on my desert island list of CD's.

18
 www.FlamencoGuitarClass.com
Discover what molded the hands of the worlds 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 pre-
sent form.

The following free transcriptions are graciously provided by

the good people at FlamencoGuitarClass.com

19
Watch Bulerias Video FlamencoGuitarClass.com
Transcription " Bulerias no. 5" Performer/Composer
Berto Boyd Jose Luis Rodriguez

# # # 3 # # # #
& 4
] ]

4 4 4 4 4 4 4 4
T 6
7
6
7
6
7
6 6
7 7
6
7
6
7
6 6 6 6
7
6
7
6
7
6 6
7
6
7
A 6 6 6 6 6 6 6 6 6 6 6
B 4 4 4 4 4 4 4 4 4

j
# # # # # #
3

j
5

&

5
]
7 7 7 7
4 4 4 4 4 4 4 4 4 4
6 6 6 6 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7 7
6 6 6 6 6 6 4 6 6 6 6 4 4
4 4 4 4 4 4 4 4 4 4 5 4 5 7 5 5
5 5

9
###
&

9

3 3
2 2
4 6 4 4 4 4
7 5 4 2 2 4 5 5 7 5 4 5 7 5 5
5 5
13
###
& #

13

7
4 4 6 6 4 4
5 7 5 4 5 8 4 4 5 4 5 7 5 5
5 5 5

###

17

&

17

3
2
4 4 6 4 4 4
5 7 5 4 2 4 5 5 7 5 4 5 7 5 5
5 5 5

Flamenco Guitar Class.com 2015

20
2 "Bulerias no.5"
21
### # #
&

21
]

4 4 4 4 4 4
6 6 6 6 6
7 7 7
4 4 6 6
5 7 5 4 5 7 5 4
5

j
# # # # # #
3

!
25

&

25 > > > >
4 4 4 4 4 4 4 4 4 4 4
6 6 6 6 6 6 6 6 6 6 6 6
7 7 7 7 7 7 7 7 7 7 7
6 6 6 6 6 6 6 6 6 6
4 4 4 4 4 4 4

Flamenco Guitar Class.com 2015

21
Watch Seguiriyas Video
FlamencoGuitarClass.com
Transcription " Seguiriya no.7" Performer/Composer
Berto Boyd Jose Luis Rodriguez

# # # # 2 . n n n 3 n n 2 n
1 2 3 + a 4 + a 5

& # 4 4 4
J
()
6 6 6 6 6 6 6 6 6
T 8
9
8
9 9 9
8
9 9
8
9
8
9 9
8
9
8
9
8
9
8
9
8
9
8
9
8
9
A 8 8 8 8 8 8 8 8 8 8
B 6 6 6 6 6 6 6 6 6

5


####
1 a 2 3 + 4 + a

3 42
& # 4
7

7

7 6 6 7 9 6 7 11 9 9 7 7 6
7 9 9 7 7 9 9
6 8 6 8 9 6 8 9 8
6 8 9 6 8 9 9 8 9
7 9 6 7
0 0 0

#
# # # 3 2
#
12

& 4 4
12
6 6 6 11 9 9 7 7 6 6 7 6 7 9 7 6 7 7 6 7 9 7 6 9 7
7 7 7 7 7 9 9 9 9 9
6 6 6 8 8
8 8 9 9
6 6 7 7

#### 3 2
& # 4 4
17

17

7 6 6 7 9 6 7 11 9 9 7 7 6
7 9 9 7 7 9 9
6 8 6 8 9 6 8 9 8
6 8 9 6 8 9 9 8 9
7 9 6 7
0 0 0

# # # # 3 2
& # 4
22

4
22
6 6 6 11 9 9 7 7 6 6 7 6 7 9 7 6 7 7 6 7 9 7 6 9 7
7 7 7 7 7 9 9 9 9 9
6 6 6 8 8
8 8 9 9
6 6 7 7

Flamenco Guitar Class.com 2015

22
2 Seguiriya no.7

####
3
# 4 2
27

& 4

27
6 6
6 8 8 6 6 6 6 8 6 6 9 11
6 8 9 6 6 9 9 8 6 6 6 8 9 9 9 8 6 6 9 11
7 6 7 9 7 7 9 7 6 7 9
7 7 9

# # # # 3 n n

& # 4 n 42
32

32
0 0 0 0
11 10 9 8
8 8 6 6 11 10 8 8 6 6 9 8
7 9 9 7 6 9 8 7 9 9 7 6 7 7 6 7 6 7
7 7

#### 3 n n 2 n
# 4
37

& 4
37
J

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
8 8 8 8 8 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9
8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8 8
7 6 6 7 6 7 6 6 7 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6

Flamenco Guitar Class.com 2015

23
 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 non-
lyric 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