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Flamenco Jazz: an Analytical Study
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2016 Flamenco Jazz: an Analytical Study Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/306 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Journal of Jazz Studies vol. 11, no. 2, pp. 29-77 (2016) Flamenco Jazz: An Analytical Study Peter Manuel Since the 1990s, the hybrid genre of flamenco jazz has emerged as a dynamic and original entity in the realm of jazz, Spanish music, and the world music scene as a whole. Building on inherent compatibilities between jazz and flamenco, a generation of versatile Spanish musicians has synthesized the two genres in a wide variety of forms, creating in the process a coherent new idiom that can be regarded as a sort of mainstream flamenco jazz style. A few of these performers, such as pianist Chano Domínguez and wind player Jorge Pardo, have achieved international acclaim and become luminaries on the Euro-jazz scene. Indeed, flamenco jazz has become something of a minor bandwagon in some circles, with that label often being adopted, with or without rigor, as a commercial rubric to promote various sorts of productions (while conversely, some of the genre’s top performers are indifferent to the label 1). Meanwhile, however, as increasing numbers of gifted performers enter the field and cultivate genuine and substantial syntheses of flamenco and jazz, the new genre has come to merit scholarly attention for its inherent vitality, richness, and significance in the broader jazz world. -
Towards an Ethnomusicology of Contemporary Flamenco Guitar
Rethinking Tradition: Towards an Ethnomusicology of Contemporary Flamenco Guitar NAME: Francisco Javier Bethencourt Llobet FULL TITLE AND SUBJECT Doctor of Philosophy. Doctorate in Music. OF DEGREE PROGRAMME: School of Arts and Cultures. SCHOOL: Faculty of Humanities and Social Sciences. Newcastle University. SUPERVISOR: Dr. Nanette De Jong / Dr. Ian Biddle WORD COUNT: 82.794 FIRST SUBMISSION (VIVA): March 2011 FINAL SUBMISSION (TWO HARD COPIES): November 2011 Abstract: This thesis consists of four chapters, an introduction and a conclusion. It asks the question as to how contemporary guitarists have negotiated the relationship between tradition and modernity. In particular, the thesis uses primary fieldwork materials to question some of the assumptions made in more ‘literary’ approaches to flamenco of so-called flamencología . In particular, the thesis critiques attitudes to so-called flamenco authenticity in that tradition by bringing the voices of contemporary guitarists to bear on questions of belonging, home, and displacement. The conclusion, drawing on the author’s own experiences of playing and teaching flamenco in the North East of England, examines some of the ways in which flamenco can generate new and lasting communities of affiliation to the flamenco tradition and aesthetic. Declaration: I hereby certify that the attached research paper is wholly my own work, and that all quotations from primary and secondary sources have been acknowledged. Signed: Francisco Javier Bethencourt LLobet Date: 23 th November 2011 i Acknowledgements First of all, I would like to thank all of my supervisors, even those who advised me when my second supervisor became head of the ICMuS: thank you Nanette de Jong, Ian Biddle, and Vic Gammon. -
Vicente Amigo
Vicente Amigo Tierra Different. Global. Surprising. That's how you can describe Vicente Amigo's new album Tierra, the most innovative and international of his career which will be released in February 2013. The great Flamenco guitar player has opened his music's window to the fresh air of the British producer Guy Fletcher and recorded in London with musicians from Dire Straits, Mark Knopfler and Capercaillie, in order to offer an exceptional and brave album in which Flamenco music blends naturally with other music styles, opening new paths without losing depth, holding tightly to the inspirational Southern Spanish sounds but wrapped in Celtic melodies, linking light and mist, hovering over different styles to create something completely new. “I met Guy in Córdoba last year, at a Mark Knopfler show during the Guitar Festival”, says Vicente Amigo. “We were introduced by the show's promoters, and the initial idea of playing a song with them developed into a new main objective: I wanted to fuse with all those great musicians. My proposal was to embrace all our freedoms: mine, his as a producer, and the musicians' who collaborated. That is far more important, at a certain point, than music itself”. The album Tierra has been produced by Guy Fletcher (Kent, 1960), who was Dire Straits' keyboard player and Mark Knopfler's inseparable collaborator. As a musician he has also worked with Roxy Music, Mick Jagger, Nothing Hillbillies, Randy Newman, Tina Turner, Willie De Ville, Brian Ferry, Aztec Camera ... An emblematic British musician who has placed Vicente Amigo's guitar in a new dimension of lyricism, dream-state, rhythmic beats, tone variety, brightness … An artistic connection going beyond different types of music, styles, languages. -
Figuras Del Xtasis
LAS RAÍCES DEL DUENDE: LO TRÁGICO Y LO SUBLIME EN EL CANTE JONDO DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Francisco Javier Mora Contreras, MA ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Samuel Amell, adviser Professor Stephen Summerhill ________________________ Professor Jorge Abril Trigo Adviser Spanish and Portuguese Graduate Program ABSTRACT Within the world of Andalusian music called flamenco, popular language first, and later intellectualised reflections by cultural elites have coined a term, duende [charm, charisma, magic…], whose purpose is either the process of generation of artistic creation, or the specific manner of emotional intercommunication between artist and audience, or the formal objectifying of the tragic spirit in a peculiar manner of flamenco expression called cante jondo [deep song]. Ever since Federico García Lorca in the 1920s, and from very distant disciplines and sciences, a number of theories have emerged, one of whose main axis has been the attempt to clarify such an ineffable experience. Therefore, this work intends to do a critical survey of some of the texts which flamencology considers canonical for the understanding of duende and cante jondo. We will not regard cante jondo here as a subset of styles within the flamenco musical current, but as a particular way of interpreting this kind of music, consisting of the expression of tragic and pathetic contents subjected to minimalist, primitivist forms developed during the second half of the 19th century, following the premises of romantic aesthetics. For that very reason, we thought it necessary to do research into the concept of the tragic and its links to the aesthetic category of the sublime in the context of the reflections on art produced in European pre-romanticism and romanticism. -
The Paco De Lucía Project
The Paco de Lucía Project Flamenco Legends By Javier Limon Media Sponsor Wednesday, October 22, 2019; 7:30 pm Photo Credit: LUIS MALIBRAN Photo Credit: LUIS MALIBRAN Featuring Paco’s Nephew ANTONIO SÁNCHEZ (guitar), ANTONIO SERRANO (harmonica), ALAIN PÉREZ (bass), ISRAEL SUÁREZ “PIRAÑA” (percussion), DAVID DE JACOBA (vocals); With Flamenco Dancer Antonio Fernández Montoya “FARRUCO” The legacies of great artists go well beyond particular masterpieces. That first experience of touring America, taking this music and In the case of guitarist and composer Paco de Lucía, his playing, Paco’s name everywhere, thinking of him every day — it was his composing, the sound of his ensembles, his entire approach, magnificent,” says guitarist Antonio Sánchez, the son of Paco’s marked a “before” and “after” in flamenco. late older brother. “As we toured with this group, each concert was better than the one before. Luckily, we recorded the one in No group has taken up the challenges of that legacy with greater Miami and it’s now a tribute to Paco.” authority than The Paco de Lucía Project. In the 1980s, the guitarist, who had long-established his place in flamenco history, put The sextet features Sánchez on guitar; Alain Pérez on bass; Israel together a sextet that incorporated jazz and global music Suárez “Piraña,” percussion; Antonio Serrano, harmonica; David elements and exploded flamenco conventions. About 20 years later, de Jacoba, vocals, and flamenco dancer Antonio Fernández he assembled a second, younger group. Brimming with energy “Farruco” (a/k/a Farru). Except for de Jacoba, who joined later, and technical brilliance, this second sextet both pushed and freed this is the band captured on de Lucía’s historic double CD Live in the master, suggesting tantalizing possibilities for the future. -
Vicente Amigo Girol Nació El 25 De Marzo Colaboran: Sábado De 1967 En Guadalcanal (Sevilla), Pero Creció Y 19 De Mayo Vive En Córdoba
Cornellà de Llobregat 2018 Del 3 al 30 VICENTE de mayo Organizan: Coordinadora de AMIGO Entidades Flamencas y Andaluzas de Cornellà Vicente Amigo Girol nació el 25 de marzo Colaboran: Sábado de 1967 en Guadalcanal (Sevilla), pero creció y 19 de mayo vive en Córdoba. Comenzó a estudiar guitarra cuando tenía ocho años con los maestros 21.00 h Merengue de Córdoba (Rafael Rodríguez MARÍA L’Auditori Fernández) y El Tomate (Juan Muñoz Expósito). DAVID PINO A los 15 años, Vicente comenzó a estudiar con TERREMOTO acompañado por de Cornellà el gran Manolo Sanlúcar, a cuyo grupo se sumó Espacios: y del cual fue parte por varios años. acompañada por ALEJANDRO Amigo participó en ‘Tauromagia’ (1988), una L’Auditori de Cornellà Auditori de Sant Ildefons Albert Einstein, 51 Plaça Carles Navales, s/n NONO JERO HURTADO obra maestra de Sanlúcar y un disco considerado 08940 Cornellà de Llobregat 08940 Cornellà de Llobregat por los estudiosos como uno de las mejores T. 934 740 202 / 934 744 358 T. 934 711 242 de José HidalgoIlustración a la guitarra a la guitarra de todos los tiempos. Junto al cantaor El Pele www.auditoricornella.com [email protected] [email protected] (Manuel Moreno Maya) grabó ‘Poeta de Esquinas Asociación Andaluza Blandas’ (1988). Ese mismo año, se lanzó en Peña Cultural Andaluza y Flamenca Hijos de Almáchar solitario. Pronto, fue construyendo una importante Recreativa Los Aficionaos Florida, 38 bajos Sevilla, s/n. (Junto Pabellón Can Carbonell) 08940 Cornellà de Llobregat reputación internacional actuando con artistas 08940 Cornellà de Llobregat T. 933 751 254 tales como Camarón de la Isla, pero también los T. -
La Nueva Alboreá’ Es Una Revista Gratuita Que Pretende De Los Próximos Meses
Sumario Año III. Número 9. Enero-Marzo 2009 enero-marzo Edita: JUNTA DE ANDALUCÍA. Consejería de Cultura ©JUNTA DE ANDALUCÍA. Consejería de Cultura 2009 Producción: Empresa Pública de Gestión de Programas Culturales. 4 En presente Agencia Andaluza para el Desarrollo del Flamenco El ciclo ‘Flamenco Viene Consejera de Cultura: del Sur’ cumple su duodécima Rosa Torres Ruiz edición ampliando Director-gerente de la Empresa Pública de Gestión su programación a la de Programas Culturales: ciudad de Almería. Francisco Fernández Cervantes Director de la Agencia Andaluza para el Desarrollo 14 La raíz y la savia nueva del Flamenco: Francisco Perujo Serrano Paco Cepero y Daniel Casares, dos generaciones del toque flamenco, Equipo de redacción: hablan de la importancia que tiene Aida Rodríguez Agraso María José García Ramos la guitarra en sus vidas. María Molina Muñoz Impresión: 18 En portada Ingrasa Artes Gráficas El Festival de Jerez presenta un programa protagonizado Diseño: Índice Comunicación por el baile de mujer y por el homenaje D.L.: CA-13/07 a los grandes maestros. ISSN: 1887-5106 Edición: 26 De actualidad 5.500 ejemplares. Los centenarios de Manolo Caracol y Antonio Mairena marcan el calendario flamenco ’La nueva Alboreá’ es una revista gratuita que pretende de los próximos meses. difundir los diferentes aspectos relacionados con el mundo del arte flamenco. La totalidad de su contenido no debe interpretarse como el punto de vista de la 40 Reconocimiento Agencia Andaluza para el Desarrollo del Flamenco o la Javier Barón logra el Premio Consejería de Cultura a menos que se especifique explícitamente. Nacional de Danza por su aportación al flamenco desde la danza De acuerdo con la Ley Orgánica 15/1999, de 13 de española y por su dedicación a la diciembre, de Protección de Datos de Carácter Personal, los suscriptores a esta revista podrán, en todo investigación de estéticas. -
Texto Completo
PAPELES DEL FESTIVAL de música española DE CÁDIZ Consejeria de Cultura 3 Director REYNALDO FERNÁNDEZ MANZANO Consejo de Redacción MARÍA JESÚS RUIZ FERNÁNDEZ JOSÉ ANTONIO GONZÁLEZ ALCANTUD MARTA CURESES EMILIO CASARES RODICIO DIANA PÉREZ CUSTODIO ANTONIO MARTÍN MORENO MARTA CARRASCO ALFREDO ARACIL MANUELA CORTÉS MARCELINO DÍEZ MARTÍNEZ OMEIMA SHEIK ELDIN JOSÉ MARÍA SÁNCHEZ VERDÚ Secretaria Mª. CARMEN MILLÁN RÁFALES Mª. JOSÉ FERNÁNDEZ GONZÁLEZ Depósito Legal: GR- I.S.S.N.: Edita © JUNTA DE ANDALUCIA. Consejería de Cultura. CENTRO DE DOCUMENTACIÓN MUSICAL DE ANDALUCÍA 4 LA FOTOGRAFIA FLAMENCA Carlos Arbelos (Fotografo y Investigador) Abstract Flamenco Photography “Flamenco Photography” is a two-part article written by the journalist and photographer Carlos Arbelos. Part I, entitled “The Historical Divide,” is followed by an “Homage to the Guitarists.” The first section explores the historical separation of flamenco photography from other social sciences such as anthropology, ethnography and sociology. It is remarkable that photo portraits of flamenco artists have never been viewed analytically, as a means to understand the art form – a situation due as much to the lack of interest of social scientists as to certain omissions manifested in this respect by flamenco photographers. This section also covers photographers’ interest in exploring shades of black and white in flamenco portraits, and the challenges they face in the publishing industry. Few publishers are interested in their work. In many publications they are not even mentioned as authors, nor is their permission sought for reproduction rights. Part II is based on the exhibition Duende y Bordón (Muse and Strings) that was organized by the author in conjunction with the Second Festival of Spanish Music (II Festival de Música Española). -
05. Norberto Torres El Toque Por Tarantas Desde Montoya a La
Revista de Investigación sobre Flamenco La Madrugá, nº 5, Diciembre 2011 ISSN 1989-6042 EL TOQUE POR TARANTA , DESDE RAMÓN MONTOYA HASTA LA ACTUALIDAD (I) Dr. Norberto Torres Cortés IES Alborán de Almería Resumen Un análisis retrospectivo del toque por tarantas a través de la discografía, tomando como punto de partida las grabaciones ya míticas de Ramón Montoya y observando cómo ha ido evolucionando hasta la actualidad. Palabras clave Flamenco, toque por tarantas, toque por mineras, toque por rondeñas, toque por Levante, Ramón Montoya, Antonio Chacón Abstract The taranta, womb of the “cantes mineros” (miner songs), arises as flamenco style differentiated in the first years of the 20th century. We analyze how it was in his beginning and the different modalities that were recorded, some of which continue performing nowadays. 0. PREÁMBULO Nuestra ponencia llevaba inicialmente como título “El toque por taranta después de Paco de Lucía”. Se trataba de analizar qué difusión y cómo utilizan hoy los guitarristas este toque y su sonoridad. Para entender mejor lo que ocurre hoy, decidimos remontarnos en el tiempo y, a través de la discografía, seguir la evolución de este toque, desde principios del siglo XX hasta la actualidad. Nuestro propósito nos llevó a iniciar el análisis con la obra de Ramón Montoya. Desde siempre nos ha llamado la atención la excepcional calidad de este guitarrista y la modernidad de su sonanta, tanto a nivel técnico como musical, en una época en la que, a través de los registros sonoros, el flamenco adquirió su madurez artística en la primera mitad del siglo XX. -
BIOGRAPHY Born in Guadalcanal, a Small Village in Seville, Spain, on March 25Th, 1967, Vicente Amigo Girol Actually Grew up and Lives in Córdoba, Also in Andalusia
BIOGRAPHY Born in Guadalcanal, a small village in Seville, Spain, on March 25th, 1967, Vicente Amigo Girol actually grew up and lives in Córdoba, also in Andalusia. He started studying guitar when he was eight with maestros such as El Merengue (Rafael Rodríguez Fernández) and El Tomate(Juan Muñoz Expósito) and at 15 he became an apprentice of the great Manolo Sanlúcar, in whose group he worked for several years. He appears in Sanlúcar’s masterpiece Tauromagia (1988), considered one of the most important flamenco albums of all time. He gained early recognition while accompanying singer El Pele (Manuel Moreno Maya), with whom he recorded "Poeta de Esquinas Blandas" (1988). That same year, Amigo also launched his solo career. Soon, he built an international reputation as he performed with Camarón de la Isla, arguably the most important singer in modern flamenco history, but also with artists such as John McLaughlin, Al Di Meola, Brazilian singer and songwriter Milton Nascimento, and Spanish pop superstar Alejandro Sanz. He won several flamenco guitar prizes and appeared at Leyendas de la Guitarra (Legends of the Guitar), an international event celebrated in Spain that served as a preview of the Seville Expo in 1992, representing flamenco with Paco de Lucía, the decisive figure in modern flamenco guitar. De Lucia, who passed away on in February, 2014, became a lifelong friend and admirer. Those who set out sports-like comparisons or are eager to bestow the unwanted mantle of “the next Paco de Lucia” fail to grasp the depth of their relationship, which is underscored by the fact that they became compadres, godfathers to each other´s children: Amigo to De Lucia’s daughter Antonia; De Lucia to Amigo’s youngest son, Marcos. -
Catálogo Generado El Día 04/04/2011 Si Buscas
Catálogo generado el día 04/04/2011 Si buscas música flamenca, video o DVD, por favor visita: flamencoSound.com Guitarra Flamenca .............................................................................................................................................................. 2 Teléfono: (0034) 91 5427251 - Exportamos Flamenco a todos los países del mundo. Integral Paco de Lucía (27 CDs)Reedición 108.00 € 152.73 USD Reedición de la caja de la discografía completa del gran guitarrista Paco de Lúcía.Paco de Lucía "Integral" caja con los 27 Cds del artista con nuevo formato y diseño nuevo. Incluye como novedad "Cositas Buenas" su último album de estudio.Ahora en un nuevo formato, un pack especial que permitirá a los amantes del flamenco disfrutar del buen hacer de este maestro de la guitarra. Contenidos: - "Dos guitarras flamencas en stereo" (1964) Ricardo Modrego and Paco de Lucía. - "12 canciones de García Lorca para guitarra" (1965) Paco de Lucía and Ricardo Modrego. - "12 éxitos para dos guitarras flamencas" (1965) Paco de Lucía and Ricardo Modrego. - "La fabulosa guitarra de Paco de Lucía" (1967). - "Canciones andaluzas para 2 guitarras" (1967) Paco de Lucía and Ramón de Algeciras.- "Dos guitarras flamencas en América latina" (1967) Paco de Lucía and Ramón de Algeciras. - "Fantasía flamenca de Paco de Lucía" (1969). - "12 hits para 2 guitarras flamencas y orquesta de cuerda (1969) Paco de Lucía and Ramón de Algeciras. - "Paco de Lucía y Ramón de Algeciras en Hispanoamérica" (1969). - "El mundo del flamenco" (1971).- "Recital de guitarra de Paco de Lucía" (1971) with Ramón de Algeciras, Enrique Jiménez De Melchor,Paco Cepero, Isidro de Sanlúcar Muñoz and Julio Vallejo. - "El duende flamenco de Paco de Lucía" (1972). -
FLAMENCO on FIRE 2014 FESTIVAL DE FLAMENCO DE PAMPLONA 26 a 31 De Agosto EL FLAMENCO VIAJA HACIA EL NORTE
FLAMENCO ON FIRE 2014 FESTIVAL DE FLAMENCO DE PAMPLONA 26 a 31 de agosto EL FLAMENCO VIAJA HACIA EL NORTE EN MEMORIA DEL GRAN MAESTRO SABICAS DOSSIER DE PRENSA ÍNDICE 1. Presentación FLAMENCO ON FIRE ……………………………………………...… página 2 2. Maestro Sabicas …………………………………………………………………………… página 3 3. La obra de Mon Montoya ………………………………………………………..…… página 5 4. Programa, fechas, horarios y entradas …………………………………….…… página 7 5. Cartel FLAMENCO ON FIRE …………………………………..………………….…… página 8 6. Artistas y formaciones …………………………………………………………….…… página 9 7. Espacios ………………………………………………………………………………..…… página 21 1 “Esta ciudad es para mí emblemática. Dio a uno de los más grandes guitarristas de la historia” –PACO DE LUCÍA, sobre Pamplona y el maestro Sabicas 1. Presentación FLAMENCO ON FIRE El Flamenco viaja hacia el Norte FLAMENCO ON FIRE reunirá a algunos de los máximos exponentes del Arte Flamenco, que acudirán a Navarra para celebrar la memoria del gran maestro Sabicas, en un viaje del Flamenco hacia el norte, el cual se convertirá en el lema de esta primera edición del Festival de Flamenco de Pamplona. Navarra es la cuna de uno de los artistas flamencos que revolucionó la técnica de la guitarra y conquistó al mundo con su arte: Agustín Castellón Campos, el maestro Sabicas (Pamplona, 1912 – Nueva York, 1990). Su legado ha sido la principal inspiración para la creación FLAMENCO ON FIRE, y la relevancia de su figura contribuirá a convertir al Festival en un punto de encuentro anual para los mejores artistas y una cita ineludible para los amantes de este género, posicionando a Pamplona como capital del Flamenco en el norte de la Península. FLAMENCO ON FIRE se celebra en el corazón de Pamplona, donde se ubican los espacios del Festival: el Baluarte – que acogerá dos escenarios– es un equipamiento cultural de primer nivel que sirve de nexo entre el casco antiguo y la Ciudadela, una fortificación renacentista construida en los siglos XVI y XVII que cuenta con las mayores zonas verdes de la ciudad –donde tendrán lugar los conciertos de clausura del Festival.