IJL 81'95 The colorful art of Flamenco, rooted deeply in Spanish folklore, V ARIACIONES DE FARRUCA: (Farruca) LONG PLAY 33V• RPM A swift variety of melodiot:s themes, bound together by the has acquired a tremendous following of enthusiastic "aficiona- IMPORTANT! dos" in this country. The credit for this must surely go to the hammering, sharply accentuated "Farru.:a" rhythm, gives the Spanish ballets which have toured the United States so success- two guitarist-arrangers an opportunity to show their almost This monaural Long Play record can also be played on a unlimited virtuosity. Stereo phono1raph- resulting in even better sound repro- fully during the last few years, such as Jose Greco, Carmen duction than that obtained from conventional phonographs. Amaya, and Vicente Escudero. RITMOS MALAGUENOS: (Malaguena) With these ballet performances two brilliant young Spanish The "Malaguena" stems from Malaga, and its basic structure guitarists have been closely associated: SABICAS and MARIO is that of the "fandango" and the "verdial." To describe the ESCUDERO. Both are well known to the "aficionados" of Fla- true character of the "malaguena" in the words of the Spanish menco music through their appearances on stage, in nightclubs, poet Garcia Lorca, it is the song of the. people who think with and on television, and through their many records. This time, their heart. THE however, SABICAS and MARIO ESCUDERO have broken with the customary pattern of Flamenco performance and embark GITANOS TRIANEROS: (Soleares) upon a new venture: instead of playing guitar solos, or having Gypsies from Triana-Triana being the gypsy quarter of Sevilla, a second guitar play along with them, they play Flamenco the spiritual center of Andalucia and of Flamenco art. Thi~ guitar duets. selection is a "Solea" and the "Solea" is generally considered FANTASTIC They are the first ones to form such a guitar duo and it as the most basic of the old Flamenco rhythms and its origin seems improbable that anybody else will be able to imitate goes back beyond the limits of musicological research. them successfully. Normally, the Flamenco guitarist improvises. He plays by heart; neither the music nor the arrangement, Side Two complicated as it may be, is written down. Obviously, the VILLANCICO FLAMENCO: (Villancico) GUITARS difficulty of making an arrangement for two Flamenco guitars, The "Villancico" is a Spanish Christmas song. Sabicas and with the frequent and rapid changes of rhythm typical of this Escudero recreate an atmosphere of "Navidad" with the sounds music, is great enough; but to hear two soloists with all their of the "palillos," "Panderetas" (Tambourin), and triangle. virtuosity and temperament transformed into a team perform- ing the colorful, melodious Flamenco music with all its rhyth- TEMAS ANDALUCES: (El Vito) mical patterns and variations sounds almost like the achieve- This selection is inspired by some of the most beautiful of the ment of the impossible. Spanish folksongs which the Spanish poet Garcia Lorca has Two facts, however, have helped the two guitarists accomplish rediscovered and awakened to new life. In this arrangement full their feat: they play their own compositions, written and scope is given to the unique art of Sabicas and Escudero. arranged by them; and they happen to be good friends. PREGON GADITANO: (Alegrias) A song from Cadiz, based upon the most popular of all the Side One Flamenco Rhythms, the "Alegrias," which originated in the province of Cadiz in the 19th century. Its origin, however, goes COLUMBIANA FLAMENCA: (Columbiana) back much farther as the "Alegrias" have been developed from Inspired py the rhythms of Colombia, this is a typical example the much older rhythm of the "Solearyias." of the modern development of Flamenco music which has BORDONES GRANADINOS: (Granadina) taken its inspiration from the Latin American rhythms. The melody, however, is treated in Flamenco style, with the cadences The rhythm of the "Granadina" bears the name of Granada, another of the places whose name is synonymous with Flamenco ESCUDERO and variations so typical of Flamenco which translates even the sound of the maracas into its own idiom. art. The guitar arrangement of Sabicas and Escudero is especially (Flamenco in Hi-Fi) brilliant and colorful. FANTASIA ANDALUZA: (Bulerias) RECUERDO A ESTAMPIO: (Zapateado) With Anita Ramos This "Andalusian Fantasy" uses as its theme a well-known This selection is dedicated to "Estamp~," the great Spanish All compositions by Sabicas and Escudero Andalusian melody, often used by Spanish composers. Here Flamenco dancer Juan Sanchez Estampio. The "Zapateado" 1s the melody is given a special treatment as a Flamenco guitar duo. a fast-moving, very fast _rhythm. If you've enjoyed this recording ... you're sure to like these other great long Play albums: THE QUEEN OF THE GYPSIES • CARMEN AMAYA • Flamencan Songs And Dances Dl 8027 ANDRES SEGOVIA • Granada • Sevilla • Dos Canciones Ca talanas • and others DL 8022 VICENTE GOMEZ • SPANISH GUITAR RECITAL DL 8017 SELECTION FROM THE MOTION PICTURE "GOYA" • VICENTE GOMEZ DL 8236 JOSE GRECO - BALLET • ORQUESTA ZARZUELA DE MADRID • El Baile De Lu is Alonso • Leyenda De Abril En Sevilla • M l S o lea • H ora Staccato e The Story Of Marla Christina • El Cumbancher o La M acarena • Habaner a • La Ritmo De Carmen Am aya • T a- T he Compositions Of Fernando La Petenera • Viva Castilla • and others Tlentos Glt.~mos • F iesta Canas· Love • H industan • Nola • Tiger • Babalu • Qulen Ser a • No Te Cumpar slt.a • Estrellita • Mariela r a n ta • Sigulr lya Gltan a • So- Sor s And F r ancisco Tarrega tero • I'nnadcro s • Ml Trtanera Rag • TweHth Street Rng • l mporte Saber• Te Qule r o D IJ iste • Andalucia • Malagu ena • lear es • R iento Canastero • DL 979 4 DL 9757 • So n e s Gadlt.anos • GuaJlra Frenesl • The H oneydr lpper • • Anna • Por Un Caprlcho • F r e nesl • Gr een Moon • La Golon- Solear es • Siguirlya • Rondena F Jamenca • A 7 c mlllo Y R om~ro AmapoJa • M adrid • Capr lcho As! ! Asl ! • AQuar e lo Do Brasil d r l na • Bala • P or Que ? • Solea Po r Bulerla • Alegr las DANZAS FLAMENCAS • JOSE GRECO AND COMPANY • Lamento Mi nero • Rumores BruJo DL 8559 • Quiereme Mucho • Tres Cla ve Jas DL 8439 DL 9816 Malaguenos • Flores De HueJva DL 8436 • Zambra Gitana • Soleares • Alegrias • and DL 8736 others DL 9758 THIS IS A PROPER CARE OF THIS RECORD will prolong its life and increase your listenin£ enjoyment: Keep in speciar protective polyflex envelope when not in use; avoic HIGH-FIDELITY RECORD! handling playing surface; wipe with soft, slightly damp cloth: set phono fo1 For proper reproduction use RfAA proper needle and turntable speed; CHECK NEEDLE FREQUENTLY FOR WEAJ; -IF DEFECTIVE IT CAN PERMANENTLY DAMAGE RECORD. or similar Record Compensator setting. Printed in U.S. A This DECCA Long Play Microgroove Record can be played only on 331/J RPM instruments. ··oecca,'' "D" symbol, "Gold Label Series," "'Hi-Fonic," "Oeccalite" and "New World Of Sound" are the registered trademarks of Decca Records, Inc. .