Mayte Martin is one of the most versatile cantaoras (flamenco singers) of her generation. She is capable of performing the most difficult styles of her repertoire with equal talent and without falling for the clichés linked to flamenco cante. She takes time to explore all of the possibilities for beauty and expression in each cante.
For her interpretive work is above all an exercise in ̶interior listening” a kind of mental composition that must later be re-created with the voice. Mayte controls the ̶micro-intervals”, the melismas that are interspersed between prolonged notes and that give her cante a fluidity and an unusual melodic elegance.
Mayte exudes an expressive and personal style founded on a classic base. Mayte recorded a boleros album with Tete Montoliú and wrote a handful of songs for string quintets before meeting the dancer Belén Maya. Their meeting resulted in the forging of one of the most important and unusual artistic unions in today’s flamenco.
Mayte’s recording, Querencia, with Drac-Virgin Records, provides an in-depth look at the essence of cante and Mayte’s own restlessness as an artist.
Querencia adds rhythmic emphasis without falling into festive clichés. It gives melodiousness to the most solemn of flamenco styles without loosing a speck of depth.
Translated by Rita Granda
Muy Fragil (K Industria Cultural, 1994) Free Boleros (K Industria Cultural, 1996)
Querencia (Virgin Records, 2000) Tiempo de Amar (Virgin Records, 2002)
De fuego y de agua (KLM, 2008)
Al cantar a Manuel (Nuevos Medios, 2009)
Cosas de dos (2012)
Matto Congrio was one of the most important modern Celtic bands in Galicia (Spain) in the early 1990s. Its only album Matto Congrio released in 1993 was an exciting combination of Galician Celtic music with Irish music, rock, salsa, samba and reggae. The album was recorded in Dublin and featured top Irish musicians as guests, including Paddy Moloney on the uilleann pipes.
The group’s founders Carlos Núñez, Santiago Cribeiro and Anxo Lois Pinto were all graduates of the Obradoiro Escola de Gaitas e Zanfonas de Vigo (Vigo School of Bagpipes and Hurdy Gurdies) the most important school in the development of new Galician musicians. After Matto Congrio disbanded Carlos Núñez went on to become one of the most sought after pipers and flautists in international Celtic music. In addition to touring worldwide with The Chieftains he has recorded solo albums for major labels and is a frequent guest in many recordings.
Former Matto Congrio members Santiago Cribeiro, Anxo Lois Pinto and Isaac Palacin formed a new group called Berrogüetto which became one of the top contemporary Galician folk music bands.
María Salgado was born in Toro in the province of Zamora, Spain. From the beginning she assimilated and became familiar with the basis and sources of traditional folk music. In Segovia, the great master of Castilian music Agapito Marazuela revealed to her the essence of genuine traditional interpretation. In fact, on the basis of his teachings she made a great recording of songs taken from the “Cancionero de Castilla” which Marazuela painstakingly recovered at the beginning of the 20th century. In Canciones De Amor y Trabajo, María Salgado rearranged old melodies and included the most modern musical instruments. This she did in such a way that these vigorous songs lose none of their true spirit.
With her other tutor, Joaquín Díaz, she came to realize the importance of knowing and loving the recent past and she learned to re-discover it from a different angle from a more human and wiser view point. She took part in and collaborated in numerous recordings with Joaquín. Together they worked with other folk musicians such as Raíces, Candeal and Angel Carril on El Calendario Del Pueblo a project made up of several volumes.
These early beginnings give us a better understanding of María Salgado´s full and artistic development. Several solo recordings and many collaborations and joint recordings prove this her constant search for originality but always starting from the very depths of things from the essence of artistic being no matter what this may be or wherever it may be found.
There are few back-ups as essential as poetry and María has sung verses by Luis López Alvarez (her version of the Romance De La Reina Juana always seems different in each performance), works by Luís Díaz Viana of which she has made two mono recordings – Recuerdo and Profecía Por España ( a disc with Lorca echoes and one of Jesús Quintero’ s most frequently performed in “El Loco de la Colina”) and “La Ultima Dama”. She has also taken part in the recording made in honor of the Cuban composer María Teresa Vera together with Martirio, Omara Portuondo and Pablo Guerrero.
Poetry in the words, a fine sensibility in the interpretation variety in the themes –these are some of the ingredients used by María Salgado over the last years to create a widely recognized and tremendously coherent career. She can claim that thanks to her recording Mirándote it is clear that there are Habaneras from inland, away from the coast, which are just as beautiful and mysterious as those from the Mediterranean. In a recording made with Sudanese singer Rasha and Galician singer “La Sal de la Vida” she has clearly shown that the language of music as the language of art in general terms is the most powerful way to unite peoples and cultures.
In her recording “Siete Modos de Guisar las Berenjenas” (Seven Ways to Cook eggplant) she grouped together songs from a wide variety of origins and their only common factor is their beauty. Nostalgic Sephardic melodies taken from Greece live comfortably alongside new songs by Juan Pablo Silvestre and traditional Spanish songs from the plains and Andalusia.
Recuerdo y profecia por España (1977)
El calendario del Pueblo (2 volumes 1977 and 1978)
Flamenco percussionist Manuel Flores was born in Morón de la Frontera, Spain in 1969. Considered one of the masters of hand rhythm (compas) from Moron he has participated in the Bienal de Flamenco and the Feria Mundial de Flamenco. For many years Flores was the rhythmic “anchor” for singers and dancers such as Chano Lobato, Andorrano, Kiko Veneno, Juan de Juan, Nano de Jerez, Rafael de Utrera and Javier Ruibal and guitarists Paco del Gastor, Diego de Moron, Juan del Gastor, El Leri, and Eduardo Rebollar.
Outside of Spain he has been involved in flamenco performances in the United Arab Emirates, Italy, Switzerland, Portugal, the United States, France and Belgium. In 1998 Manuel Flores began to collaborate with Martirio. He soon became an integral part of her flamenco group and performed on her album Mucho Corazon subsequently touring with her in 2003 and 2004.
Flamenco guitarist Manolo Franco was born in Sevilla (Spain) in 1960. He debuted at age 15 with Matilde Coral who performed at famous festivals in Spain. Since then he has participated as soloist in prestigious national and international festivals in Stockholm Tokyo Freiburg the Festival de la Guitarra de Cordoba, the Flamenco Summit Madrid and Sevilla Flamenco Biennial.
His discography includes the essential Aljibe solo album as well as countless collaborations as a sideman with several singers and other music genres related to flamenco. His main professional focus is accompanying vocalists. He is a teacher at present at the Conservatorio Superior de Musica `Rafael Orozco´de Cordoba (Cordoba’s Rafael Orozco Conservatory of Music).
His artistic career has been recognized with numerous awards including the Giraldillo al toque in 1984 at the Bienal de Sevilla and the Premio Nacional de la Catedra de Flamencologia de Jerez (National Flamencology Award in 2003.
Natalia Mellado – Caminos De Vuelta (Cabalgache, 2014)
Natalia Mellado is a talented singer from southwestern Spain that specializes in copla, a type of Spanish folk song that was very popular in the 20th century. Natalia sings copla with a twist, adding jazz, flamenco and traditional folk music elements from other cultures as well as Latin American rhythms and genres such as tango.
The album features arranger Raúl Ramoson piano; Oscar Fernández on bass; Adrián Alameda on drums and percussion; Javier Bruna on flute; Victor Bruna on clarinet; Jesús Sacristán and Isaac Maroto on palmas; and Oscar Herrero on flamenco guitar.
Timple maestro Germán López is set to perform on July 1st at Sala Berlanga in Madrid. The artist from the Canary Islands (Spain) will present his new album titled Canela y Limón (cinnamon and lemon), recorded together with the prestigious guitarist Antonio Toledo from Cadiz.
Both musicians have toured together, showcasing the timple (small Spanish guitar) in the United States, Canada, Europe and China, an international tour that was forged after showcasing at the influential World Music Expo Womex 2014, with the support of the SGAE Foundation.
Germán López is an acclaimed timple player from the island of Gran Canaria, part of the Canary Islands (Spain). He’s a conservatory-trained musician who studied at Conservatory of Music of Las Palmas (Gran Canaria), where he graduated with a master’s degree in 2001.
Since the age of ten, Germán has been playing timple concerts. In 2014 he performed at the significant World Music Expo Womex, the largest international gathering of world music professionals. This concert led to several tours throughout the globe.
Germán López has released several solo albums and also recorded on albums by bands such as Mestisay, Taburiente, Totoyo Millares, Luis Morera and various songwriters like Sergio Alzola, Diego Ojeda and Luis Quintana.
During his recent tours, he was accompanied by Spanish guitarist Antonio Toledo.
Silencio Roto (2009)
Something Stupid (2011)
De Raíz (2013) Canela y Limón (2016)
Dos Medinas Blancas is an album that features two outstanding vocalists, Carmen París (Spain) and Nabyla Maan (Morocco). Carmen is well-known in Spain for her vocals skills and her combinations of Spanish traditional music like jota and flamenco with jazz and world music. She’s also a composer and songwriter. Meanwhile, Nabyla Maan is a young and rising talent with a beautiful voice that brings her Moroccan roots to the mix. Nabyla also composes music and writes her own songs.
The album features songs in Spanish and Arabic, brilliantly fuses the musical influences from the two countries and includes musicians and musical instruments from both cultures.
The lineup includes Carmen París and Nabyla Maan on vocals; Tarik Hilal on Spanish guitar; Mahmoud “Chouki” on mandola, banjo and outar; Peter Oteo on electric bass; Borja Barrueta on drums; and Pablo Martín Jones on pamderos (frame drums), caxixi, darbuka and cajón.
The CD is nicely packaged and includes liner notes in Spanish, English and French.
Dos Medinas Blancas is also a musical project that was co-produced and presented live by two music festivals, L’Boulevard in Morocco and Pirineos Sur in Spain.
Dos Medinas Blancas is a splendid, masterfully performed album that brings together the musics of Spain and Morocco and two of their finest vocalists.
Renowned Spanish dancer and choreographer Aída Gómez is one of the recipients of this year’s Medalla de Oro al Mérito en el Trabajo (Gold Medal of Merit at Work) from Spain’s government. The award recognizes her brilliant professional career and her important work in boosting the performing arts.
Aída Gómez is currently directing the 12th edition of the Suma Flamenca festival, produced by the Community of Madrid (Madrid’s regional government). Suma Flamenca started June 6th and will run until June 25.
Suma Flamenca turns the region of Madrid into the European center of flamenco, with remarkable programming that includes top vocalists, guitarists and dancers.
Aída Gómez also directs the Madrid en Danza festival also produced by the Community of Madrid.
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