Antonio Manuel Álvarez Vélez, better known as Pitingo was born into a seafaring family in the city of Ayamonte in Huelva, Spain, in southwestern Spain.
After going to school locally, he moved to Madrid where he started performing in underground flamenco clubs, eventually ending up with a weekly gig at the flamenco bar El Mago (The Magician), a regular spot of flamenco’s greatest vocalists, such as Enrique Morente and Carmen Linares. He soon debuted at festivals and theaters across Spain and was signed to Universal Music.
Pitingo’s first album, Pitingo con habichuelas, brought together the singer with worldclass guitarist Pepe Habichuela. Pitingo quickly distinguished himself from other flamenco singers with his unconventional R&B and Gospel approach to flamenco.
In 2008 Pitingo released his first major effort to fuse flamenco with soul and gospel traditions, Soulería. The word-play of the title refers to the flamenco musical style called bulería. Pitingo followed that release with 2010’s Olé and Amén that featured the London Community Gospel Choir.
Pitingo’s Malecón Street (named for the famous Havana seaside promenade) expanded his flamenco soul style to the streets of Old Havana with a collection of classic Cuban songs from decades past.
Spanish Gypsy rumba singer Pedro Pubill Calaf, better known as Peret, was born March 24, 1935 in Mataró (near Barcelona), Spain.
In 1957, Peret recorded his first singles with one or two songs on each side. Since then, year after year, he gave the Spanish public dance floor hits, even before the traditional ‘summer song’ existed. In the late 1960s he moved to Madrid, where he became a sensation.
Gypsy rumba songs like “Borriquito como tú”, one of the songs most widely translated from Spanish, went around the whole world, and now remains in the collective memory of Latin music.
Peret was the Spanish representative at the Eurovision Song Contest in 1974.
International artists like Tom Jones, Paul Anka, Rafaella Carrá, David Byrne, Sargento García, El Gran Silencio and Spanish artists such as Lola Flores, Los Amaya, El Pescaílla, Joan Manuel Serrat, Joaquín Sabina, Julio Iglesias, Estopa, Jarabe de Palo, Ojos de Brujo, Macaco, Amparanoia, Raimundo Amador, Kiko Veneno and Muchachito Bombo Infierno, are some of the many artists who recorded Peret’s songs or who performed with him.
His album Que levante el dedo is a social chronicle that describes, in song, the faces of women from the street today. Peret, with more than 70 years of experience behind him, had an objective: to revive the essence of the rumba for future generations.
Peret passed away on August 27, 2014
Peret 1967 (Discophon, 1967)
Rumba pa’ti (Discophon, 1968)
Una lágrima 1968 (Vergara, 1968)
Lamento gitano 1969 (Discophon, 1969)
Gipsy Rumbas (Discophon, 1969)
Canta para el cine (Vergara, 1970)
Borriquito (Ariola, 1971)
Una lágrima 1972 (Ariola, 1972)
Mi santa (Ariola, 1973)
Lo mejor de Peret (Ariola, 1974)
Peret y sus gitanos (Emi, 1974)
Canta y sé feliz (Ariola, 1974)
Saboreando (Ariola, 1978)
Lágrimas negras (Ariola, 1978)
El joven Peret (CBS, 1979)
El jilguero (Belter, 1980)
De cap a la palla (Belter, 1981)
De coco a la paja (Belter, 1981)
No se pué aguantar (PDI, 1991)
Gitana Hechicera (PDI, 1992)
Rumbas de la clausura (PDI, 1992)
Cómo me gusta (PDI, 1993)
Que disparen flores (PDI, 1995)
Jesús de Nazareth (PDI, 1996) Rey de la Rumba (Virgin, 2000)
Que levante el dedo (K Industria Cultural, 2007) De los cobardes nunca se ha escrito nada (Universal Music, 2009)
Flamenco musician Pedro Ricardo Miño is one of a growing number of pianists who are taking Flamenco in new directions.
Pedro Ricardo Miño is the son of Pepa Montes and flamenco guitarist Ricardo Mino. He was born in Sevilla in the Bario de Triana in 1979, destined to join the many luminaries of the Flamenco world with his enormous gift and musical skill. He was presented in his first public piano concert in Sevilla, at the age of four. His training and formation took place in the family and at the Conservatory of Music in Sevilla.
He has toured and played in various prestigious theaters in Spain, such as the Teatro Manuel de Falla de Cadiz, Gran Teatro de Cordoba and the Noches de la Villa de Madrid, to name a few. He has also toured parts of Europe and the United States as a soloist and with his parents company, “Flamenco en Concierto”.
Pedro Ricardo Miño is considered one of the world’s top Flamenco pianists as well as a world class musician. His first recording as a soloist can be found in the collection Novisimos that was released by Sony in 2004.
In 2011 he collaborated with sitarist Anoushka Shankar on her album titled Traveller.
Pedro Ricardo Miño teaches piano masterclasses and is also a producer and musical director of flamenco recordings.
David Carmona Fernández was born in Granada in a well-known gypsy family of flamenco performers called Fernández de Íllora. Some of the best known artists in the family include Ramón de Loja, El Moreno (Diego El Cigala’s father) and Morenito de Íllora. Other family members include José Carmona, Carmen Carmona, Isabel Fernández and Evangelino Fernández, all of whom are familiar flamenco performers in Granada.
David has received numerous awards, including the 2010 Giradillo for Upcoming Artist at the XVI Biennial of Flamenco Art in Seville. In 2009, he won the first prize at the XXIII International Contest of Flamenco Guitar, organized by Peña Flamenca “Los Cernícalos” in Jerez de la Frontera, and that same year he won the Fundación Autor-SGAE Award for Musical Composition at The XVIII Contest of Choreography of Spanish Dance and Flamenco.
In 2011, he received the “Young Creators” award from the Fundación Instituto de Cultura Gitana (Foundation Institute of Gypsy Culture), and the Insignia de Oro 2011, from Peña Flamenca “La Platería” for his artistic career. At 12, he won the Hispamusic Prize at Canal Sur Televisión, in the “Veo Veo” program.
David Carmona recorded first album “Tratante” in 1997. He has accompanied leading acts since 2006, such as guitar master Manolo Sanlúcar and well –known singers and dancers like Estrella Morente, Esperanza Fernández, Diego “El Cigala”, Morenito de Íllora, Antonio Canales, Patricia Guerrero, Fuensanta “La Moneta”, and Luis “El Zambo.”
In 2008, he performed at the XV edition of the Biennial of Flamenco Art in Seville. In November of 2016, during Flamenco Day, David performed a concert organized by the Diputación Provincial de Granada within the “Flamenco and Culture” program and in December he was part of the program “Flamenco Encounters of Granada” together with José Enrique Morente.
David has a degree in music, specialized from the Superior Conservatory of Music “Rafael Orozco” of Córdoba.
His 2017 album “A Dream of Madness” features top flamenco acts such as Estrella Morente, Arcángel, Carmen Molina and Tino Di Geraldo.
David Carmona – Un Sueño de locura (Nuevos Medios NM 15 929, 2017)
David Carmona is one of the rising stars of flamenco guitar. This young musician and composer from Granada grew up in a family of flamenco artists and studied with maestro Manolo Sanlucar.
On his new album “Un Sueño de locura,” co-produced by Manolo Sanlucar, David Carmona is joined by some of the finest flamenco performers in the current scene.
“Un Sueño de locura” demonstrates that David Carmona is a highly talented guitarist who sticks to the purest tradition on several of the musical pieces, but is also open to more modern flamenco arrangements.
The lineup on “Un Sueño de locura” includes David Carmona on guitars; Estrella Morente on vocals; Arcángel on vocals; Carmen Molina on vocals; Tino Di Geraldo on percussion; Agustín Diassera on percussion; Los Mellis and Carlos Grilo on palmas (handclap percussion); and El Bo, Carlos Grilo, José Cortés “El Pirata” and Ismael Tirado provide jaleos (shouts of encouragement).
“Un Sueño de locura” is a dazzling flamenco guitar album by one of the finest young players in the flamenco scene.
Paco de Lucía was one of the greatest guitarists in the world. He was born Francisco Sánchez Gómez in Algeciras, a port city in the province of Cádiz, in the southernmost tip of Spain on December 21st, 1947. His stage name (Lucia’s Paco) is a tribute to his mother Lucía Gómez.
His father, Antonio Sánchez, a day laborer, played guitar at night as a way to supplement his income. His father, Paco’s elder brother Ramón de Algeciras, and flamenco guitar master Niño Ricardo were de Lucía’s main influences. His first performance was on Radio Algeciras in 1958.
The training ground for a flamenco guitarist, de Lucía once said, “is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la juerga (the party) drinking. And then you work on technique. Guitarists do not need to study. And, as it is with any music, the great ones will spend some time working with the young players who show special talent.
You must understand that a Gypsy’s life is a life of anarchy. That is a reason why the way of flamenco music is a way without discipline, as you know it. We don’t try to organize things with our minds, we don’t go to school to find out. We just live… music is everywhere in our lives.”
In 1958, at only age 11, de Lucía made his first public appearance and a year later he was awarded a special prize in the Jerez flamenco competition. At 14 he was touring with the flamenco troupe of dancer Jose Greco. He worked with Greco for three seasons.
It was while on tour with Greco in the United States of America that de Lucía met the great Sabicas, an influential guitarist whose name became synonymous with flamenco in the United States, who encouraged him to pursue a more personal style. De Lucía would follow Sabicas’ advice a few years later in his debut at Carnegie Hall in 1970.
“In flamenco, the guitarist first and foremost, must not get in the way of the singer,” de Lucía once explained. “There is a dialog going on. The cantaor (singer) sings the words. There are no songs per se in flamenco, just short lyrics, so the guitarist follows the call of the singer. Part of the tradition in flamenco is not playing too hard or too much. You need to support the singer, help him.”
Back in Spain, de Lucia joined Festival flamenco Gitano, an annual flamenco showcase tour that lasted for seven years, and recorded his first album in 1965, at the age of 18.
With La Fabulosa guitarra de Paco de Lucía, released in 1967, de Lucía began to distance himself from the influence masters such as Niño Ricardo and Mario Escudero and by Fantasia Flamenca, recorded in 1969, he had defined his own style. His superb technique was displayed in well-structured pieces that departed from the flamenco tradition of theme and variations.
In 1968, he met Camarón de la Isla, one of the leading flamenco singers at the time. Their association was chronicled on more than 10 records. Their album Potro de Rabia y Miel (1991) was perhaps the last studio release by Camarón de la Isla, who died in 1992.
Paco de Lucia was criticized by flamenco die hards for his ventures into other styles. His own sextet, formed in 1981, included bass, drums, and saxophone. Paco also had high profile collaborations, especially with jazz musicians, most notably with pianist Chick Corea and fellow guitarists John McLaughlin, Larry Coryell and Al DiMeola. The remarkable results of these collaborations have been documented in several releases including the guitar trio albums Castro Marin (1979), Passion Grace and Fire (1982) and Friday Night in San Francisco (1981).
Paco de Lucia also recorded soundtracks for films such as Carlos Saura’s Carmen, Borau’s La Sabina, and the ballet Los Tarantos, presented at Madrid’s prestigious Teatro de la Zarzuela in 1986.
However, as if to make a point, de Lucía returned to pure flamenco in the spectacular Siroco (1987), a brilliant outline of his style, and then twist and turned back towards fusion with Zyryab (1990) that featured his sextet enhanced by pianist Chick Corea.
Through his Brazilian percussionist Rubem Dantas, Paco de Lucía introduced the cajón, a previously unknown Peruvian instrument to flamenco. Since then, the cajón has become a standard feature in most flamenco ensembles. Spanish instrument makers have created cajón variations, developing what is now known as cajón flamenco or caja.
De Lucía shrugged off the complaints or the concerns that he might lose his roots or betray the essence of flamenco. “I have never lost my roots in my music, because I would lose myself,” he once said. “What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places trying to find new things I can bring into flamenco.”
“There was a time when I was concerned about losing myself,” he once said, “but not now. I’ve realized that, even if I wanted, I couldn’t do anything else. I am a flamenco guitarist. If I tried to play anything else it would still sound like flamenco.”
In 2004, Paco de Lucia won the 2004 Prince of Asturias award of the Arts. This is the most important and prestigious award of its kind given in Spain. The other contenders were American rock musician Bruce Springsteen, French dancer Maurice Bejart and British composer Andrew Lloyd Webber.
In 2004, after living several years in Mexico’s Yucatan peninsula, Paco de Lucia moved back to Spain. He chose the ancient historic city of Toledo, which is near Madrid, but is much quieter.
In 2010 Paco de Lucia was presented with an honorary doctor of music degree from Berklee College of Music, recognizing his achievements and influence in music, and for his enduring contributions to American and international culture.
Jerez Texas is a fascinating trio from Valencia (Spain) that has developed a unique combination of musical genres and instruments. ‘Clar de lluna’ is their new live album, recorded at the ancient Roman Theater ruins in Sagunto, north of Valencia.
Frenchman Matthieu Saglio and Spaniards Ricardo Esteve and Jesús Gimeno are three virtuoso musicians who clearly demonstrate the genuine chemistry in their live performances. Jerez Texas’ alluring sound brings together passionate flamenco guitar, graceful classical music cello, and drums rooted in jazz and flamenco, along with additional world music influences.
Clar de lluna features fiery chamber flamenco performed by three remarkable musicians. Jerez Texas has released several music videos from this live concert that showcase their talent.
Although most of the material on this album are original compositions by members of Jerez Texas, Clar de lluna contains a great version of Joe Zawinul’s jazz fusion classic “Birdland” along with a recreation of Serge Gainsbourg’s Couleur Café retitled in Spanish Color Café.
The lineup includes Ricardo Esteve on flamenco guitar; Matthieu Saglio on cello; and Jesús Gimeno on drums and flamenco cajón.
In Spain, she is known as La Niña Pastori, a much-beloved, superstar flamenco and crossover pop vocalist who has sold more than 1 million units over a stellar career since 1995.
Maria Rosa Garcia Garcia was born in San Fernando (Cadiz) in 1978. Taking her artistic name from her mother La Pastori (therefore, La Niña Pastori), the always passionate singer learned the art of flamenco from her mother as she accompanied her to shows around her hometown.
It was pop singer Alejandro Sanz and celebrated Spanish singer-songwriter and producer Paco Ortega who discovered Pastori and launched her career when she was 17 years old with her album Entre Dos Puertos (Between Two Ports). The album sold 100,000 units to a broad range of fans who have stuck with her ever since.
In 2002 Niña Pastori married flamenco percussionist and producer Julio Jiménez ‘Chaboli’.
In 2014, Niña Pastori recorded Raiz (Root), a collaborative album with Mexican-American vocalist Lila Downs and Argentine singer Soledad Pastorutti.
A student of Sevillian maestros such as Manuel Lozano and Manolo Carmona, Daniel Navarro Cruz, better known as Niño de Pura, started playing guitar professionally accompanying his brother, flamenco bailaor (dancer) Jose Joaquin. His most influential teacher was Manolo Sanlucar, considered one of his mentors.
He was born in Sevilla in 1966. From a very early age, Niño began to enter contests, and ended up becoming one of the most prize-winning guitarists in Spain. Foremost among his prizes are First prize of the Flamencology Professorship of Jerez, First prize of the Flamenco Guitar Young Performers Contest at Seville’s 3rd Bienal of Flamenco Art, the ‘Bordon Minero’ of La Union’s Las Minas Festival, the ‘Zipa de Oro 1985’ prize from the Colombian press, and the ‘Giraldillo del Toque’ of Sevilla’s 6th Bienal of Flamenco Art.
In the mid-1980s, Niño joined the international circuit, with his first concert tour around South America. At the same time he accompanied top-rate flamenco cantaores (singers) and bailaores (dancers), both in concert and in recording studios. From the late eighties to the early nineties, he recorded on all the Spanish television stations and toured Japan with the show ‘Estrellas de la Bienal’ (‘Stars of the Bienal’).
Niño de Pura recorded his first solo album in 1986: Capricho de bohemia. Following this record was Caliente in 1991 which, besides featured both his own compositions and original arrangements. He soon became a highly sought-after studio musician, composer and arranger writer for record companies and producers.
His best known songs and studio productions from this period are ‘Acero frio’ and ‘Orzo Rom” by Aurora Vargas and ‘Por la bahia’ by Pansequito. In 1993 he composed ‘Mas alla de la luz’ for solo guitar and chamber orchestra, a work which premiered at the Reales Alcazares in Sevilla. His third solo album was Maquida, released in 1996. Six years later he released Pozo y caudal, an album on which he is accompanied by guests such as Carles Benavent, Tino di Geraldo, La Macanita and Rafael de Utrera.
In terms of performing arts, he composed a part of ‘El Perro Andaluz’ for the Andalusian Dance Company, then directed by Maria Pages, and in 1998, for Jose Joaquin’s Company he composed the music for the show ‘Sansueña’. Together with guitarist Manolo Franco, he presented the show ‘Compadres’ at Sevilla’s 1999 Bienal, later presented at the International Book Fair in Guadalajara (Mexico). One year later, he premiered the concert ‘Guitarra amiga’ with guitarists Manolo Franco, Miguel Angel Cortes and Pedro Sierra.
Niño de Pura continues to internationalize his art, gracing stages such as London’s Royal Albert Hall and festivals in France, Germany, Belgium, Mexico, Chile, and Spain. He has appeared with many great guitarists, including Costas Cotsiolis, Adam Holzman, Pavel Steidl, Ralph Towner, Hopkinson Smith, Silvina Lopez, Maria Esther Guzman, Alex Garrobe, Yamandu Costa, Roberto Limon, Martin Madrigal, Roberto Aussel, and Aldo Lagrutta.
Flamenco rising star Argentina is set to perform her new show, The Winds That Bring Me Here, on Tuesday, April 4th, 2017 at Teatro Central in Seville, Spain.
In past years, Argentina has demonstrated that she is one of the finest new flamenco vocalists. Her discography includes her self-titled solo album Argentina, Las minas de Egipto, Un viaje por el cante, and Sinergia.
The concert lineup includes Argentina on vocals; José Quevedo Bolita and Eugenio Iglesias on guitars; and Torombo and Los Mellis on palmas (handclap percussion) and jaleos (shouts of encouragement).
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