Multi-instrumentalist and composer Amir-John Haddad, also known as El Amir, has recorded a superb new album titled Andalucia. The guitar album is dedicated to the southernmost region of continental Spain.
Haddad is an extraordinary musician with a multifaceted career. Throughout the years, he has played a wide range of musical genres, including rock, world music, flamenco, and beyond.
Amir communicated with World Music Central from his current home in Malaga, the beautiful province in southern Spain.
What are your most fond musical memories?
My greatest musical memories, among many others, are about having performed at the Royal Albert Hall, Royal Festival Hall, The O2 Arena London, Wembley Arena, Royal Theatre Madrid, Town Hall New York, Cesar’s Palace Las Vegas with Juno Reactor, Roskilde Festival Denmark, Thumb of the Kings Jerusalem, Jodhpur Royal Palace India, touring the world with Radio Tarifa, my collaboration with Hans Zimmer, Stanley Clarke, Marcus Miller as well as my first steps at home where I started discovering the beauty of music and its universal language.
What was the first song or melody you learned?
Recently, during one of the Hans Zimmer tours I met and old German Kindergarten friend who came out to see the show and after the concert we were having a drink at the hotel bar and he told me that in kindergarten, I must have been around 4, they sat everybody around me on chairs and I performed with my guitar “Frère Jaques” which is an old nursery rhyme of French origin. Probably, I also learned how to play “Ya Awasel Falfilu” an old traditional middle eastern tune made popular by the famous Farid Al-Atrache. Shortly after this period I learned how to play the Arabic oud from my dad and also flamenco guitar since a very very young age. Officially, I started taking classes, first with my father and then with maestros, when I was seven years old.
What do you consider to be the essential elements of your music?
I come from a Middle Eastern, South American and German background. This has had always a huge influence on me and has shaped the way I hear, feel and understand music. I have been exposed to South American folklore, Arabic music, flamenco, German radio stations with classical music, world music, jazz, pop, rock, metal, fusion and an endless number of music styles. All these elements come together in my music, it is a natural way for me to express different emotions in different ways. The essential elements of my music are emotion, passion, technique and therefore let my heart talk.
How did your musical ideas evolve over the years from your first album to your most recent recordings?
Since the day I performed on a real stage when I was twelve years old many amazing and beautiful things have happened until now. I have had so many different musical experiences in my life since that moment and all these experiences have made me gain knowledge about music, about composing, about articulation with an instrument, about shaping melody-lines, about delivering emotions with an instrument and with music, etc. I have been always a musician eager to learn the tradition and the roots of something and take it from there. This has been an influence and a way of understanding since I was a child. My family transmitted me the urge of understanding my cultural roots first and then move on to something else which eventually would be a natural consequence of who I was due to where I came from.
Now, taking this into consideration to talk about my first solo album “Pasando Por Tabernas” which was my first flamenco guitar album in 2005, I can say that I still enjoy that album and I recognize the elements that made me compose those songs. Then I released my second flamenco album in 2013 which was a tribute to all flamenco guitar luthiers. This was a much mature album, with clear arrangements and a much refined way of playing my instrument. Finally, I released “Andalucía” in 2020 which is my tribute to the south of Spain.
In between I recorded many other albums either as a featuring guest artists or with other side projects I have had such as Zoobazar.
Each album is considered to be like a photograph of the moment in which you release it and its previous years during which you compose the material.
I have been part of the beautiful guitar project “Canción Andaluza” by Paco de Lucia. Together with Paco’s nephew and superb guitarist Jose María Bandera; we perform the repertoire of Paco’s latest album which he never could bring to the stage after his death. Absorbing this energy and knowledge about flamenco guitar has influenced me a lot, also for my new album. The musical ideas change depending on what I have lived and experienced as a human and as a artists during travels, tours, social encounters, landscapes etc… It is recommendable to be very perceptive and aware to what is happening to you and how you embrace each cheaper of your life. Music is an extension of what you experience. I feel that I want to tell always a new story with my instrument and this is the reason why each album sound different again.
Tell us about your new album, Andalucia.
My last album “Andalucía” is a tribute to Andalusia, the southern region of Spain. My idea was to make a tribute to each province within the region and compose a tune for each capital that could reflect the emotion and energy of that place. In some cases, the particular flamenco style of a province is aligned with the tune such as a “minera” for Almería, a “granaína” for Granada or a “sevillanas” for Seville.
It is my tribute to the past three decades of flamenco guitar that I have been exposed to directly and absorbing the essence and sound. Also a tribute to the history of flamenco as well as the flamenco guitar. I composed eight tunes for eight provinces thinking of combining traditional ways of playing with modern harmonies, different and new chord progressions.
Andalusia has been a big influence in my life since I was eight years old. That was the first time I traveled with my family to south of Spain and since then I was caught up even more in the emotion and feeling of the flamenco music. I have had the opportunity to experience flamenco music and life style very closely and vividly since a childhood. On the album there are two more songs, a rumba call “Andalucia” as well which is a happy rumba style with lyrics and also the single of the album. Further, there is “Andalusian Lullaby” which is the last song on the album. This last song goes a little beyond flamenco music and has elements coming from classical to South American music. It is a dialogue between three guitars and a perfect song to end the album; a lovely lullaby.
Who plays in Andalucia?
Like on each album I love to experiment with new musicians and friends. For me it is important to have musicians featuring on my albums who are also present in my present life. This is a way to be connected to what I am doing right now and that way I can share this with the audience.
I have the privilege to have Chelo Soto Robles on vocals, she is an amazing and outstanding gypsy flamenco singer from Malaga and has been Joaquin Cortes’ singer for the last ten years now.
On percussion there is Israel Katumba from the “Katumba” family from Cadiz. He is a great and talented cajon and percussion player. He has a groove with a capital “G”. He has been featured in Miguel Poveda’s group as well as El Barrio. I met him when playing the repertoire of Paco de Lucia’s last album “Canción Andaluza” live together with Jose Maria Bandera (Paco’s nephew).
Manuel de Lucena is one of the most renowned and best drummers in Spain of his generation. His collaboration with great artists is an endless list. Now he is touring with legendary Spanish band “Guadalquivir” (co-founders of “Andalusian rock).
The other amazing drummer is Miguel Lamas, a young super talented drummer of the new generation. We met some years ago playing with a funk rock band and I love his way of hitting those toms!!
Las but not least my dear friend and super bassist Juan Garcia-Herreros “Snow Owl”. Just last year he won “best bass player in the world” and is also my buddy in the “World of Hans Zimmer” Band. Such a talented and gifted musician. I recorded two songs on his new album “The red road” and we “exchanged goods” so to say. It is a pleasure to have him on this album.
Who are the musicians you are currently working with?
In the past two years I have been surrounding myself with friends who are amazing musicians. I like this idea the best, since it is about the emotional vibe I have going on with them, the respect we have for each other’s art and the fun moments on and off tour (very important!!). There is Miguel Hiroshi, a very talented and outstanding multi-percussionist and hang-pan player, Israel Katumba, Hector Tellini (former Zoobazar bassist and my sound tech in many occasions, life and in the studio), Flamenco dance maestro Joaquin Ruiz (he has been an influence on big figures such as Javier Baron or Sara Baras creating choreographies for them), Mar Rodriguez (one of the first violins of Spain’s National Orchestra), Oliver Sierra (former Chambao bassist), Karen Lugo (one of Spain’s most amazing flamenco dancers!) and Joaquin Sanchez Gil (flute, and various wind instruments). Of course there are many more since I always like to experiment with different sounds.
Before COVID-19, did you work remotely with other musicians through technology or did you travel to rehearse?
I have always rehearsed together with other musicians playing in the same room. Technology is great to exchange ideas and repertoire so that everybody can prepare before meeting in the rehearsals. For me, there is nothing better than getting together and experiencing music with your fellow musicians. There is something about the chemistry and the connections that you can easily miss by sitting in your house and do a remote rehearsal. I just like sitting there and trying out things and jam for a while before starting to look at a repertoire.
Of course with friends who live abroad there is no other way. Finally, it depends on yourself and on how much fun you make it to be for everybody. I have had the luck to have an infrastructure through my circle of friends and be able to have access to private studios, rehearsal rooms etc. Also the houses I have been living in have always had enough space to play (loud music, laughs) with my fellow musician friends and band members. I could even turn up a Stack amplifier up to “11” at 3:00 am (laughs). Living in the countryside has its advantages I guess…
How has the COVID-19 pandemic affected you in terms of work and livelihood?
This new disease and virus spread has had a very strong impact globally on all levels with the exception of very few privileged sectors.
In my case as a touring musician mainly, of course every concert and tour has been cancelled or postponed to the next coming years. Yet, this is also unsure for now. My working routine has been utterly disrupted and in the first two weeks I was a little bit paralyzed and was doing my best to be adjusting to the new situation and realizing that this would hold on for a longer period of time. On one hand it was like a shock, on the other hand it is a very good moment to connect again deep within and reevaluate what I want to do. Only through the introspection and aligning yourself with new ways of focusing and working on new things you eventually will come out safely and successfully from this global event. I suggest everybody to take this time as a “reset” to continue afterwards with a newer updated software.
What are you doing these days while there is an order to stay home?
In addition to what I said before and about finding new ways I have started to rely more than ever on internet activities, that is one of the big “escape channels” we have to offer our art and knowledge. I have prepared and launched a “One on One” Skype Online Program. It is a mentoring guitar program where I help guitarists to boost their level within a month or three months depending on which package they choose. I have prepared specific exercises and musical material to show them shortcuts that can achieve amazing results within few weeks of practicing already.
I have also prepared myself to be able to record from my home. I have never had a home studio, so now I have a quite decent minimum gear that allows me to do so.
In future I will be offering streaming concerts where people can log-in for a certain amount of an “entrance fee” and share 45 to 60 minutes of my playing. Also I am preparing new material that I have always wanted to do, still a secret of course (laughs) and my management is also finding new ways of promoting and engaging with my audience and promoters. The important thing is to keep active and not to let yourself get dragged down the alley by the negative news and the difficult times we are facing right now. As long as we are healthy we still have the responsibility and power to keep working on our future path.
I have been playing a lot of electric guitar lately, I really like to go back and re-learn some of the classic hard rock tunes, etc. and jam along to different music styles. Just recently I did a home-take on “Highway Star” and “Beat it”, that was fun. I turned on my HiFi system and plugged my guitar into an amp and there you go… I actually also enjoy the silent and quite moments in which I can be calm and breath and listen to my inner voice. I don’t want to feel I am losing a connection with me due to a global change. Now, more than ever it is important to listen to yourself and find out where you want to go, which direction is next? What is your next goal, desire, dream…
You were one of the founders of the Zoobar group. Will there be a new album in the future or a project in a similar vein?
Zoobazar was a great experience which lasted fourteen years. A great Mediterranean world music Quartet where I had the chance to explore many beautiful musical approaches with Mediterranean and Oriental traditional music and folklore. We toured through many countries and became surprisingly huge in Costa Rica. The biggest newspapers had us featured on their covers with the title “The Sons of the Mediterranean”.
I did compose a lot for this band over the years and it was actually a very nice journey where I could blend my musical and cultural heritage with the sounds that the other band members brought into the band and the music. With Zoobazar I released two albums “Uno” (2011) & “Dos” (2014) getting awarded by the Independent Music Awards (2012) for one of our songs and album.
Like everything in life things have an expiry date and so did this band. When certain priorities started to take over in order for every band member to evolve and to keep growing as a musician and as an artist, the time came where it was better to stop and continue on separate paths.
In my case I have been continuing to use these oriental and Mediterranean musical elements in my concerts, compositions and arrangements. This has been and will be one of my brand marks when performing world music. Since childhood and later on my times with Radio Tarifa I have been playing these music styles. Also, I have been blending these elements in my flamenco bands creating new sounds and interpreting certain flamenco styles with other instruments such as Arabic oud, Greek bouzouki etc…
I believe that a project is a picture, a sketch, a moment of my life and therefore I like letting it be part of my past. In this sense I don’t see the moment of recording another Zoobazar album in the future. What I can imagine is me exploring again with these musical elements blending them into something new and fresh at some point. In my flamenco albums there are always arrangements done with oud, bouzouki, etc.
You have been working with German composer Zimmer, composer of soundtracks for great Hollywood movies (Rain Man, The Lion King, Gladiator, Interstellar, etc.). How did you meet him and what kind of work have you been doing with Zimmer?
The story of how I got to be working with Hans Zimmer is very nice. One day my management received an email by Sandra Tomek from Tomek Productions in Vienna. She was the one in charge of the artistic production of this new show called “The World Of Hans Zimmer”.
Basically the email said: “Hi, Hans is looking for a new guitarist for his new show. He is looking for someone who is a great flamenco player and also who knows how to play electric guitar well and other string instruments. Is this something that could be interesting for Amir?”
I had followed Hans’s music for many years and had seen many documentaries about his approach on music and about producing these massive and beautiful soundtracks. It seems to be a job perfectly tailored for me. Being a multi-instrumentalist myself made more sense than ever after reading the email. Of course I said yes!
The next step was that I received some audios with songs such as Mission Impossible and others and I was kindly asked to record some of my guitar on top and send it back. So I did and put all the emotions I had that day into the recording of these guitars in the studio. After about a month I got an email saying that Hans had liked it and that I was on board. Such great news.
My role in this show is to cover all guitar parts. I am the guitar soloist of World of Hans Zimmer. I play flamenco guitar, electric guitars, Nylocaster (Stratocaster with nylon strings, modified by Ben Woods), Greek bouzouki and the ukulele. I have a main song where I perform front of stage as a soloist and that is “Mission Impossible”, it is a true powerhouse of a song!! Then I continue and play the solo intro for Pearl Harbor which is delicate and very sweet. Then I have different spots where I do electric guitar solos or heavy riffs and then many parts within the scores where I am constantly changing between instruments within a song to play the written
arrangements and some which I have adapted a little bit my way to create a different sound. It is a big challenge and responsibility to merge your sound with the sound of a huge orchestra. It is a thrilling experience of sound which I adore and enjoy a lot doing. Also Hans’s music makes you feel strong emotions inside and deliver yours through his music and that is a rewarding feeling. It is a constant exchange of energy on Stage.
Being able to share the stage with amazing artists such as conductor and maestro Gavin Greenaway, Lisa Gerrard (Dead Can Dance) or Pedro Eustache, etc is a blessing and such a wonderful way to learn and absorb the essence of art each night by sharing what I like the most:
Music and Emotion!
So far I have been touring 2018, 2019 and 2020 with this show performing at very cool venues such as Wembley Arena, The O2 London, Palais de Berçy Paris, Mercedes Benz Arena Berlin, etc…
It was in Los Angeles last year when I attended the NAMM ’19 that I went to visit Hans at his studio. That afternoon was a great moment, he had time to sit with me and talk about things and then after a while he asked me to go into one of the studios and record for one of the soundtracks he was working on at the time. I remember it was a very fun session trying things out. Finally, this soundtrack came out to be the one for the Hollywood movie “The Rhythm Section” with Jude Law that just was released in January 2020.
Also in January ‘20 year I had a private musical production for Guy Laliberté (Cirque du Soleil) and I received an email from Hans asking if I could come to London and record for a “fun project”. I was intrigued and I took a plane and went there. When I arrived at his studio in London I entered the room and there was Hans with his crew and Cary Joji Fukunaga, the director of James Bond’s new edition “No Time To Die” having a meeting, talking and deciding about what to do next with the music. I recorded on several cues for some action and love scenes. I am very thankful for this experience. I can consider myself now a “James Bond Guitarist” (laughs).
As I always say: “I am a Musician on a Mission”.
You play many string musical instruments. Which one is your favorite?
I don’t really have a favorite instrument since each of the instruments I play allows me to express different things in different ways. Each instrument is able to carry you to a different dimension of sound and emotion. The tuning, the sound, etc. make each instrument unique and therefore I capture the essence of it and use it to connect with various music sources. I like to play traditional repertoire and then also take those instruments and put them into a different context. That’s when the fun starts actually. I performed all the movements of the Vivaldi concerto in C major on the bouzouki e.g. and became the first musician to do so.
I play Flamenco guitar, Arabic oud, Greek bouzouki, Turkish saz, banjo, bass, ukulele, electric guitar, acoustic guitar, and all sorts of strange instruments that you can pick or plug. I have to admit though that besides the flamenco guitar and the electric oud, I am in love with the electric guitar which I have been playing since I am fourteen…I just like the idea to plug myself into an amp and being able to rock it out.
Of the guitars you play, is there a favorite guitar? Who makes it?
I have six favorite guitars:
The first is the guitar my father gave me, built by maestro Jose Lopez Bellido from Granada. Later on in the recent years he built for me a very special guitar with my name inlayed on the headstock and featured with traditional old style wood pegs. This is number two.
Number three is an electric guitar that was a present by my dear friend and super artist Virgil Ortiz from Santa Fe, New Mexico. He is a native American artist and fashion designer. I met him many years back in 2000 when tour in the US. This guitar is beautiful with pearl inlays and is a PRS style Samick limited Edition.
Number four is also an electric guitar, actually it is my first electric guitar from when I was fourteen years old. It is a Fenix by Young Chang. I am using both electric guitars now with Hans Zimmer on tour. Amazing…
Number five is my Nylocaster. Basically it is a Stratocaster with nylon strings and an acoustic piezzo, modified by Ben Woods.
Number six is my Signature Flamenco Guitar “model El Amir” built by Jose Salinas. A beautiful project that has led us both to create this new guitar line with super selected woods and features just the way I like it for my playing on stage and recording in studios.
Do you collect musical instruments?
I don’t necessarily collect them deliberately, yet all these instruments have come to me in various ways. Either they were presents or I did find them in shops or through other people in special moments. Each instrument I have has an own story and therefore its own personality. I have many instruments which I have been using live and on recordings throughout the years. Maybe I should admit that I collect them. It is more an emotional affection I developed. The value goes beyond the material condition. Some of them are unplayable, for me. They just ended up coming to me… and there will be more to come for sure…
In what ways are you promoting your music?
I am using the official digital platforms available out there such as Spotify, iTunes, Amazon, Youtube, etc. as well as social media such as Facebook, Instagram, Twitter and of course promotion agencies whenever a new album is being released to make sure people know and hear about it.
Also my distribution Company Galileo Music in Germany do their part in not only distributing but also promoting my music worldwide. Of course I further count on my management, Zoomusic Management, they are constantly working on my international career sending out newsletters with latest news and achievements and concert proposals to their booking contacts etc. You have to surround yourself with an infrastructure that allows you to spread your information simultaneously in all directions.
If you could invite additional musicians or bands to collaborate, who would it be?
One of my dreams is to perform with Glenn Hughes (Deep Purple). I love his voice and the way he interprets rock music, so powerful and straight to the bone. Also repeat collaborations with Stanley Clarke and Marcus Miller and even add Victor Wooten too. These are musicians I admire and enjoy their music. I would love to perform or record with Anoushka Shankar, outstanding artist. I also could see myself doing a tour with one of the great metal or rock bands from the US. Let’s blow those amps (laughs)!! I want to keep being involved in film music and explore this field a little more. I mean there are so many artists I love and wish to record, perform and collaborate. It is a matter of time to get in touch and make things happen. I could go on and write an endless list here…
Do you give classes or workshops?
I have been teaching guitar since I am fifteen years old. That has made me learn a lot myself and also see what the needs of other aspiring guitarists and musicians are. I would teach a workshop wherever I would perform a solo concert at a festival and add some dates for a masterclass or so. For the last 11 years I have been organizing together with Johannes Inhoffen from Mundo Flamenco my Guitar Camps during summer in the mountains of Granada in the south of Spain and in Germany.
From time to time I have been teaching private classes. My tour schedule has always been very busy and therefore I have never had permanent students with an exception of a few students that had classes with me.
What I am offering now, and I just launched this new Guitar Online Program, are Skype Lessons. I created a Guitar Mentoring Program where I help students to boost their level within few weeks, adjusting and personalizing their technique and help them to take shortcuts in order to achieve better results with their playing. I guide the student through various technical and musical paths to make them become comfortable on their instrument and more convinced about themselves. There is nothing like a happy and fulfilled musician. You can find all the info on my website www.elamir.es
What advice would you give to beginners who are anxious and want to make music outside of pop and trendy music?
One of the most important things is to ask you the following three questions: Do I love playing music? Do I feel passionate about playing music? Am I committed to go through the practice in order to achieve my instrument to become a vehicle to transmit emotions?
Learning how to play an instrument is about learning about yourself and about your limitations which you can overcome by practicing and training your brain and fingers. The path of learning an instrument is long and you need to be patient, committed, constant, aware, intelligent, heathy, positive, in love with the instrument and with music, able to spend many many hours alone, dealing with doubts and working constantly on your goals of perfection you want to achieve. Therefore, it is a serious thing to become a great instrument player. It takes guts, dedication, passion and honesty towards yourself. There a many different types of music out there and you choose whatever music is the one that makes you feel goosebumps and the one you feel connected to the most. It’s the heart and should that decide which direction to go.
Avoid doing things for money only, the path of absorbing knowledge and understanding creation is sometimes in small things that are far away from the world of music business. Find your own voice with the instrument and dig deep. This is what all great artists have done. One thing is to become famous and the other thing is to become an outstanding and amazing musician and performer. Best scenario would be achieving both ;-). And remember that talent alone is not the only key element and sometimes not enough to pursue and achieve your goals. It is committed work and practice which will give you the joy of being able to start flying with your instrument.
Which musicians from the new generations in your area deserve the attention of lovers of flamenco or other types of root music in general?
Here around Malaga, where I live, there are many amazing artists, some are famous and some are on the way.
I have had the pleasure to perform and record on two albums and also be touring with Chambao and La Mari. By the way with one of those albums we were nominated for the Latin Grammy Award in 2012. There is also Joaquin Sanchez Gil, an amazing flute and wind instrument player, he often has performed in my band. Also Jesus Bachiller “Bachi” is a young bass player. Pepe Justicia who has been my maestro for many years when living in Jerez. He lives in Malaga as well. Chelo Soto Robles, an amazing flamenco singer, as I mentioned above she has been working with legendary dancer Joaquin Cortes for the past ten years. Jose Salinas who is a flamenco singer and also the guitar builder who makes my signature guitar models. In Spain there is also a great singer with whom I have performed many times, Sandra Carrasco. Such a unique and special artists and outstanding flamenco singer. Again, there are also many new artists which will be making a place for their own in the music business.
In addition to the Andalucia release, do you have any additional future projects to share with us?
Besides my new album “Andalucia” which by the way just won Silver Medal, for my single named after the album, at the Global Music Awards 2020, I am focusing now on making my followers grow by engaging with them directly through classes. I will keep teaching my students online.
I will be also preparing new material for digital online courses which people can eventually download in the future.
I will start to compose new flamenco and world music and also get back to composing new rock songs for my side project “Members of Parliament”, which is more heavy-funk-rock oriented. I will keep being in touch with all the artists I know to start doing remote sessions and keep recording, “Guys my studio is ready! “(laughs) and also focus on pushing my level as a musician and artists. This is the perfect time to boost yourself and become a better version of what you where before Covid-19!!
Wishing everybody a healthy and successful 2020!
Hope to see you again on the road somewhere! Until then stay virus free and take care of yourselves.
Thanks to Angel Romero at World Music Central for your great support and great work!
Love & Respect
Author: Angel Romero
Angel Romero y Ruiz has dedicated his life to musical exploration. His efforts included the creation of two online portals, worldmusiccentral.org and musicasdelmundo.com. In addition, Angel is the co-founder of the Transglobal World Music Chart, a panel of world music DJs and writers that celebrates global sounds. Furthermore, he delved into the record business, producing world music studio albums and compilations. His works have appeared on Alula Records, Ellipsis Arts, Indígena Records and Music of the World.