Spanish flamenco guitarist José Almarcha recently released an album titled Un Nuevo Paseo (a new walk). Notably, Almarcha seamlessly intertwines traditional flamenco roots with elegant rock guitar, violin and American soul. We had an opportunity to discuss details about this new step in his career.
How and when did you start working professionally as a musician?
I couldn’t give a date or an exact moment… I started as a child and almost as a game I started playing in places as entertainment, accompanying singers, playing alone sometimes, but without being too aware that they were concerts or performances. So I traveled practically all over the community of Castilla la Mancha, I was very, very young.
What do you think are the fundamental elements of your musical style?
I think that the characteristics of my style are the sound, the sensitivity, and the flamenco style. I care a lot that absolutely everything I do sounds like flamenco. It is very important to me, as is the transmission, that my music reaches the receiver and manages to move something inside. And the sound of the guitar, that it sounds strong and clean, is fundamental.
How has your musical expression evolved over the years?
Little by little, like everyone else, I imagine, as you gain experience in life and get older, you learn more and more things, and all of that is reflected in your playing. The guitar is the mirror of the soul, everyone plays as they are.
What does the title of your new album, “Un nuevo paseo” mean?
Well, apart from “un nuevo paseo” because it is a new work in my career, the third one already. On this occasion it also refers to a new walk; a new path that I have ventured to experiment with, with new sounds, new forms of composition and a new concept of flamenco fusion; which I always say is more of a marriage than fusion; each instrument and musical style integrated into the album. I try not to lose its idiosyncrasy, but to combine so that all together they reach the message that I want to transmit. And we have managed to create a fairly good and novel album, perhaps without discovering anything new, because these instruments are already widely used in flamenco music. But never, I believe, has it been done this way, respecting each root and creating such a perfect dialogue; that is the contribution and where the novelty is.
In Un nuevo paseo you incorporate flamenco guitar, rock-style electric guitar and soul. How did you arrive at this type of sound fusion?
Well, I have always liked the electric sound of rock and the voices of jazz or soul; and I have always thought that in a flamenco style they could work very well. I always imagined a guitar concert in the style of Pink Floyd or Mike Oldfield with those bands and that great sound, those choirs. I don’t want to say that flamenco is not great, quite the contrary. For me, it is the greatest music there is, but I love that sound that fills stadiums, that sound like rock bands and I was amazed by the idea of being able to bring it to flamenco. So, with that in mind, I started to work and to think about it, to think about which pieces could fit better and which less. The result is this, Un nuevo paseo. I think it is quite successful.
What other musicians appear in Un nuevo paseo?
Well, I have a dream band, my beloved Jorge Santana on drums, Marco Niemietz on bass, Andre JahJah on piano, Víctor Guadiana on electric guitar and violin, and the backing vocals of Martha Ramos and Aury Salazar. All of this is reinforced by super special collaborations such as those of Javier Ruibal, Carmen Linares and Gema Caballero on vocals, Antonio Serrano on harmonica and Lucía Ruibal on the feet (foot percussion).
How do you compose your songs? Is it a hard process or a fruit of inspiration?
Well, inspiration is always what opens the door for me; it comes and brings me some melodies or some passage or some idea about some style. But, of course, when it goes away, which is unfortunately early, I stay working for weeks and weeks to shape that first inspiring idea. It is much more a job of hammering and turning over and over again than inspiration.
I like the cover of Un nuevo paseo. There are many musicians who want to appear on the cover, but I like artistic covers better. Who designed the cover?
The cover and all the graphic content of the album, which is quite a lot, was done by a magnificent painter called Sonia Alonso, a very dear friend of mine. I explained the idea to her, and she got to work with the result that you can see, which I think is amazing, and the best thing anyone has ever done for me.
What kind of guitar do you use now? Have you used more than one guitar in “Un nuevo paseo“?
I have two, two flamenco guitars; one made of rosewood and cedar and another made of cypress and pine. I have used both. In all my works I have used one to play the solo and the other to play the accompaniment or second guitar. Depending on the style I am going to play, I like the sound of one or the other better.
Do you play any other string instrument?
No, I only play flamenco guitar. It is the only instrument I have had time to learn in my life. I have not finished learning it yet and at the rate I am going, I do not think I will finish…
Who makes your guitars?
Mariano Conde.
Do you keep or collect your guitars?
No, I only have two guitars. I don’t have many guitars. I like to play them all, and if I had many, I would spend a long time without playing some of them, so I prefer to have a few so that they are all active.
What is the charm of the guitar to you?
I couldn’t tell you… the flamenco guitar is an instrument that fills me inside. I start playing and when I feel the vibration of the wood in my chest, it’s a sensation that I can’t describe. But it’s very hard, it requires a lot of energy and a lot of strength. You always have to be 100% in your hands to be able to do what you want. You have to pick it up every day because if not, the guitar is treacherous and leaves you with your ass hanging out at the first opportunity. It’s very demanding.
Do you give classes or workshops?
With concerts, I don’t have time to dedicate myself to classes. I like classes, when they are given, to be regular so that the student has a routine and a commitment. I can’t commit to that right now, so I’ve put it aside a bit. Maybe one day.
Which guitarists from the new generations in Spain deserve the attention of flamenco guitar lovers?
Today we enjoy excellent guitar health, any young guy has very attractive proposals, I recommend listening to everyone, young and not so young, we have an enviable variety and richness.
If you could gather the musicians or groups that fascinate you the most to record an album or collaborate live, who would you call?
Wow… I don’t know. From those in my field, people like Vicente Amigo, Duquende, Estrella Morente to Eric Clapton, Steve Ray Vaughan or David Gilmour… I would have to call a lot of people, I like so many, that the album would possibly be a trilogy.
What other projects do you have in the works?
Right now I’m focused on rolling out the new album, then we’ll see… I’d like to release an album that’s a bit more traditional but incorporating new sounds to my guitar, effects and so on. I don’t know, I’m still thinking about it. I have some songs already written, but I have to think about the approach.
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.