Espliego was formed by two singer-songwriters, Pedro Chaparro (Valdepeñas, Ciudad Real) and José Ignacio Cordero (Talavera de la Reina, Toledo) from the Castille-La Mancha region of Spain, the land of Don Quixote. Throughout the years the band grew and added new musicians, featuring three vocalists, two male and one female.
What characterized the group was its interest in the music and poetry of the Cervantes era. Espliego combined Early Music with Manchego folk and folk-rock. The instruments used ranged from traditional Spanish instruments such as guitar, vihuela and flutes, combined with Irish uilleann pipes, world percussion and electric guitar.
Con el tallo de un lirio (2000) El libro de Juan Alcaide (2001) Amuleto de estrellas (2003) Nunca fuera caballero (2004)
Estrella Morente was born on August 14, 1980 in Las Gabias, Granada, Spain. She grew up in a family of flamenco singers and guitarists. She is the daughter of one of the greatest flamenco singers, Enrique Morente, and flamenco dancer Aurora Carbonell. Estrella Morente has spent her life in an authentic flamenco and musical environment.
At the age of seven, she sang accompanied by Maestro Sabicas’ guitar and at 16 she made her debut before the whole world at the Gala for the presentation of the Alpine Ski Championships in the Sierra Nevada (Spain).
She started as a flamenco singer (cantaora) at the age of 17. Her songs blend traditional and more unconventional flamenco. From early on in her career she started attracting the attention of stars like Lenny Kravitz and also that of flamenco experts and purists. Her voice, her rhythm, her enthusiasm, her intelligence and her dedication have also been noticed by the major music publications.
She has also sung live accompanied by the illustrious Chano Lobato and Juan Habichuela.
On December 14, 2001 she married the bullfighter Javier Conde.
Felpeyu was formed in 1991 by a group of students with similar musical tendencies. The band performed several concerts in halls and folk pubs, changing soon to big stages and festivals in different parts of Spain: Asturias, Castilla-Leon and Galicia.
Felpeyu remakes Asturian traditional music by following similar trends in European folk music, specially Irish and Scottish Celtic music. “Our band makes use of a methodology related to the orchestration, performing techniques and arrangements which allow us to reach our aim. Thus, we elaborate our sound by combining both the orchestration coming from the Asturian tradition and the more general and current one from Atlantic European areas, without losing the acoustic sound.”
“There are various sources which provide us with the material we usually work with: folk song books, choral scores and manuscripts harmonized from traditional songs, sound files from ethnographic researching groups -in which some of our members take part-, folk music which is present in the everyday life, and, finally, our own compositions based on traditional structures and rhythms.”
In 1993 the band won the third prize in the Vilagarcia de Arosa Folk Competition, recording two tracks on a CD shared with the other two winners.
The first CD, Felpeyu, came out in 1994. The second album, Tierra, was released in 1997 and became Asturian Recording of the Year.
During the following years, the band toured throughout Spain and other European countries. In 2000, Felpeyu toured Australia, with 30 performances at major Australian festivals. During the international tour Felpeyu recorded Live Overseas. A second Australian tour took place in 2001.
In 2003 Felpeyu created its own label, Tierra Discos. The first release on the Tierra was Ya!, distributed in Spain and Australasia. That same year, Felpeyu played at the prestigious WOMADadelaide festival.
Felpeyu suffered a terrible blow in 2006. Band members Carlos Redondo and Igor Medio, June 24th in Zuya (northern Spain) in a vehicle accident. The group was traveling from a gig in Corvera (Asturias) to another venue in Barcelona. Felpeyu’s van exited the road and overturned. Two members died and four were severely injured. The untimely death of the two well-known musicians from the Asturias region of Spain shocked the Spanish folk music community, specially the Celtic music scene.
Carlos Redondo had joined Felpeyu in 1994. He played guitar, bass and lead vocals. He was the member of the band with more professional musical experience. He had worked intensively as a rock musician, teacher, producer and sound engineer. He was mainly known in Asturias as singer and bass player of the legendary Asturian pop-rock band Los Locos. He got into folk music in the early 90’s by producing some Asturian bands; Felpeyu was one of them, and he joined the band right after producing its first recording, Felpeyu, in 1994. Carlos was born in Gijon ( Spain).
Igor Medio had a heterogeneous background. He grew up into an atmosphere of choral and Asturian singing -which both his parents and family developed- and was also into classical music studies and blues/rock experiences before being introduced to folk music. As a folk musician, he developed a personal and eclectic way of arranging and performing Asturian traditional music. He played guitar and mandolin in the band, choosing the bouzouki as his main instrument afterwards. He played bouzouki, guitar -only on studio-, bass pedals, and sang lead and harmony vocals. Igor was born in Gijon (Spain).
In May of 2007, a reborn Felpeyu performed for the first time since the accident.
Eliseo Parra is one Spain’s leading performers and researchers of folk music. He has traveled to small villages to rediscover old songs, musical instruments and learned how to play some instruments in the traditional style. He reconstructs folk music by adding modern elements. His background may seem surprising to some. He began as a rock musician and afterwards became interested in jazz and Caribbean rhythms. Eventually, he ended up rediscovering Spanish folk music.
Parra was born in Sardón de Duero (Valladolid). He began his musical career in Barcelona, in the late 1960s, as a drummer in several rock groups.
In 1971, Eliseo Parra recorded his first LP with the group Mi Generación; an album that featured his own songs. During six years Parra combined his work with the rock band with the solfeggio and harmony studies at the Municipal Conservatory of Barcelona. Around 1976 he took part in the then burgeoning Barcelona jazz scene, also known as Movida Zeleste, by joining Catalan jazz Blay tritono and later the Rondalla de la Costa.
In 1979, Parra recorded with Mallorcan diva Maria del Mar Bonet on Saba de Terrer, an album dedicated to traditional Mallorcan tunes. He collaborated with Bonet yet again on her album Gavines and Dragons. That same year he moved to Valencia to join the group AL Tall with which he had already collaborated previously on the albums Cancos de Vi and Taberna. As a new band member, he participated as performer, composer and arranger on the LP La Batalle d’Almansa.
In 1980, Eliseo Parra returned to Barcelona to study harmony at the recently created School of Jazz and Latin Percussion (Aula de Jazz y Percusion Latin) with the unforgettable Pedrito Diaz. Salsa music became huge in Barcelona and Parra, a singer- percussionist, joined several bands, including Sardineta, which had some international success, and other well known Barcelona based bands such as La Sonora Catalana, La Plater?a, and La Negra. Meanwhile, he collaborated as an instrumentalist and composer in the recordings and live performances of Marina Rossell, Ovidi Montllor, Pilfers and Gato P?rez among others.
In 1983, after a tour of the United States and Canada, Eliseo Parra moved to Madrid to create a musical project based in traditional roots with a group called Mosaic. At that time, Madrid began to replace Barcelona as Spain’s most exciting musical melting pot, attracting musicians from other parts of Spain, as well as from Cuba, Argentina, Equatorial Guinea, Sudan, and many other countries.
The first album by Eliseo Parra’s new band came out in 1984. It was a tribute to the great musician and folklorist from Segovia, Agapito Marazuela, with music from his Songbook.
A second album came out in 1985 with original music inspired by Spanish traditional music. The group toured throughout Spain, France, Italy and Denmark until 1987. From 1988 through 1991, Parra performed solo in Spain, Italy and Morocco. He participated in two episodes tof the Spanish TV series “La Copla” and he worked as music advisor for a TVE (Spanish National TV). During that time he worked as a producer, arranger and composer for albums by La Gaira, Elisa Serna, Angel Carril and Maria Salgado.
In 1992, Parra recorded his first solo album, Al-Bedrio. The album came out in 1993 and Eliseo Parra formed a band that toured Spain, Switzerland and Israel.
For Christmas of 1994, a new album, Arraigo, was released, with 17 of the most beautiful songs from the Salamanca tradition performed with electronic equipment almost in its entirety.
During 1995, Parra taught song and traditional percussion. He also composed and recorded the music for the suite Romance for traditional instruments and orchestra, which was performed for the first time by the National Ballet of Spain together with the Symphonic Orchestra of Madrid at the Teatro de la Zarzuela in September of 1996. At the same time, and together with Susana Weich-Shahak and Jose Manuel Fraile Gil, Parra carried out a series of concerts and conferences about Sephardic music. A double CD, Arboleras, came out with these pieces.
In December of 1996, Eliseo Parra represented Spain at the Forum of Mediterranean Culture that took place in Jerusalem.
In 1997, Parra participated as arranger and musician on the album of Sudanese singer Rasha. Tat same year he participated in a landmark album called Tribus Hispanas (Hispanic Tribes) that featured some of Spain’s finest world music artists: Javier Paxariño, Elisea Serna, Jaime Muñoz, Carlos Beceiro, etc.
During 1998, Parra began to collaborate assiduously with multi-instrumentalists Javier Paxariño and Eduardo Laguillo.
Eliseo Parra is still very popular as a producer and performer. He produced the album Vizcayatik Bizkaiara by Oskorri, the most famous Basque folk band. He also collaborated on the album Lorios by Alboka, featuring Hungarian singer Marta Sebestyen.
In March of 2002, BOA Records released Eliseo Parra’s album Viva quien sabe querer. That same year, Parra composed the soundtrack for Peribañez y el Comendador de Ocaña, staged by the Compañia Nacional de Teatro Clasico (National classical theater Company), where he participated as an actor, musician and singer throughout 2002.
In 2017, the book and CD Eliseo Parra: Nunca perseguí la gloria, was released. It is the first authorized biography of Eliseo Parra
The book and disc combo, written by Rafael Alba and prefaced by Fernando Neira, was published by Editorial Canela. The work narrates the passionate vital and artistic history of the key artist in the modernization of Spanish folk music and the renewal of the traditional Iberian music scene.
The CD that accompanies the book provides a global vision of the five decades of work by Eliseo Parra and highlights his contribution to genres as disparate as psychedelic rock, salsa and singer-songwriter compositions
Eliseo has researched traditional Iberian music, has rescued rhythms and instruments and has revitalized the popular legacy to ensure its future viability. The book gives an account of the efforts of this unique artist to remain faithful to his personal and musical principles for more than five decades, in an environment of constant change, hit by changing fashions, the crisis of the cultural industry and the habitual contempt of the mainstream media for Iberian roots music.
Al-Bedrío (Radio Nacional de España, 1992) Arraigo (Centro de Cultura Tradicional. Dip. De Salamanca, 1993) La boda estorbada (Música Sin Fin, 1995) Arboleras, canciones sefardíes, with Susana Weich-Shahak and José Manuel Fraile Gil (SAGA, 1996) Tribus hispanas (Música Sin Fin, 1998) Viva quien sabe querer (Boa Music, 2002) De ayer mañana (World Village – Harmonia Mundi, 2005) Diez (Producciones Mirmidón, 2009) Contradición (Producciones Mirmidón, 2011) Canciones tradicionales riojanas (Espiral Folk, 2012) El Man Sur (Karonte, 2015) Nunca perseguí la gloria (2017)
Efrén López was born in Manises, Spain in 1972. He is one of the founders of L’Ham de Foc. After collaborating in a wide number of musical projects as a guitarist, he started getting into traditional music. As a session musician he has recorded in more than forty different projects of various musical styles: early music (Capella de Ministrers, Aman Aman, Oc, Maria Laffitte, etc.), folk (Sabir, Malaguero, Cendraires, Al Tall, El Cau del Llop, etc.).
Little by little, he moved away from the guitar to focus mainly on Mediterranean double-string instruments and Medieval music. With this type of instruments he has done works for advertising, documentaries, short films, poetry readings, puppet shows, street theatre, and intensive courses.
He has done artistic productions for various bands and singer-songwriters. He has studied hurdy-gurdy through intensive courses with Pascal Lefeuvre, Maurizzio Martinotti and Nigel Eaton. North Indian music with Krishna Mohann Batt and Ajoy Chakrabakti, sitar with Sazed Ul Alam, rabab and music from Afghanistan with Daud Khan and Ustad Mohammed Rahim Khushnawaz, ud with Necati Celik and Yurdal Tokcan, and saz with the Crete based Irish musician Ross Daly and the Turkish masters Erol Parlak and Mehmet Erenler.
Efrén combined his activities with L’Ham de Foc with the early music band Capella de Ministrers, with whom he has performed throughout Spain, Italy, France, Morocco, Egypt, Croatia, Portugal, and has recorded several albums, including Trobadors, Llibre Vermell Montserrat, Lamento di Tristano, Misteri d’Elx and Cancionero de Palacio.
Trobadors Llibre Vermell Montserrat Lamento di Tristano Misteri d’Elx Cancionero de Palacio Mavra Froudia (Musiépoca, 2011) El Fill Del Llop (Buda Musique, 2015)
Spanish, born in Tangiers of Spanish parents from Andalusia on the 29th July 1955, Eduardo is the seventh son in a family of eleven, nearly all of whom are talented artists or musicians. Two of them, his brothers Jose (a painter) and Salvador (a drummer) along with Eduardo, are Internationally acclaimed and respected artists.
Niebla’s first musical encounter was with his brother’s accordion at the age of five. Three years later, his older brother Antonio gave him his first guitar. By this time the family had moved to Gerona in the Northeast of Spain.
At the age of eleven Eduardo formed his first folk/pop band Los Helios. They regularly performed in schools. In addition he made radio appearances with his sister Pilar, featuring poetry reading with flamenco guitar accompaniment. In 1966, Niebla with his brother Felix (double bass) and Salvador (drums and percussion) formed the Guevara Group. They appeared at many concerts and folk festivals throughout Catalonia.
In 1968, as a member of the new band Metafora, Eduardo had his first taste of electronic music, inspired by the works of Jimi Hendrix. They also performed in concerts and festivals throughout Spain. In 1973 he turned professional and founded the progressive symphonic rock band Atila. In addition to touring, they produced three hugely successful albums: The Beginning of the End (New Promotions), Intentions (BASF) and Reviure (EMI Odeon), composed and arranged by himself.
In 1975 Atila toured France, taking part in several exhibitions of conceptual art with the Spanish painter Jaume Xifra. Eduardo also composed, arranged and played music for the Arab Theatre of Paris. In Spain, Atila were appearing regularly at every major music festival in the country. In addition to winning various prizes and having many television appearances, they were voted one of the best groups of 1974-75 by both the Spanish public and music critics. Eduardo was voted among the seventh best guitarists in the Iberian peninsula. Atila albums are now collectors’ items.
In 1976 Eduardo became interested for the first time in performing in a duet form working with jazz guitarist Carlos Gonzalez in Seville. The duo composed pieces inspired by the works of Wes Montgomery. In 1978, Eduardo went to London and first appeared on the music scene as a studio session player.
By 1980, he had become a member of the group Mother Gong, with whom he recorded the album Fairy Tale. In the same year he was invited to Ronnie Scott’s Club to perform in a duet with free-jazz saxophonist Lol Coxhill; since then they have played together on several occasions.
In 1981 Eduardo broadened his musical horizons and composed orchestral works for films and documentaries like Active Birth, RD Laing, Pablo Neruda (Madd Knipp Productions), El Gato y la Paloma (Alan Productions) etc. He also appeared as a guest artist with the writers and poets Fran Landesman, John Cooper Clarke and Mike Horovitz on various occasions. In the same year he formed a new band under his own name.
He wrote and arranged the music for their album Towards the Sun. The members of the band were both classical and jazz musicians: Salvador Niebla (drums and percussion), Judy Garratt (violin, Boston Pop Orchestra), Dennis Milner (double bass, London Philharmonic), Mark Lorraine (French horn, New York Philharmonic Orchestra), Lol Coxhill (Saxophone), Didier Malerve (Flute -Gong), Lyn Dobson (saxophone and flute ex Soft Machine) John Mackenzie (electric bass), Elise Lorraine (vocals) and Zandy Gordon (Keyboards).
In 1981, he also collaborated with the group Tapstep. In the following year, 1982, he worked with many musicians in the jazz arena with his own Niebla Quartet.
It was in 1983 that he started the very successful Eduardo Niebla Guitar Duo. In this format he found a much more prominent vehicle for his guitar expertise. Some of the releases include Light and Shade, Eurotour, Celebration, Music Without Frontiers, Poema, etc. The act was repeatedly
acclaimed the best guitar duo on the European circuit. Some of his accompanists include Bob Grant, Emilio Maya, Antonio Forcione, Pepe Justicia., Michele Cea, Dominic Grant, Victor Unukovsky, Mark Johns, Giorgio Serci.
The Eduardo Niebla Guitar Duo appeared at every major concert venue in England, Wales and Scotland as well as at every major guitar jazz festival. In London they have performed at the Barbican and the South Bank Centres, the Wigmore Hall, the Bloomsbury Theatre and the Richmond Theatre as well as the Fairfield Halls in Croydon. They also appeared at the Wembley Arena where they were guests on the Barclay James Harvest European Tour in 1983 which took them to all major European cities. The duo tours Europe every year and has made many television appearances both on regional and national television in these countries. In 1990 at the San Isidro Fiesta in Madrid, they played at the Rockodromo Arena at the close of the ceremony to an audience of 35,000 people.
Eduardo toured South Africa, performing solo concerts with great success. He took the opportunity to do some research on the music of local tribes, which inspired him to write many new compositions. The same year the Eduardo Niebla Guitar DuoO had a new recruit: Russian jazz guitarist Victor Unukovsky. This collaboration led to the recording I Can Fly Now CD (1996). In January Eduardo met the Arab ud player from Palestine Adel Salameh. Their collaboration resulted in many international appearances at concert halls and festivals. Their work can be heard on the recording Mediterraneo CD (1996).
In August 1996 the Eduardo Niebla Live! (with Wajahat Khan on sarod and Sukhvinder Singh on tablas) had a very successful tour in Spain, culminating in a new recording Magic Nights (1996). He also toured Britain with Adel Salameh, receiving very positive and warm responses. In 1997, Eduardo teamed up with gypsy singer and percussionist Paban Dasbaul, recording a set of very beautiful and traditional Indian gypsy songs, arranged and produced by himself. In the same year he recorded duets for guitar and Indian bamboo flute, featuring Deepak Ram. He also met Indian sitar virtuoso, Purvayan Chattergee, culminating in a set of new compositions and recordings.
In 1998, Eduardo Niebla Guitar Duo undertook a very intense and successful tour of Europe, presenting an electrifying program of his compositions featured on his new CD. Concert after concert he left audiences spellbound, and repeatedly received standing ovations. In the same year he also started THE EDUARDO NIEBLA EXPERIENCE, comprising tabla player (Sanjay Jhalla) and guitar accompanist, Giorgio Serci. Concerts followed in Spain and in the UK. 1999 has brought further intensive touring in Europe and Ireland as well as the UK – followed by the release of his latest CD “The Gift” this September.
Eduardo has also produced recordings for many other musicians and collaborated in countless productions that have encompassed the whole spectrum of musical styles. Artists include Belinda Carlisle, Tom Newman, Gary Grant, The Sailors and George Michael to name but a few. After all these years of dedication to composing, arranging and performing music distributed world-wide, Eduardo Niebla has now achieved international recognition for his expertise and creativity on the guitar.
Towards the Sun (1981) Light and Shade, with Antonio Forcione (Sol International Records, 1984) Eurotour, with Antonio Forcione (Sol International Records, 1985) Celebration, with Antonio Forcione (Venture, 1987) Music Without Frontiers, with Antonio Forcione (1987) The Alexander Project, with A. Foulcer (1988) Sequence for Guitar (1990) Work for Three Arts (1991) Spanish Projects (1992) The Sailors (1992) Poema, with Antonio Forcione (Jazzpoint Records, 1992) Breathing (1993) I Can Fly Now (Sol International Records, 1996) Magic Nights (1996) Mediterraneo, with Adel Salameh (1996) The Gift (LMR Records, 1999) Natural ( LMR Records, 2003) Lights from the Inner Side (LMR Records, 2004) My Gypsy Waltz (LMR Records, 2010)
Since 1984 Biella Nuei have been studying, recovering, expanding and popularizing traditional music from Aragon, a region situated in the north of Spain, below the Central Pyrenees.
Aragon’s mostly unknown musical heritage is rich and diverse. The band uses unique instruments such as the salterio (a string-drum), chiflo (a three hole flute), the gaita de boto (large bagpipe) and the Aragonese dulzaina (traditional pipe), numerous percussion instruments; tunes and rhythms such as fandangos, rumbas, dances (ritual dances), romances, and polkas.
To this musical base, Biella Nuei added other instruments such as the diatonic accordion, lutes, darbukas and tevilats (Arabic drums), the cajon flamenco and the contrabass in order to recreate ancient traditional tunes or simply create new melodies and harmonies.
“Besides two albums on our own (Las aves y las flores and Solombra) which include part of our live repertory, we have taken on a wide and fruitful ethno-musical research work in our region. Eight record-and-books documenting, preserving and spreading part of Aragon’s rich heritage have already been published as a result of our work.
We make also traditional instruments in our workshop, organize courses on music and pedagogical concerts; we publish records and books in this domain and counsel many Ethnographical Centers… Three members of Biella Nuei are teaching at Saragossa Folklore School.”
To date we have already given hundreds of performances throughout Spain, France, Italy and Germany. Along with our own pieces, we present a personal revision of our traditional music while incorporating elements and resonances of other musical roots.
We have presented many successful shows, like Flamenco Norte, which we crafted by blending the music of Aragon with music and songs from the Gypsy tradition, along with other Arabic influences and also with those of flamenco.
For the purposes of research, in 1988, we founded the Archives of the Oral Traditions of Aragon, the main documented resource of the oral traditions specific to the Aragon’s people. The work of our studies, archives and publications are reflected in nine CD-books.
Las Aves y las Flores (1994) Solombra (Coda Out, 1997) Sol d’ibierno (2006) Al Natural (2007) Biella Nuei & Azawan, Romper el muro Biella Nuei & La Fraternité (2011) Biella Nuei y los Bufacalibos, Oyendo crecer la Hierba (2011) Biella Nuei y La Santa Pereza (2013)
Berrogüetto was a crucial band in the Galician folk music scene. The six members of the band had great careers before starting this project, as they came from other important Galician bands such as Matto Congrio, Fia na Roca, Armeguin, etc. The band was started in the spring of 1995 and its music could be described as Contemporary Galician music. Berrogüetto worked both with the elements of the tradition and with the spirit of experimentation that defines the contemporary Arts.
Berrogüetto also included in its live shows the great voices and the tambourines of the seven women from the traditional all-female group Cantigas e Agarimos. This voice-tambourine sound is one of the most representative and original musical traditions from Galicia.
Berrogüetto celebrated its 10th anniversary in 2006 with the release of their fourth album 10.0. The group disbanded in 2006.
Musicians: Anxo Pintos: gaita, zanfona, violin, sax, flute, piano; Santiago Cribeiro: accordion, keyboards; Kim Fariña: violin; Isaac Palacín: drums, percussion; Guillermo Fernández: acoustic and synth guitar; Kiko Comesana: Celtic harp, bouzouki; and
Guadi Galego: gaita, piano, vocals.
Beselch Rodríguez was born in La Laguna, Tenerife, Canary Islands. He has become one of the leading timple performers in Spain. The timple is a small guitar from the Canary Islands and it is related to the Portuguese cavaquinho and braginha, which are the predecessors of the Hawaiian ukulele.
Self taught, he began as a folk music performer with Agrupación Folklórica El Moral. As timplista (tiemple player), his career began in 1998. After touring throughout the islands, he was the winner of the Certamen de Timple Juventud y Cultura in 2000. In 2004, Spain’s Instituto Nacional de la Juventud (INJUVE) selected him as one of the musicians that would participate in the prestigious Circuitos de Música INJUVE 2004 in the category of folk music.
He has shared the stage with numerous Spanish and international world music acts, performing at the top world music festivals in Spain.
His first solo CD is In-diferente (2009), in which he performs renovated timple sounds.
The second album, titled “Habitat” (2012) represented the re-encounter with his traditional roots.
In terms of evolution, Beselch developed his electric timple personal project, completed in 2012 and was made possible after several months of work with American luthier Jonathan Mann. Together, they created a new sound and timbre that’s is already part of the universe of this artist. With this new proposal, Beselch Rodríguez started a new path in fusion and interpretation.
Besides developing his musical activity as timplista, Beselch Rodríguez has participated in numerous projects and recordings, and works regularly with leading groups and performers of the Canary Islands.
In-Diferente (Multitrack, 2008) Habitat (Multitrack, 2012) Timples y Otras Pequeñas Guitarras del Mundo (Multitrack, 2015)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion