Hello from New York

I performed for twenty five years as a classical and flamenco guitarist, and taught both. I was formerly a classical guitar critic and a flamenco guitar and dance critic for major publications. I reviewed Segovia, Sabicas, Carlos Montoya, Pepe Romero, Michael Lorimer, and many others. I accompanied Carmen Mora dance classes in her studio in California. I studied classical guitar with Juan de la Mata, and flamenco guitar with the great Mario Escudero. I am the author of articles on guitar technique and pedagogy. I was a member of the famous original New York Society of the Classic Guitar, in the sixties and seventies. Our society was so prestigious at the time, that many guitarists would make what was considered their New York debut before the society members, and it would be reviewed as such by the New York Times. As I recall, Elliot Fisk made such a debut at the society, a performance I attended. We were the publishers of the original "Guitar Review," an internationally renowned publication dedicated to all aspects of classical guitar, and printed on fine parchment-like paper, with outstanding drawn cover illustrations by our members, many of whom were professional artists, some famous. Our president of many years was Vladimir Bobri, a well known artist, who was himself a close friend of Segovia, and wrote a book, "The Segovia Technique," which was one of the very few books on which Segovia personally worked with the author. I highly recommend this book, incidentally, as it is extremely informative and useful, and even contains close-up photos of Segovia's hands, fingers, and even nails. Bobri also wrote an excellent book that is now back in print after many years, entitled, "Complete Study of Tremolo for the Classic Guitar." After a break of about ten years I am preparing to go back into teaching classical and flamenco guitar.

Ramon

WOW! That is an rich guitar background Ramon. Welcome to the forum. We look forward to your active participation.

-Bob

Ramon, welcome indeed! Maybe you can provide some information---one of my favorite flamenco albums from the 1950s is Elektra Records' Festival Gitana, with Sabicas, his brother Diego Castellon, and Mario Escudero (as El Niño de Alicante) accompanying singers Domingo Alvarado and Enrique Montoya. Jaleo and palmas were provided by persons identified only as "Los Trianeros". In his biography of Carmen Amaya, flamenco historian/guitarist Paco Sevilla says that Los Trianeros were "two young Puerto Rican students of Lola Brava, dancing under the names Roberto and Alicia". They came to Amaya for career guidance, and it was she who suggested that they call themselves Los Trianeros. Can you offer any information on Los Trianeros?

Carlos

Hi Carlos –
Thanks for the welcome, and from Bob as well. I have that record, but unfortunately I cannot shed any light on Los Trianeros. As you know, jaleadores largely go unknown, and sometimes unappreciated as well. Yes, Mario Escudero went under "Nino de Alicante" for many years. Of course so many flamenco guitarists start in childhood that we have lots of "Ninos." Mario told me he started when he was six. I once asked him how long he practiced when he was learning. His answer was, "From the time the sun came up until the sun went down." That's what you need to do to get to Mario's level, though few ever get to that level at all.

Ramon, your remark about "niños" reminds me of a remark about Pastora Pavon attributed to Sabicas: "She was a good person, but people used to call her Herod because she killed the niños (children; young singers) when she sang. The young singers would come out, and when Pastora came out, people would say, 'There is Herod.'"

This tale, too, can be found in Paco Sevilla's bio of Carmen Amaya, Queen of the Gypsies, which is a goldmine of fascinating flamenco history.

Carlos

Carlos –
Thanks for the recommendation. I have a ton of books on flamenco, but not that one. I will get it soon. I'll make a couple of recommendations, though I wouldn't doubt that you already have them. The single best book I have ever read on flamenco is "The Flamencos of Cadiz Bay," by Gerald Howson. Great insight into the life of the people who gave birth to the art, and highly entertaining too. Extremely well written. Then there is "The Flamenco Guitar," by David George. This has a most extraordinary interview conducted in the sixties with the great luthier Manuel Reyes, in which Reyes proves to be exceptionally articulate, and expresses his views on guitar construction in a way that you will rarely if ever hear. It also has a terrific interview with Diego.

Ramon, thanks for the suggestions. I've tried to get my hands on the Howson book, but it's out-of-print, and used copies go for a fortune--I'm waiting for it to be reissued. Let me also recommend, also by Paco Sevilla, his "flamenco historical novel" about Don Antonio Chacón, entitled Seeking Silverio. The book is what I would call, rather, an "enhanced biography" of Chacón--I found it absolutely delightful, as Sevilla has a real gift for bringing to life the sight, sounds, smells, atmosphere of late 19th-century Andalusia. The book can be considered the first in a trilogy of histories of flamenco, with the Carmen Amaya bio the 2nd, and his book on PdL the 3rd. I haven't read his PdL book.

Carlos

Carlos –
Thanks for your recommendation of Paco Sevilla. Fortunately I live in New York, and can usually find almost anything. There is one used copy of "Flamencos of Cadiz Bay" on Amazon for $25, but even that's a bit heavy for a used copy. Maybe it will come out in paperback. As for Sevilla's book on Paco, even though I personally can't listen to his playing, I'm sure I will get it anyway, because I just like to read anything and everything about flamenco, and it can hardly be denied that Paco is one of the most influential figures in the history of flamenco. Incidentally, the late Donn Pohren's last book was actually about Paco, or rather about his whole family. It is entitled "Paco de Lucia and Family – The Master Plan."

Ramon,

You've probably already found this out, but Paco Sevilla is self-published as/by Sevilla Press. He sells his books and other materials at http://sevillapress.netfirms.com

I also will someday get Paco's PdL book, if only to complete the trilogy. Maybe I'll gain more insight into where and when flamenco really started to go off the tracks. But I freely affirm that, except in its original and essential role as accompaniment to cante, flamenco guitar does not interest me. Solo flamenco guitar, whether by PdL or whomever, leaves me awaiting---fruitlessly, yearningly---the opening vocalizations of the singer, any singer, so that flamenco will happen. But it never comes.............. I've not read Pohren's book on PdL either.

I see that The Bold Strummer has finally republished the Howson book, so I'll have to check it out. I only hope that The Strummer has lavished more care on it than they did on the final (2005) edition of Pohren's The Art of Flamenco. That effort was a sea of typos, wrong fonts, and general slovenliness--and thus a terrible introduction for newcomers to Pohren's works.

Carlos