{"id":15438,"date":"2019-09-23T13:56:28","date_gmt":"2019-09-23T11:56:28","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=15438"},"modified":"2019-09-23T13:56:28","modified_gmt":"2019-09-23T11:56:28","slug":"remembering-antonio-arenas","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/remembering-antonio-arenas\/","title":{"rendered":"Remembering Antonio Arenas"},"content":{"rendered":"

Antonio L\u00f3pez Arenas was born in Ceuta in 1929.\u00a0Our friend Jos\u00e9 Manuel Gamboa has him categorized in the Gu\u00eda LIbre del Flamenco<\/em>as \u201cguitarist, producer and cantaor\u201d.\u00a0 Indeed, he was a prolific multi-talented musician, an irreplaceable part of flamenco in the second half of the twentieth century.\u00a0And one of the most forgotten, even considering how forgetful the flamenco community can be.<\/p>\n

Mario Escudero once told me Arenas was the flamenco guitarist who had accompanied the greatest number of interpreters throughout his career, both in live performance and on recording, and although I don\u2019t have actual statistics, I tend to believe it\u2019s true; his name is ubiquitous on records and show programs of the 1950s through the 1980s.\u00a0 A list of the artists he worked with would be impossibly long to cite here \u2013Caracol, Terremoto, Chocolate, Paquera, Antonio el Chaqueta, etc.\u2013 the most representative interpreters of that golden era, including dancers such as Antonio el Bailar\u00edn, Regla Ortega, Lucero Tena, Manuela Vargas and Mar\u00eda Albaic\u00edn, as well as singers of popular Spanish music such as Concha Piquer, Bambino and Antonio Molina among others.<\/p>\n

Like so many of his generation, Antonio Arenas was a devoted follower of Ni\u00f1o Ricardo, although he also admired Miguel Borrull, Manolo de Huelva, and later on, Paco de Luc\u00eda and Manolo Sanl\u00facar.\u00a0In addition, he was a credible singer with vast knowledge of cante <\/em>that surely contributed to his being such a fine accompanist favored by many singers.<\/p>\n

I met Antonio in Algeciras at the 29th<\/sup>International Congress of Flamenco Art in 2001.\u00a0 After that encounter, we came to have many lengthy conversations, up to two hours on the phone several times a week.\u00a0 He had a lot of gripes, particularly about the growing obsession with speed and virtuosity in guitar-playing which he felt were taking the place of meaningful art.\u00a0 What is flamenco? <\/em>\u00a0he would say\u2026it\u2019s a bird that stands on one leg\u2026it\u2019s someone from Flanders. What is flamenco? \u00a0It\u2019s nothing.\u00a0So people go and change everything, they do what they want with the cante, they dance like a sack of sticks\u2026that\u2019s not dancing, that\u2019s gymnastics. If they did it with feeling, the speed wouldn\u2019t matter.<\/em>\u00a0 Antonio Arenas was also disappointed by the lack of attention he received after health problems kept him from performing and he devoted his time to teaching. \u00a0I don\u2019t miss the flamenco crowd because they\u2019re people who just live off everyone else, <\/em>he would say.<\/p>\n

During his active years in Madrid, Arenas made the rounds of the major tablaos, Corral de la Morer\u00eda, Canasteros, Torres Bermejas, Corral de la Pacheca, etc., including a long stint at the legendary Villa Rosa where he was official guitarist and played for the major stars of the era.\u00a0 He claimed to have been the first guitarist to record with Camar\u00f3n, but some experts cite an earlier recording with Sabicas, possibly some sort of demo.\u00a0 What is known for certain is that he discovered and promoted the popular singer from Algeciras, Alejandro Sanz.<\/p>\n

I saw Antonio Arenas for the last time at his apartment in Madrid, a fifth or sixth-floor walk-up, a climb he was unable to manage with his limited mobility, causing him to be a prisoner in his own home as he put it. He quietly slipped away on October 8th, 2008, taking with him a lifetime\u2019s worth of flamenco anecdotes, knowledge and memories of another era.<\/p>\n

All images are from the personal collection of Antonio Arenas<\/h6>\n

 <\/p>\n

\"Terremoto

Terremoto de Jerez, Manolo Caracol y Antonio Arenas. Foto: archivo particular de Antonio Arenas.<\/p><\/div>\n

 <\/p>\n

\"Paquera

Paquera de Jerez y Antonio Arenas. Foto: archivo particular de Antonio Arenas.<\/p><\/div>\n

 <\/p>\n

\"Rancapino

Rancapino y Antonio Arenas. Foto: archivo particular de Antonio Arenas.<\/p><\/div>\n

 <\/p>\n

\"Primera

Primera grabaci\u00f3n con Camar\u00f3n. Foto: archivo particular de Antonio Arenas.<\/p><\/div>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Mario Escudero once told me Arenas was the flamenco guitarist who had accompanied the greatest number of interpreters throughout his career, both in live performance and on recording.<\/p>\n","protected":false},"author":9,"featured_media":15428,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[68],"tags":[],"class_list":["post-15438","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-estela-flamenca"],"yoast_head":"\nRemembering Antonio Arenas - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/estela-flamenca\/remembering-antonio-arenas\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Remembering Antonio Arenas - 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