We continue with this substantial series. The title of the article refers to a generation that, although some were born earlier, expands the musical boundaries of guitar to unsuspected limits. We are talking about Andres Batista, Pedro Bacán, Henry of Melchior, Marote o Child Michael, among many. Just as it happened with the previous generation, with the teachers Paco de Lucía y Manolo Sanlucar We will write an article describing his contributions to the world of flamenco guitar and music.
This generation is home to a core of important guitarists. We see an evolution where the instrument as a soloist adapts to the evolution of the times. From the first half of the 20th century until the sixties we see a phase where it expands and at the same time settles. the flamenco concert guitar. The configuration of basic structures is observed, both in the repertoire and in its form, technical evolution and interpretation. Once this solo string instrument was formed, a greater international participation can be seen from the seventies onwards. This fact causes the later generations of guitarists to flamencos find a route already created. Guitarists like Pepe Motos, Juan Serrano, Pepe Martinez or Andrés Batista take this evolution to the twist they give it serranito, Paco de Lucía and Manolo Sanlúcar. Within a market founded and established by the previous generation, the generations of the sixties onwards took the flamenco concert guitar to its maximum expression and expansion. They implemented the limits of the solo guitar with new resources. Resources that lead to new instrumental forms. And the new musical and instrumental group appears that heads towards the movement of adaptation to the new times.
In continuous transformation, the instrumental concept of flamenco The guitar's musical style continues to expand by approaching new musical genres and cultures, which opens the concert guitar to new and numerous audiences. We cannot ignore that in this period many guitarists continue to use a mixed technique to evolve. In the same guitarist, classical guitar and flamenco guitar are combined. Not only that, but through interactions and cultural openness, guitarists flamencos interact with those of other disciplines.
Another aspect that stands out is the affirmation of the guitar schools. Not that they did not exist or were not known, but that from this period onwards they were recognised with more identity. Each school is mainly exposed by aesthetic and technical aspects. Thus, we see the Jerez, Cordoba, Seville or Granada schools, among others, since the influence of Ramon Montoya o Nino Ricardo falls on most of them. And, of course, without forgetting the first masters, apart from other guitarists whose touches are not identified with any school.
«From the first half of the 20th century until the 1960s, the flamenco concert guitar expanded and became established. The configuration of basic structures can be observed, both in the repertoire and in its form, technical evolution and interpretation. Once this solo string instrument was established, greater international participation can be seen from the 1970s onwards.»
Each school has its references. As we see in the Jerez school, Manuel Morao and his nephew Moraito, Jerez Grill o Paco Cepero. In the guitar of all of them resonate the echoes of Rafael del Aguila y Xavier Molina. Parrilla de Jerez accompanies numerous artists. In addition, he is the main squire of the Paquera from Jerez. And a leading curator of Jerez Christmas folklore. Manuel Morao created a company in the eighties, Gitanos de Jerez. He promotes Jerez art flamenco as in the cases of The Cake y The Macanita. Moraíto, son of Morao, brings freshness to the Jerez guitar. His imprint on the accompaniment touch made his touch the reference of the Jerez touch. A humble, friendly and joking guitarist who made his thumb and his strumming a banner of guitar flamenco. Requested by everyone, in the words of Paco de Lucía “Moraíto surpassed the technique and virtuosity of the guitar and reached true art”. Paco Cepero is one of the most relevant figures of the Andalusian festivals in the sixties and seventies. He is the owner of one of the most identifying and personal touches of the Jerez school. And we do not forget Fernando Moreno, a guitarist who fights to defend the Jerez school and is also one of the precursors of the Jerez youth singers.
The Seville school stands out for figures such as The poet Jose Cala is a poet, and he is the poet of the same name.. And that would continue Pure Child, Rafael Riqueni, Manolo Franco, Eduardo Rebollar o Peter Sierra. The late Quique Paredes and El Poeta stand out for their good work on the accompaniment, with identifying harmonies and very flamenco falsetas. To this we must add Jose Luis Postigo, who combines elasticity, truth or expression with a purely jondo and for real. Isidoro Carmona is in that group of guitarists like Pepe Martínez where technical virtuosity, transmission and travel of the neck are put at the disposal of the true flamencoguitarology. Pedro Bacán is a defender of the flamenco purest of his ancestors. And Enrique de Melchor, the evolution of a reference point for guitar playing par excellence.
The Granada school is a prolific school within the guitar cast jondo. Marote, in addition to accompanying the most important artists of the time, accompanies national and international tours Carmen Amaya, Antonio Gades o Manuela Vargas. Juan Habichuela He is one of the accompaniment players par excellence. He forms an artistic partnership with Phosphorite y Enrique Morente. His brother Pepe Habichuela opens the field of traditional accompaniment to the concert guitar. His period with Morente opens new melodic and harmonic fields for him. He interacts with musicians from other genres. And he treasures the characteristics of the Granada touch with temperance, wisdom, detail, full of nuances, expressive. We mention a great like Manuel Cano, a tireless fighter to put flamenco guitar in its rightful place.
In the Cordoba school we find the namesake of Manuel Cano, the teacher Paco Peña, founder of the flamenco guitar center that bears his name. The Cordoba school is based on his touch, clean and with a quality sound. He also founded the Chair of Flamenco Guitar of the Rotterdam Conservatory and is the first director of the International Guitar Festival of Cordoba. On the other hand we have Merengue from Cordoba. From a young age, he has been known to have good guitar skills; he accompanies the leading figures of the moment, and with a touch of extraordinary technical execution, he leaves his mark on the Cordoba guitar school. Juan Serrano He is another guitarist of this school, who, although based in the United States, his style is engraved in his hometown. To the point that the clock in the Plaza de las Tendillas in Córdoba plays his soleares on the hour. They would later be joined by Rafael Trenas, Manuel Silveria, Jose Antonio Rodriguez o Vicente Friend.
«From this period onwards, guitar schools with a greater identity are recognised. Each school is mainly exposed by aesthetic and technical aspects. Thus, we see the schools of Jerez, Cordoba, Seville or Granada, among others. The influence of Ramón Montoya or Niño Ricardo falls on most of them»
There are also other masters of substance. Child Michael in Huelva, who burst onto the guitar scene with a Vals Flamenco and some fandangos, Breezes of Huelva, worthy of praise. A touch with unparalleled strength and expressiveness. Paco from Antequera, with a very extensive discography as a companion. Due to his great technique and expressiveness, he is considered by specialized critics as the best Spanish guitarist of the sixties. Andres Batista, with a long career as a company guitarist, concert artist and a sublime educational work. In addition, we dedicate a profile to him in this column, as well as serranito, who bursts into the flamenco guitar scene with force. Even Andrés Segovia himself admires him. And his discography as a concert artist is a real treasure, just like Pepe Motos y Antonio Francisco Serra, two extraordinary concert guitarists with valuable educational work.
Throughout the flamenco geography, other masters of the flamenco guitar are important. The guitar is becoming more and more important. Guitar disciplines such as accompaniment for dance, for the cante or the concert touch. What is to come is presented on the horizon. Those who would change the fate of the guitar to this day are beginning to emerge. The guitar gains registers. In my opinion, everything that feeds the music enriches the style. And from the roots a positive evolution of the touch is being generated. The touch changes, what was in the past is already evolving. New notes, new harmonies, different compositions, but there are themes from different masters that will remain for posterity. Like the Bakers Flamencos de Stephen of Sanlucar, the buleria Momentum de Mario Escudero, the Ronda de Ramon Montoya, the soleá Gypsy Bronze de You know, the farruca Almoradí de Nino Ricardo, the bulerias of Diego del Gastor or the anthology of falsetas of Melchor de Marchena. Topics studied in all guitar schools, and to which would be added some that were to come.
The transformation of the guitar is marvelous. From that first guitar, descendant of the vihuela and documented in the 16th century in Seville, to the one we know today, its expansion is prolific. It has reached heavenly heights. Thanks to the masters who fought for it, those who fight and those who will fight. Its ability to adapt to any musical genre is marvelous. And its evolution from the classical, through those Andalusian airs, to the flamenco makes each note or chord remember its strung ancestors. Since that Greek zither or Arabic oud, the flamenco guitar continues to touch the hearts of those jondo through the soul of its bracing. Seated on a firm and noble wood that distributes infinite pure, true and flamenco harmonies.
I conclude by remembering two of the architects and essential figures in the lives of the geniuses who were about to explode, who, located in a previous generation, their interaction from this time onwards is notable. On the one hand, Ramon from Algeciras, one of the guitarists of Camarón, although he previously accompanied, among others, Antonio Mairena, Niña de los Peines or Marchena, apart from being a reference for his brother Paco. And on the other hand, Isidro Munoz, brother of Manolo Sanlúcar and José Miguel Évora. He composed works for leading figures such as Camarón, El Pele, José Mercé or La Macanita, as well as being the discoverer of Vicente Amigo.
Very good this article. I studied with Manolo Sanlucar and I defend him.