During the last quarter of the 20th century, the flamenco guitar established and formed its solo format, to which elements of other musical genres were added. Its international fame is on the rise. With a cast of guitarists who come from Juan Serrano, Pepe Martinez o Andres Batista, with serranito as a bridge, even the youngest ones like Vicente Friend o Juan Manuel Canizares. Not forgetting the teachers Paco de Lucía o Manolo Sanlucar, to whom we will dedicate a future article. It is impossible to compile such an extensive list of guitarists in one article, so we apologize for any that may have been forgotten.
Without losing the essence of the tocaor for the cante or dance, these generations managed to take the flamenco concert guitar to its maximum expression. However, the constant search for new elements leads to new forms such as the musical-instrumental group. The famous sextet of Paco de Lucía serves as an example. But this expansion approaches new musical genres and cultures, new markets and new audiences.
In this time period, the flamenco guitar enters into a search for virtuosity. The musical horizon of the guitar is expanded. flamenco. Guitar schools evolve. And there is even a greater concern for the pedagogical part of the guitar. There is an expansion of modulating processes, although from the respect for what is flamenco, due to the continuous search for new harmonies, with the use of seventh, ninth or eleventh chords. They move between tonalities to enrich the compositions. And the range of tunings or chordatures is expanded. In addition, all these aspects also appear in the accompanying guitarist or tocaor, who includes more interaction with the classical guitar.
Ricardo Minho, husband of the dancer Pepa Montes and father of the pianist Pedro Ricardo Minho, is a clear example. Although belonging to the previous generation, his influence is notable. His discography begins in the seventies. With solo albums such as Triana Gate o Jacaranda, and works with Gualberto Garcia, sitar player. Ricardo is a link between generations, as he goes from accompanying greats such as Girl of the Combs, Pepe Pinto, Marchena, Antonio Mairena, Phosphorite, Manuela Vargas, The Paquera o Henry the Lame to the entire current cast of artists flamencos, apart from his solo concerts. He received the Manolo de Huelva award in 1971. He has currently presented a show at the Seville Biennial.
«In this time period, the flamenco guitar enters into a search for virtuosity. The musical horizon of the guitar is expanded. flamenco. Guitar schools evolve. And there is even a greater concern for the pedagogical part of the guitar. There is an expansion of modulating processes, although from the respect for what is flamenco»
From the Seville school emerge figures with an important weight in the flamenco concert guitar: masters such as Pura's Child, Manolo Franco o Rafael Riqueni. In them we can appreciate the refinement of guitar technique in the service of expression. Each one, from his most personal style, gathers elements to transmit his truth through the guitar. They are guitarists who know the cante, an element that gives consistency to his solo playing. To them we must add the names of Enrique de Melchor, Manolo Dominguez o Quique Paredes. Guitarists who have an influence on current generations. Their works are studied in different schools and conservatories. And all of them have the figure of the complete guitarist, that is, they know the trade of guitarist and that of concert guitarist.
From other geographical enclaves, guitarists with a high technical level and knowledge of the instrument surprise. From Jerez, they burst onto the scene Gerardo Nunez y Manuel Parrilla. Both are guitarists sought after by the different singers of their land. Núñez also stands out for his virtuoso, beautiful and technical composition, with works such as yerma. He also collaborates with musicians from different genres. On the other hand, Parrilla stands out for his personal style, depth, creativity and rhythmic sense.
Other guitarists who come from Córdoba are Vicente Friend, José Antonio Rodríguez y Manuel Silveria. Following in the footsteps of Juan Serrano, Merengue from Cordoba y Paco Peña, Vicente and Jose Antonio are committed to the flamenco concert guitar. Both of them have a very different musical language. Vicente Amigo shows his credentials with a work entitled From my heart to the air. He obtained the main awards as a concert artist, in addition to his role as accompanist of The Pele and other artists. His work as a composer and producer also stands out. While José Antonio Rodríguez, with Manhattan of the Border, obtains recognition from the world of flamenco, important awards, composes music for different shows and soundtracks, both for guitar and for guitar and orchestra. In addition, he collaborates with artists of various genres flamencoyes and no flamencos. On the other hand, Manuel Silveria is establishing himself as a guitarist. He accompanies figures such as Fosforito, El Pele, Mariana Coronejo o Julian Estrada, among many others. But he also stands out for his teaching work in conservatories of Andalusian geography. The Cordoba school also includes Paco Serrano y Luis Calderito. The latter, squire of masters like Juanito Valderrama y Utrera's Curro.
An essential name in this era, for his contribution and impact, is Jose Fernandez Torres Tomatito. In addition to his extensive career as an accompanist for Camarón de la Isla, his solo career is gradually gaining momentum, with his own stamp and a flamenco touch. The guitarist from Almería is a reference. Awarded with a Grammy, he interacts with artists from the scene flamenco, jazz or Latin throughout his career, without leaving behind his solo recitals. Another name from Almería that we will talk about later is Child Josele.
The figures of the people of Huelva should be highlighted Juan Carlos Romero y Jose Luis de la Paz. Both with a very personal stamp, they have accompanied the entire cast of artists flamencos of his time. De la Paz developed his career from North America. However, he was a musical composer for the Company of Cristina Hoyos placeholder image, in addition to his solo albums. Juan Carlos Romero, with several solo albums, has worked with Manolo Sanlúcar for years on compositions such as Medea o Solea. Also from Cadiz is presented Jose Maria Bandera. His career is closely linked to Paco de Lucía. In fact, together with Cañizares and Paco he works in Solo, Duo, Trio. Apart from his compositions for the National Ballet or the Ballet of Sara Baras.
«Flamenco guitar definitely takes on a huge boost during this period. There are many contributions that contribute to its growth. From the different schools, established and identifiable styles are highlighted»
Miguel Angel Cortes follows in his brother's footsteps Paco Cortes. Both have an extensive career as companions of Mariquilla, Manolete, Mario Maya, Enrique Morente o Carmen LinaresPaco, more traditional, combines his galas as an accompanying guitarist with teaching, which until recently he carried out at the Cristina Hereen Foundation. On the other hand, Miguel Ángel has released several solo albums. He is requested by Archangel y Hope Fernandez. And he currently combines this with an extraordinary project with the classical guitarist José María Gallardo. With two works like Being courteous does not take away the Gallantry y Albéniz Flamenco. We highlight the Granadan Miguel Ochando. A guitarist with a long career as an accompanist for leading figures, with several solo works and with an important teaching role. The Carmona Habicuela family continues his legacy. After Juan and Pepe, it is now his descendants who continue that path. Mainly Josemi Carmona, John Carmona y Juan Habichuela Nieto.
Outside the Andalusian borders we appreciate a Catalan school with the brothers Rafael Canizares y Juan Manuel Canizares with Chicuelo. Rafael Cañizares would focus on teaching. However, he accompanied his brother in the beginnings. Juan Manuel Cañizares studied at the conservatories of Sabadell, Terrassa and Barcelona. He would soon win important awards, such as the one in Jerez in 1982. He worked with Paco de Lucía, as well as artists and groups on the international music scene. He composed for the National Ballet and some soundtracks. Among his works he has records flamencosy works on Isaac Albéniz, Manuel de Falla, Enrique Granados. He also makes his own compositions for guitar and orchestra. Chicuelo is trained in the peñas of its surroundings. Enter the Tablao de Carmen in Barcelona with Mario Escudero, Angelita Vargas, The Yerbabuena, Antonio the Pipe o Joaquin GriloHe has several solo albums and does interesting educational work. Chicuelo works with countless national and international musicians.
Another important place is Madrid. Since the seventies, the Caño Roto school, founded by Aquilino Jimenez The Entry. A school that is based on the knowledge and technical mastery of the guitar, in the accompaniment of the cante and dancing, and with a perfectionist attitude. A school surrounded by great guitarists like its founder, Ramon Jimenez, the old man, Jesus of Rosario, Kilino Jimenez o David Cerreduela. We highlight Madrid to the Losada family, Felipe Maya and son Mayan Jerome. Another guitarist is Augustin Carbonell The Ball, who is related to artists such as You know o the Guito.
Flamenco guitar definitely takes on a huge boost in this era. There are many contributions that contribute to its growth. From the different schools, established and identifying styles are highlighted. An example of this is the guitarists Jose Manuel Cano and son of Manuel Cano, Joseph Louis Monton, Óscar Herrero, Carlos Piñana y Rosendo Fernandez.
It is in this time period that many guitarists embrace the model established by Paco de Lucía. Where a guitarist plays several solo pieces and then incorporates percussion, cante, dance, bass and some other instruments. This group model allows for novel interactions between guitar and other instruments or guitar and orchestra. The incorporation of wind instruments such as transverse flute, saxophone, trumpet or harmonica. The study of piano flamenco It expands. And the relationship between rhythm, melody and harmony is carefully considered so that everything comes together in a musical and expressive work. The guitar takes an exceptional path that future generations will feed on to transmit the music that each one carries within.
