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Latin Recording 2

A YouTube History of Music


Group & Last Name Index to Full History:


Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Not on this page? See history tree below.



Carmen Amaya    Victoria de los Angeles

Franco Cerri    Antonio Chacón    Xavier Cugat
Mario Escudero
Enrico Intra    Camarón de la Isla
Paco de Lucía
Antonio Mairena    Pepe Marchena    Bruno Martino    Carmen Miranda    Tete Montoliu    Carlos Montoya    Ramon Montoya    Enrique Morente
Lino Patruno    La Niña de los Peines    Paco Pena    Manitas de Plata
Enrico Rava    Aldo Romano
Sabicas    Manolo Sanlúcar



Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:


1901 Antonio Chacón
1910 La Niña de los Peines
1923 Ramon Montoya
1924 Pepe Marchena
1925 Xavier Cugat
1930 Carmen Miranda    Sabicas
1941 Carmen Amaya    Antonio Mairena    Carlos Montoya
1945 Franco Cerri
1946 Mario Escudero    Bruno Martino
1947 Victoria de los Angeles
1954 Enrico Intra
1956 Tete Montoliuu
1960 Lino Patruno    Manitas de Plata
1961 Paco de Lucía
1965 Enrico Rava
1966 Paco Pena
1967 Enrique Morente
1968 Camarón de la Isla    Manolo Sanlúcar


  This page addresses Latin recording in Europe as an appendix to modern Latin jazz. Just so, flamenco, developing in Spain, is the dominant force on this page. Flamenco-jazz fusion is a relatively uncommon mix, such when that occurs something unique is in the air. One reason for that is that flamenco is elementally so distinct as a style as to be something exclusive to ready blending with others. Another cause is that, as the folk music of Spain, tradition is flamenco's essence. One other follows in that flamenco guitarists are generally such that if there is actually a best guitarist in all the world it is probably a flamenco guitarist. As distinctive as was Afro-Cuban percussion in the Caribbean was flamenco's own without instrument but for clapping, knocking and stamping via dance, flamenco's original element to which it is bound, embroidery by guitar virtuosi developing upon that. Again, if Latin rhythms on the other side of the Atlantic eagerly embraced collaboration with jazz musicians in the States, flamenco has resisted synthesis with other forms. Though remarkable results in classical or jazz environments have occurred, flamenco remains, as decidedly as necessarily, flamenco. As for Latin Classical composers, they figure prominently in such as Italy throughout the Classical section of these histories. Classical composition on the Iberian Peninsula (such as Spain), however, didn't come to prominence until the latter 19th century due to the centuries-long contest there between Christianity and Islam.

Birth of Modern Jazz: Andalusia

Andalusia   Birthplace of Flamenco

Map: lardbucket
Flamenco was and remains a distinct genre in and of itself, quite apart from classical or jazz, though it fits comfortably under Romantic. It had its origins around 1850 with the emergence of the cafe cantata. arising out of Andalusia, the southernmost region of Spain, the term "flamenco" had come into usage in the latter 18th century. Uncertain in origin, it is possibly derived from "gypsy," 'fire," "flame" and/or "fellah mengu," meaning "expelled peasant" in reference to the Moors. Flamenco's heydays were around the turn of the century before recording could disseminate it about the globe. It has since developed into numerous palos (styles). The flamenco guitar is also constructed differently from the classical guitar, having developed differently to its peculiar usage, such as accompaniment to stamping baile flamenco (flamenco dance) or the cante flamenco (flamenco singing). Later flamenco musicians would naturally associate with others in the classical or jazz fields. But no matter how you fuse it, flamenco is fundamentally flamenco. The first recordings made in Spain are thought as of late 1899 by Fred Gaisberg, an American recording engineer said to have produced 128 tracks in Madrid. There exists a discography published in 1900 listing among its titles, 'Malaguenas' by Sr. Garcia, as well as several by Mochuelo: 'Soleares', 'Guajiras' and Malaguenas' among them. Those were among 64 tracks played at a public gramophone demonstration costing 10 centimos to attend. A magazine dated 1901 mentions cylinder recordings (invented 1889) by Antonio Chacón. A quantity were made by El Mochuelo in 1901 as well, together with a host of others having recorded by then. The first recorded discs appeared in 1901 or '02, one-sided and slightly over seven inches in diameter. Among Spanish musicians found on such are El Canario Chico, El Mochuelo, La Rubia, Niño de Cabra, Niño de la Hera and Sebastian Scottta (sic). As mentioned, singer, Antonio Chacón, is thought to have recorded on cylinder by 1901, those titles not presently known. Chacon avoided recording for much of his earlier career, presumably finding them pointless due their poor audio quality, as did many other musicians of the period. Born in 1869 in Jerez de la Frontera , Cadiz, Chacon is a leading figure in the flamenco orthodoxy. He began performing publicly in 1884, touring about Andalusia. Among the better known guitarists with whom he performed were Ramon Montoya, later Sabicas. Chacon died in 1929 in Madrid.

Antonio Chacón   1922

   Rosa si yo no te cogí

      Guitarra: Perico el del Lunar

Antonio Chacón   1925

   Si preguntan por quién doblan

      Guitarra: Ramon Montoya

Antonio Chacón   1928

   Los Campanilleros

      Guitarra: Perico el del Lunar


Birth of Modern Jazz: Antonio Chacón

Antonio Chacón

Source: Fernando Barros
Birth of Modern Jazz: La Niña de los Peines

La Niña de los Peines

Source: America Pink
La Niña de los Peines (The Girl of the Combs) was born Pastora Pavón Cruz in 1890 in Seville, Spain. Never learning to read nor write, nor learning to sign her name until an adult, La Niña de los Peines began performing at the theatre, Taberna de Ceferino in Seville, toward supporting her family. She picked up the name, the Girl of the Combs, due to a tango she often sang as to her combs made of cinnamon. After touring Spain a bit she made her initial recordings in 1910. She married flamenco singer, Pepe Pinto, in 1931. She retired thirty years later in 1961, dying November 1969.

La Niña de los Peines   1910

   Acabara De Una Vez

      Guitarra: Ramon Montoya

   Un Día Era Yo El Rey

      Guitarra: Ramon Montoya

   Malagueñas Estilo Chacón

      Guitarra: Ramon Montoya

   A Mí Mi Mare Me Bendijo

      Guitarra: Ramon Montoya

La Niña de los Peines   1929

   Salomón con ser tan sabio

      'Solomon To Be So Wise'

      Tiento (fantasia)

La Niña de los Peines   1932

   Que los besos de una madre

      Guitarra: Nino Ricardo

La Niña de los Peines   1946

   Al Gurugu

La Niña de los Peines   1949

   Cielito Lindo

      With Pepe Pinto

La Niña de los Peines   1961



Birth of Modern Jazz: Ramon Montoya

Ramon Montoya

Source: Flamenco Guitars

Born in Madrid in 1879, flamenco guitarist, Ramon Montoya, continues our interest in Latin recording and Latin music on this page. Flamenco wasn't by any distance related to jazz, though unusual fusings would occur not a few decades later by such as Camarón de la Isla and Paco de Lucía with John McLaughlin. Flamenco's roots were in gypsy Andalusia, highly characteristic to itself with an emphasis on maintaining integrity to tradition. Its origins were in dance with voice added. Guitar's role in flamenco had for centuries been that of backup to the main show otherwise, until just such as Ramon Montoya. The folk music of Andalusia that flamenco is came about through a mesh of gypsies, Jews, Moors and the indiginous. The term "flamenco" appears on records by travelers in Andalusia during the 18th century, quite a while before the emergence of the cafe cantante in the mid 19th century via which flamenco began spreading to increasing popularity. By Montoya's time dancers at cafes cantante were sharing stage with virtuosic tricks on guitar. Montoya happened to be one of those artists, arriving at just the right place at just the right time to make some of flamenco's earliest recordings as of 1923. Montoya didn't make flamenco famous, but he prepared the path for his nephew, Carlos Montoya, who would. Montoya died in Madrid in 1949. A host of his early recordings are available on the CD. 'Ramon Montoya: El Genio de la Guitarra Flamenca - Grabaciones Historicas 1923-1936'. More Montoya per 1924 under Pepe Marchena.

Ramon Montoya   1923


Ramon Montoya   1924

   Yo Ya No Vuelvo a Querer

      'I Won't Be Back Alive'

      With Nino de Marchena (Pepe Marhena)

Ramon Montoya   1925

   La Rosa


   Si preguntan por quién doblan

      With Antonio Chacón

Ramon Montoya   1928


      With Aurelio Selles

   Soleares en Mi

Ramon Montoya   1936



  Born José Tejada Marín in Marchena, Seville, in 1903, flamenco vocalist, Pepe Marchena, sang in taverns as a boy. He performed as Niño de Marchena during the earlier days of his career. As he became more professional he began touring the cafes and theatres of Andalusia. Arriving in Madrid in 1921, the next year he bagged employment at Teatro La Latina. Paid 200 pesetas daily, he must have been a valued performer, earning more than the going rate. Sources state that Marchena first recorded in 1922 but we can find no documentation of such. 1922 nevertheless saw him performing for the King and Queen of Italy upon their visit to the Kingdom of Spain that June. His earliest determinable recordings were in 1924, per the sixteen-volume release of 'Niño De Marchena: Obra Completa en 78 Rpm 1924-1946'. The twenties and thirties were spent touring Spain, filling roles in opera flamenco in the twenties, moving onward to films in the thirties. Marchena had become enormously popular by the time of the Spanish Civil War (1936-39). Reflecting that, he dressed too well for the period, getting arrested by Republicans for being wealthy, albeit his release was arranged by the Minister of the Frente Popular. Marchena continued in opera flamenco and films (such as 'La Dolores' and 'Martingala') after the war with high success. The fifties saw Marchena touring South America, Paris, Morocco and Algieria. He took flamenco so far away as Pakistan in 1961. Marchena passed away in December of 1986 in Marchena.

Niño de Marchena   1924

  A Ningún Hombre Quería

      Guitar: Ramón Montoya

  Lucero de la Mañana

      Guitar: Ramón Montoya

  Si Yo No Puedo Quererte

      Guitar: Ramón Montoya

Niño de Marchena   1925

   Estoy Más Cerca de la Muerte

      Guitar: Manuel Bonet

   A Mí Me Tiró en la Carrera

      Guitar: Manuel Bonet

   La Rosa

      Likely recorded in 1929

Pepe Marchena   1935

   Granaina de la película Paloma de mis amores

      Guitar: Ramon Montoya

   Taranta de la Película/Paloma de mis Amores

      Guitar: Ramon Montoya

Pepe Marchena   1955

   Copita de Plata

      Film: 'La Reina Mora'


      Film: 'La Reina Mora'


Birth of Modern Jazz: Pepe Marchena

Pepe Marchena

Source: La Flamenca

  Xavier Cugat   See Xavier Cugat.

  Carmen Miranda   See Carmen Miranda.

Birth of Modern Jazz: Ramon Montoya

Ramon Montoya

Source: Shine Music School

Birth of Modern Jazz: Carmen Amaya

Carmen Amaya

Source: Carlos Olalla

Traditional flamenco had emphasized song and dance over instruments, relegating guitar to a supporting role. That was changed by Ramon Montoya (1879-1949), a major name in the history of flamenco who yet did little recording on his own. It was with Montoya that flamenco guitar began to be appreciated in itself, solos performed without lyric or stamping heels. One rare example of Montoya performing solo (even rarer in that it apparently has a date, early Latin recordings not well documented) is this solea flamenco from 1936. Taking Spanish recording forward, then, was guitarist, Sabicas, who fairly took up where Montoya left off, to such mastery that Chet Atkins, another world-class guitarist, thought his technique the finest on the globe. Born Agustín Castellón Campos in 1912 in Pamplona, Spain, Sabicas began guitar at age four, performing publicly two years later. But Sabicas is another of those musicians concerning whom sources vary widely. He is also said to have given his first performance in Madrid at age nine. Howsoever, he is known to have gone by El Niño de las Habicas early in his career, he having a taste for green beans. Sabicas' first recordings are given as 1930 only tentatively. Sources range his first recordings from the latter twenties in Barcelona to the thirties to 1942 with flamenco singer, Anita Sevilla. We give 1930 due an import issued in 1993 by Fonografica Del Sur, claiming a compilation from 1930 to 1940. The title of that release is 'Sabicas – Recital de guitarra flamenca Vol 1', the first of three. Other sources, however, doubt the authenticity of that collection. Be as may, upon the outbreak of the Spanish Civil War in 1936 he left Spain for South America. The forties found him living and married in Mexico City. Later moving to New York City, he returned to Spain in 1967. As a virtuoso Sabicas made a major contribution to the international renown of flamenco. Among the flamenco dancers with whom his collaborations were well-known was Carmen Amaya. Sabicas died of pneumonia in a Manhattan hospital upon multiple strokes in April 1990. Per 1945 below, later sources credit Sabicas with an uncredited appearance in the film, 'Los Amores de un Torero'.

Sabicas   1939


     Film: 'Martingala'

Sabicas   1942


     1: 'El Sentío'

    2: 'Que Tu Me Quieres Yo lo Se'

    3: 'Que le Mande a Decir'

    4: 'Las Cristianas

     2011 compilation: 'Cantes, Cantos y Músicas de la Segunda República Española'

Sabicas   1945?


     Film: 'Los Amores de un Torero'

     Dance & vocal: Carmen Amaya

Sabicas   1957

   Las dos puntas/Entre Mendoza y San Juan

     With Carmen Amaya

Sabicas   1959

   Bordones Granadinos

     Duet with Mario Escudero

   Bulerias del Terremoto

     With Dolores Vargas

   Flamenco Puro


   La Zarzamora

     Album: 'The Fabulous Sabicas'

Sabicas   1960

   Flamenco Fantasy


Sabicas   1963

   La Malagueña

Sabicas   1972


     Television broadcast


     1: 'Duquelas de Triana'

    2: 'Mi Solea'

    3: 'Embruyo Sevillano'

    Television broadcast

Sabicas   1986

   Live in Seville

     Television broadcast

Sabicas   1988

   Live in Arles

     Filmed concert


Birth of Modern Jazz: Sabicas


Source: grapewrath

  Aldo Romano   See Aldo Romano.

  No account however abbreviated of Latin music in the twentieth century would complete without mention of flamenco dancer, Carmen Amaya. Born with a passion in 1913 in Barcelona, there was a cave near Granada where she like to dance as a child. She later danced with her father on guitar in waterfront bars in Barcelona, appearing at the Bar de Maquet at age ten. Amaya was a vocalist, though that hardly at all in comparison to gypsy dance for which she's a major figure in Spain's cultural history. Amaya is thought to have appeared in film at age 16 in the 1929 production of 'La Bodega' ('The Winery'). Soon afterward she was touring internationally, beginning with Buenos Aires in Argentina, other destinations in South America, then Mexico City. After filming 'La Hija de Juan Simón' (1935) she moved to the United States in '36 where she began making movies. That was the year of the Spanish Civil War, resulting in dictator, Francisco Franco, assuming his position as Caudillo (Head of State). Amaya released the short film, made in Cuba, 'El Embrajo del Fandango', in 1941. Her first starring role was 'Maria de la O' as Maria de la O. Filming and issue dates differ (1936, 1939) but IMDb gives a release date of 1942. Amaya is on record to have recorded four tracks for Decca in 1941; 'Tondero', 'La Tana', 'Corazone de Acero' and 'Fiesta Jerenzana'. No release information is available. In 1944 she performed for Franklin Roosevelt at the White House. Amaya returned to Spain in 1947 (Franco declaring Spain a monarchy that year). By that time she was commanding $2,000 a week in NYC, $14,000 in Rio de Janeiro. She visited the White House again to dance for Harry Truman in 1953. Though compilations abound, Amaya did very little recording. Among her albums were 'Flamencan Songs and Dances' (1950), 'Flamenco!' with Sabicas (1958) and her final, 'Furia!' (1965 posthumous). Her last film was 'Los Tarantos', which release (1964) she didn't live to see, dying in Barcelona of kidney failure in November 1963. Per 1954 below, the zambra ("party") is a style of flamenco dance often performed at weddings. Per 1961 and 1963, the buleria is another type of flamenco dance.

Carmen Amaya   1929


      Film: 'La Bodega' (The Winery)

Carmen Amaya   1935


      Film: 'La Hija de Juan Simón'

Carmen Amaya   1941

   El Embrujo del Fandango

      'The Bewitching Fandango'

      Film: 'El Embrujo del Fandango'

Carmen Amaya   1942


      Film: 'Maria de la O'

Carmen Amaya   1945

   Embrujo del Fandango

     'The Bewitching Fandango'

      Film version 1: 'Los Amores de un Torero'

      Film version 2: 'Passion Gitana'

Carmen Amaya   1954


      Film: 'Dringue, Castrito y la Lámpara de Aladino'

Carmen Amaya   1958

   Alegrias (Joys)

      Film: 'Musica en la noche'

Carmen Amaya   1961



Carmen Amaya   1962

   Fiesta Jerezana

      Album: 'Cantos y Bailes Flamencos'

Carmen Amaya   1963


      Film: 'Los Tarantos'

Carmen Amaya   1964

   Colombiana Flamenca

      Album: '¡Inolvidable Carmen Amaya!'


      Album: '¡Inolvidable Carmen Amaya!'


Birth of Modern Jazz: Carmen Amaya

Carmen Amaya

Source: Gypsy Heart

Birth of Modern Jazz: Antonio Mairena

Antonio Mairena

Source: Iniciacion al Flamenco

Born Antonio Cruz García in Mairena del Alcor, Seville, in 1907, flamenco singer, Antonio Mairena, was in no way a jazz musician but for a waver in his voice. But he helps fill out the Latin concern of this page as a vocalist who emphasized traditional gypsy flamenco, a purist who didn't participate in opera flamenco. Nor did he care to subject song to flamenco dance, Carmen Amaya said to be the only dancer with whom he liked to sing. In 1941 Mairena recorded his first batch of eight bulerias and fandangos with guitarist, Esteban Sanlúcar, at the Studio of La Voz de Su Amo in Barcelona. 'Disco Tangier' appeared in 1944. He didn't enter the studio again until 1950, recording another batch of eight for Columbia in Madrid. During the early fifties Mairena joined a dance company run by one, Antonio, with which he toured in America, Europe and Asia for the next decade. 'Disco London' appeared in 1954. As Mairena's health began to wane in the seventies so did his career. He died in September of 1983. Mairena's great draw for some was his integrity per the earliest flamenco which, however, made him unpopular with others, finding him reactionary and rigid.

Antonio Mairena   1941

   Las Llaves de Tetuan

      Album: 'Fiesta por bulerías y fandangos'

Antonio Mairena   1954

   Alegrías y Cantiñas

      Album: 'Disco de Londres'

      Guitarra: Manuel Morao

   Toná de Triana

      Palo: Martinete

      Album: 'Disco de Londres'

   Vestía de Nazareno

      Tiento (fantasia)

      Album: 'Disco de Londres'

      Guitarra: Manuel Morao

Antonio Mairena   1959


Antonio Mairena   1964

   Al llegar a tu puerta

      Palo: Fandango

      Guitarra: Melchor de Marchena

Antonio Mairena   1966

   Si las piedras de tu calle

      Palo: Solea

      Album: 'La gran historia del cante gitano-andaluz'

      Guitarra: Niño Ricardo

Antonio Mairena   1976


      Palo: Siguiriyas

      Album: 'Esquema histórico del cante por siguiriyas y soleares'

Antonio Mairena   1979

   Tengo mi corazon

      Guitar: Enrique de Melchor

Antonio Mairena   1981


      Guitar: Juan Habichuela

Antonio Mairena   1983

   Dichosa hora

      Album: 'El calor de mis recuerdos'

      Guitars: Enrique de Melchor & Pedro Pena

   Soleá de Charamusco

      Album: 'El calor de mis recuerdos'


  Born in Madrid in 1903, flamenco guitarist, Carlos Montoya, was nephew to Ramon Montoya. He began playing flamenco guitar in cafes at about age fourteen. Montoya probably wasn't presuming the international fame to which he would arrive when he joined his first dancing troupe in 1928, run by Antonia Merce with dancer, La Argentina. Moving onward to other companies after three years with Merce, Montoya first saw the United States with dancer, La Teresina, in the mid thirties, the Far East as well. In 1938 he performed guitar in the film, 'Carmen, la de Triana' (starring Imperio Argentina), alongside his uncle, Ramon. World War II saw Montoya move his base of operations to the United States, eventually to become a citizen. He also married American dancer, Sally MacLean, in 1940, the couple to settle in Manhattan. The earliest recordings of which we know for Montoya were in 1941 for Decca under his own name: 'Bulerias', 'Fandanguillos', 'Alegrias', 'Farruca', 'Solea Rosa' and 'Sevillanas'. He had been working with dancer, La Argentinita (Encarnacion Lopez), since 1938 and continued with her until her death in 1945. In 1946 Montoya recorded several titles with his Argentinians: 'Cafe Chinitas', 'Tango Del Negrito', 'Malaguena', 'Variociones Por Bulerias', 'Zambrilla' and 'Folias Canarias'. Montoya was of major significance to flamenco for a number of reasons beyond his virtuosic skill. He was instrumental in bringing forth flamenco guitar for its own sake, minus its traditional dancing and singing. He also brought flamenco guitar into collaboration with, not only orchestra, but symphony. He meanwhile took flamenco guitar throughout the world, touring so extensively that at one point in the seventies (he in his seventies as well) he was delivering three concerts a day for a total of 390 performances in 1979. Having recorded more than forty albums, Montoya died on Long Island (Wainscott), New York in March 1993. None of Montoya's recordings in the forties exist at YouTube, at least not any determinable. Per 1938 below, Montoya appears with his uncle, Ramon, neither featured, in the 1938 film, 'Carmen, de la Triana', directed by Florian Rey in Germany.

Carlos Montoya   1938


      Film: 'Carmen, de la Triana'

      Vocal: Imperio Argentina

Carlos Montoya   1953

   The Daughter of Juan Alba

      Vocal: Lydia Ibarrondo

   Trifles of Love

      Vocal: Lydia Ibarrondo

Carlos Montoya   1954


      With José Moreno

Carlos Montoya   1956

   Alorno y Verdial

Carlos Montoya   1957


      Filmed live

Carlos Montoya   1958


      Album: 'Recital di Chitarra Spagnola'

   St Louis Blues


Carlos Montoya   1959



Carlos Montoya   1961

   Temas en Farruca

Carlos Montoya   1962

   Alegria Rosa


Birth of Modern Jazz: Carlos Montoya

Carlos Montoya

Source: Unique Guitar

  Franco Cerri   See Franco Cerri.

  Born Mario Escudero Valero Jiménez Valverde in Alicante, Spain, in 1928, flamenco guitarist, Mario Escudero, wasn't a jazz musician. He was, however, Latin, with at least mention of flamenco on this page as requisite as the tango. Escudero studied both classical and flamenco guitar as a youth. His debut performance is thought to have been at the Teatro Español in Madrid in 1944. In 1946 (age 18) he appeared on a couple recordings by singer, Estrellita Castro: 'Sevillanas de la Moda' and 'Er Yeli'. In July of 1952 he recorded the album, 'El Pili Flamenco', with Alberto Velez. His album, 'Fiesta Flamenca' was recorded in 1954 for MGM, released the next year. Also issued in '55 were his LPs, 'Mario Escudero and His Flamenco Guitar' and 'Flamenco'. His initial of several albums recorded with El Niño de Alicante is thought to be 'Flamenco Festival' in 1957 (qualified in that no dates are thus far determinable for 'Viva el Flamenco' Musicdisc CV 957). The first of at least four albums on which Escudero appeared with Sabicas is thought to be as of 1958 for Elektra: 'Festival Gitana'. Escudero eventually toured Europe, South America and the US, coming to reside in both New York City and Spain. He settled for Sevilla in the early eighties, commuting to the States for concerts and recordings. He returned to the States in 1994, pursuing treatment for Alzheimer’s disease in Miami, where he died ten years later, suffering with Parkinson's disease.

Mario Escudero   1946

   Er Yeli

      With Estrellita Castro

   Sevillanas de la Moda

      With Estrellita Castro

Mario Escudero   1952

   Brisas del Geni

      With Alberto Velez

   Fandangos por Solea

      With Alberto Velez

   Siguirillas Gitanas

      With Alberto Velez

Mario Escudero   1955


      Album: 'Flamenco'

   Para Amina

      Album: 'Mario Escudero and His Flamenco Guitar'

   Piropo a la Soleá

      Album: 'Mario Escudero and His Flamenco Guitar'


      Album: 'Flamenco'

Mario Escudero   1959


      Album: 'Spanish Dances'


      Album: 'Spanish Dances'

   Salinera Caditana

      Album: 'Spanish Dances'

Mario Escudero   1990


      Filmed live


Birth of Modern Jazz: Mario Escudero

Mario Escudero

Source: Discogs

  Born in 1925 in Rome, one nigh wouldn't know that jazz/popular vocalist, Bruno Martino, existed per the internet excepting Italian Wikipedia. But at YouTube he's not all that obscure. He began his career in clubs and radio in 1944. Lord's disco has him recording titles as early as three sessions in May and August of 1946 in Milan with a quintet led by Leonardo Principe: 'Blue Skies', 'It Had to Be You', 'I Got Rhythm', 'Moonglow' and 'Stompin' at the Savoy (Odeon issue numbers: TW3211, TW3225 and TW3289). He toured Europe, formed an orchestra, did a bit of composing for French singer, Caterina Valente, and began singing when his vocalist didn't show up for an engagement. What is thought his first release was in 1958: 'Come Prima' bw 'Perry Como Sorride E Fa', those on HMV. Martino released three EPs of four titles the next year: 'Bruno Martino Music', 'Sanremo -59' and 'Italian Holiday Memories'. He also released the album, 'I Grandi Successi Di Bruno Martino', in '59. Martino was known as Principe dei Nights (Prince of the Nightclubs). Discogs shows him good for sixteen albums, not likely his full catalogue, until the last in 1991: 'Lasciamo Che Sia Il Tempo'. He died on June 12, 2000, of heart attack.

Bruno Martino   1958

   Perry Como Corride e Fa

Bruno Martino   1959

   Kiss Me Miss Me

Bruno Martino   1960


Bruno Martino   1972


Bruno Martino   1973

   Cos'hai Trovato in Lui


  Raccontami di Te


Birth of Modern Jazz: Bruno Martino

Bruno Martino

Source: Radio Italia

  Born Victoria de los Ángeles López García in a lodge at the University of Barcelona to a university caretaker, Victoria de los Angeles was as foreign to jazz as she was to the flamenco of her native country, Spain. But Spaniards recorded much more than flamenco, and Barcelona wasn't really gypsy territory, flamenco having its origins in Andalusia. Madrid was a flamenco hub. Barcelona, however, was otherwise the hippest place to be in Spain. It was Spain's jazz hub for American musicians on tour in Europe, and had for centuries been host to classical music when Islam further south was either making a lot of trouble for the avoiding or banning Western influences such as classical music altogether. The rise of flamenco in Spain is largely due that much of the Iberian peninsula had simply been largely out of bounds to classical composers and musicians. De los Angeles, however, was a soprano who had the Barcelona Conservatory from which to graduate in 1941 under the tutelage of arranger and guitarist, Graciano Tarrago. Her oublic debut was the same year as Mimi in Puccini's 'La Boheme' at the Gran Teatre del Liceu. She is thought to have made her professional debut there as well, as the Countess in Mozart's 'The Marriage of Figaro' in 1945. The earliest recordings of which we know by de los Angelese were in May of 1947 for EMI, recording compositions by Joaquin Turina in Barcelona with Agrupacion de Camera de Barcelona: 'Saeta en forma de salve a la Virgen de la Esperanza' (Op 60) and 'Poema en Forma de Canciones' (Op 19: 1-5). In May of 1949 de los Angeles recorded works in London by Turina with Walter Susskind, as well as 'Triptico' (Op 45) with pianist, Gerald Moore. She recorded a couple works by Respighi with Gerald Moore that May as well ('Stornellatrice' and 'E se un giorno tornasse'). Walter Susskind also recorded Mozart's 'Porgi Amor' with de los Angeles in May of 1949. In March of 1950 she recorded a couple works by Wagner ('Dich, Teure Halle' and 'Einsam in Truben Tagen'). That March also saw Eduardo Toldra's 'Madre, unos ojuelos vi' recorded with Gerald Moore. Recordings with Moore in June of 1950 yielded 'El retrato de Isabela' and 'El Amor y los Ojos', compositions by Amadeo Vives. The next September de los Angeles stepped away from opera to record 18 tracks of traditional songs with guitarists, Graciano and Renata Tarrago, all arranged by Graciano. Tours in the fifties saw to de los Angeles' international fame, she performing at Carnegie Hall and with the Metropolitan Opera in the US in 1951. She would work with the Metropolitan another decade. She began visiting Buenos Aires, Argentina, in 1952, becoming a big deal there as well as in Europe. Her career largely consisted of recitals en concert, she also notable for her recordings of opera. Indeed, though de los Angeles is a shift peripheral to these histories, hers was too major a name in Latin recording to not include. De los Angeles died the 15th of January, 2005. Other Latin classical, such as Andrés Segovia, may be found in that section.

Victoria de los Angeles   1949

   El Mirar de la Maja

       Piano: Gerald Moore

       Composition: Granados/Periquet

   Saeta en Forma de Salve

       With Walter Susskind

       Composition: Joaquín Turina

Victoria de los Angeles   1950

   Dich, Teure Halle

       Composition: Wagner

   Einsam in Trüben Tagen

       Composition: Wagner

   La Maja y el Ruiseñor

       Composition: Enrique Granados

   V'adoro Pupille

       Composition: Handel

Victoria de los Angeles   1954

   Love Duet

       With Giuseppe di Stefano

      Composition: Giacomo Puccini

Victoria de los Angeles   1956

   La Boheme

       With Jussi Björling

      Composition: Puccini

Victoria de los Angeles   1958


       Composition: Bizet

Victoria de los Angeles   1959

   Exultate, Jubilate

       Composition: Mozart

   O Mio Babbino Caro

       Composer: Giacomo Puccini

Victoria de los Angeles   1960

   Si, Mi Chiamano Mimi

       Film excerpt

Victoria de los Angeles   1962

   Una Voce Poco Fa

       Composition: Rossini

      BBC Television broadcast

Victoria de los Angeles   1967

   Spanish Songs

       Television broadcast

Victoria de los Angeles   1972

   Los Cuatros Muleros/La Tarara

       Piano: Miguel Zanetti

      Compositions: Lorca

Victoria de los Angeles   1989

   Menta i Farigola

       Piano: Manuel Garcia Morante

      Composition: Eduard Toldrà

Victoria de los Angeles   1992

   El Cant dels Ocells

       Cello: Lluis Claret

      Filmed live 1992 Olympics

Victoria de los Angeles   1994

   Spanish Songs

       Live in Aberdeen


Birth of Modern Jazz: Victoria de los Angeles

Victoria de los Angeles

Source: All Music

Birth of Modern Jazz: Enrico Intra

Enrico Intra

Photo: Enrico Intra Esta

Source: Jazz Italia

Born in Milan, Italy, 1935, composer/pianist, Enrico Intra, wasn't (isn't) well-known in the United States. Much of his career was spent organizing music festivals. He also worked for Italian television and composed film scores. Intra's education was classical at the Milan Observatory, but he began his professional career in 1951 by joining the Menestrelli del Jazz with which he remained until 1960. (He may have appeared on that organization's LP: 'Che Sera Sera' in 1957.) And The Conductor Is has Intra recording 'Ebb Tide' in 1954 for the Durium label. Intra's early discography in the fifties is nonexistent so that isn't confirmed. In 1957 he issued the four-track album, 'Trio'. His appearance at the third Sanremo Jazz Festival in 1958 was recorded and issued that year. The next year he opened Intra's Derby Club, a nightclub in Milan presenting avant-garde fare. That would become a hub not only for touring jazz musicians but politicians and crime figures alike until its doors closed in 1985. Discogs has Intra good for above twenty albums as a leader or co-leader. Notable in '94 was 'Nosferatu Live'. Intra's latest per this writing was 'Incipit', a suite of jazz standards issued in 2015.

Enrico Intra   1958

   Lullaby for Trio

      III Festival Del Jazz Sanremo

Enrico Intra   1962


      LP: 'Jazz In Studio'


      LP: 'Jazz In Studio'

Enrico Intra   1964

   Autumn Leaves

      Album: 'Milt Jackson Sings'

Enrico Intra   1968

   No Amor

      LP: 'Jacinta I San Remo'

Enrico Intra   1969

   Baby Love


Enrico Intra   1970


      LP: 'Messa D' Oggi'

  Kirie Eleison

      LP: 'Messa D' Oggi'

Enrico Intra   1975


Enrico Intra   1976

   Fertile Land

      LP: 'Gerry Mulligan meets Enrico'

  Nuova Civiltà

      LP: 'Gerry Mulligan meets Enrico'

  Rio One

      LP: 'Gerry Mulligan meets Enrico'

Enrico Intra   2007

   Live with Franco Cerri

      Filmed live

Enrico Intra   2009

   E se domani

      Filmed live

Enrico Intra   2010


      Filmed live

Enrico Intra   2015

   Love Is Here to Stay

      LP: 'Incipit'

  Tea for Two

      LP: 'Incipit'


  Tete Montoliu was born blind in Barcelona, Spain, in 1933. He finds his way onto this page more by virtue of location than music, as he introduced little more Latin to jazz than himself. But his talent brought him an important role as host to American musicians on tour to Europe, drawing them south of the Pyranees. Beyond his earliest years in the music profession in the fifties Montoliu picked up American jazz so proficiently as to become a magnet for American performers, thereat including Catalonia on their itineraries. Montoliu studied piano as a child, later at the Conservatori Superior de Música de Barcelona. His first recordings took place in Netherlands in 1954, though those tracks weren't released by Philips on a 7" EP until 1958: 'Píntame De Colores Pa Que Me Llamen Superman' and 'No, No y No'. He recorded several more tracks in Barcelona in May of '55 with Lorenzo González which went unreleased until 2006. It isn't known if he awoke with a hangover on January 1st of 1956, but he was ready to step out of the box with all directions aimed when he released eight titles on four 78s that day: '¡Qué Cosas..., Qué Cosas!'/'No Me Hagas Cosquillitas', 'Ayer No Viniste'/'Playa Escondida', 'Cha Cha Chá Chabela'/'Eso Es El Amor' and 'La Mujer Vespa'/'Chocolate O Café'. He was working bars in Barcelona three months later when all that thrust shot him into a whole new universe unforeseen upon Lionel Hampton coming to town and hiring him to join his tour of Europe that March. Latin rhythms got left behind as Montoliu focused on the North American sound. Among other musicians significant to Montoliu's career were Dexter Gordon and Ben Webster. Montoliu issued well over fifty albums as a leader while backing all number of other name musicians. Though his career included plenty of gigs and recording dates in other parts of Europe he was content to keep to Barcelona, making that city a requisite destination for American jazz musicians. Montoliu died in Barcelona in 1997.

Tete Montoliu   1956

   Ayer No Viniste

   Eso Es El Amor

   No Me Hagas Cosquillitas

Tete Montoliu   1958

   No, No y No

      Recorded in Netherlands 1954

Tete Montoliu   1962

   A Cabin in the Sky

      Filmed live

Tete Montoliu   1963

   Short Story

      Trumpet: Kenny Dorham

Tete Montoliu   1964


      Filmed live with Dexter Gordon

Tete Montoliu   1973


      Album: 'Temas Latinoamericanos'

Tete Montoliu   1974

   Giant Steps

      Album: 'Tete!'



      Acoustic piano: Jordi Sabates

      Electric piano: Tete Montoliu

Tete Montoliu   1981

   Lover Man

      Filmed live with Sonny Stitt


      Filmed live with Sonny Stitt

Tete Montoliu   1995

   Monk Medley


Birth of Modern Jazz: Tete Montoliu

Tete Montoliu

Source: All Music
Birth of Modern Jazz: Manitas de Plata

Manitas de Plata

Source: Carlos Bonell

Born Ricardo Baliardo in 1921 in a gypsy caravan in Sète, France, Manitas de Plata, grew up a world away from jazz, but he examples the enormous popularity of Latin flamenco during the seventies and thereafter. He drew attention as he played guitar each year during the gypsy pilgrimage to the shrine of Saintes-Maries-de-la-Mer in Camargue, France. It was there that he was recorded by Deben Bhattacharya, to turn up on an album by various artists released by Disques Vogue in 1960: 'Pelerinage Gitan aux Saintes Maries de la Mer'. An interesting story of de Plata's next recordings with flamenco singer, Jose Reyes, in 1961 is told by Vincent Sheean. Unless they were rerecorded a few of those tracks ('Seguiriyas', 'Saeta' and 'Fandangos') ended up on de Plata's debut album in 1963: 'Juerga!'. De Plata first visited the United States in 1965 to play at Carnegie Hall, but his name was little recognized until 'Juerga!'s reissue there in 1967. His then became a life of touring the globe, giving 150 concerts a year during his heydays in the seventies. De Plata recorded over eighty flamenco albums that made him a multi-millionaire, selling some 93 million. He didn't die broke but he spent most of it living rich, drawn to casinos and expensive automobiles. Between de Plata and Reyes the Gipsy Kings would later be formed in the seventies, consisting of de Plata's three sons (Tonino, Jacques and Maurice) with Reyes' five (Nicolas, André, Canut, Paul and Patchaï). Having played at London's Royal Albert Hall eleven times, de Plata died November 2014 in Montpellier, France.

Manitas de Plata   1965

   Alegrías Clásicas

       Album: 'Flamenco Guitar'

   Malaguenas Flamencas

       Album: 'Flamenco Guitar'


       Album: 'Flamenco Guitar'

Manitas de Plata   1967


       Album: 'Flamenco Magic'

   Private Concert

       Filmed live

      With Salvador Dali & Jose Reyes

Manitas de Plata   1968

   Live with Brigitte Bardot

       Filmed live

   Live in Saintes Maries de la Mer

       Filmed live

   Rumba D'Espana

       Album: 'The Art of the Guitar'

Manitas de Plata   1975

   Gitarren Festival

       Filmed concert

Manitas de Plata   1986

   Live in Camargue

       Filmed concert

Manitas de Plata   1988




Birth of Modern Jazz: Paco de Lucia

Paco de Lucia

Source: Quora

Born Francisco Gustavo Sánchez Gomez in 1947 in Algeciras, Andalucía, Spanish flamenco guitarist, Paco de Lucía, was groomed by his father to be a professional guitarist in the fashion of Niño Ricardo (not in this history due a large absence of recordings at YouTube). Howsoever, de Lucia's connections with jazz would result in what is called nuevo flamenco, unbound from tradition. Beginning at age five, it's said de Lucia was made to practice not one, but twelve hours, each day. De Lucia's debut issues were in 1961 (age fourteen), releasing three 7" volumes titled 'Los Chiquitos De Algeciras' ('The Kids of Algeciras') as Paquito Sánchez with his brother, Pepito Sánchez. He toured with flamenco dancer, Jose Greco, until arriving in the States in 1963. De Lucia released his first album, 'Dos Guitarras Flamencas', in 1964 with guitarist, Ricardo Modrego. His next was issued the following year, which pace of production de Lucia largely kept into the eighties as he toured internationally. Among his first albums with his brother, Ramón de Algeciras, was 'Canciones Andaluzas Para 2 Guitarras', released in 1967. While touring in Europe with the group, Festival Flamenco Gitano, de Lucia met singer, de la Isla, in 1968, recording ten albums with him into the latter seventies. De Lucia made his first television appearance in 1976 with the BBC, performing on 'Parkinson'. It was 1979 when de Lucia formed the Guitar Trio with Al Di Meola and John McLaughlin, to dissolve in '83 though a reunion album, 'The Guitar Trio', was later released in 1996. In 1981 he formed the Paco de Lucía Sextet with brothers, Pepe and Ramón, three albums resulting from that ensemble. De Lucia first performed in the Soviet Union in 1987. He released more than 35 albums as a leader or collaborator, also appearing on a host of recordings as a sideman. He appeared on several albums with both Fosforito and Tomatito. Into the new millennium de Lucia took flamenco to places such as Croatia, Turkey, Morocco and Tunisia. Prior to that he had been the recipient of two honorary doctorates, one from the University of Cadiz in 2007, another from the Berklee College of Music in Boston in 2010. De Lucía died of heart attack in February 2014 while vacationing with his family in Mexico. He was buried in Algeciras, Andalusia.

Paquito Sanchez   1961

   Canton por Solea

       Album: 'Los Chiquitos De Algeciras Vol 2'

       Vocal: Pepito Sánchez

   Tientos de Cádiz

       Album: 'Los Chiquitos De Algeciras Vol 3'

       Vocal: Pepito Sánchez

Paco de Lucía   1964

   Dos Guitarras Flamencas

       Album with Ricardo Modrego

Paco de Lucía   1967

   La Fabulosa Guitarra de Paco de Lucía


Paco de Lucía   1973

   Fuente y Caudal


Paco de Lucía   1976



   Entre Dos Aguas

       Filmed live

Paco de Lucía   1978


       Filmed live

Paco de Lucía   1981

   Alegria/Entre Dos Aguas

       Belgian television with Ramon de Algeciras

   Guardian Angel

       The Guitar Trio

      With Al Di Meola & John McLaughlin

Paco de Lucía   1991

   Concierto de Aranjuez

       Filmed live

Paco de Lucía   1996

   Mediterranean Sun Dance

       The Guitar Trio Reunion

      With Al Di Meola & John McLaughlin

Paco de Lucía   2004

   Cositas Buenas (Tangos)

       Filmed live


       Filmed live


  Enrico Rava   See Enrico Rava.

Birth of Modern Jazz: Paco Pena

Paco Pena   1984

Source: Wikipedia

Born in 1942 in Córdoba, Spain, flamenco guitarist, Paco Pena, took up his axe at age six, was playing professionally at age twelve. A government program sponsoring folk dance and music saw Pena touring Spain before signing up with commercial companies to back flamenco dance in Madrid and Costa Brava. In 1966 one of those dancers, El Sali, issued an album titled 'Flamenco! El Sali and his Ballet Espagnol' on which Pena plays guitar. Pena next took his bag of tricks to London. He there made his solo debut at Wigmore Hall in 1967. Some bright impresario got Pena billed with a very different sort of guitarist who drew an audience, Jimi Hendrix, and some kids got introduced to one of the 20th century's finest guitarists before zoning in on LSD. From there it was the United States and Carnegie Hall. His debut album, 'The Incredible Paco Peña', was issued in 1968. In 1981 Pena was instrumental to the founding of the Cordova Guitar Festival. In 1985 Rotterdam University in Amsterdam created a department for the first formal teaching of flamenco, with Pena at the chalkboard. Such remarks on the exclusivity of flamenco. It had been about some hundred and thirty years, passed from musician to musician without a school, and now it was going to be played by others who were neither gypsies nor Spaniards, but could afford a college education. Unlike Latin music in Brazil, the Caribbean or Mexico where foreign rhythms (like jazz) were welcome, flamenco has ever been a highly guarded genre as the national music of Spain, being both folk and select. Fusions with other genres like jazz or classical have been few and exceptional per occasion, such as those between flamenco guitarists, Camarón de la Isla and Paco de Lucía with Al Di Meola and John McLaughlin. It's true: flamenco guitarists pop right from the oven equipped with their guitars. That is, flamenco sees less messing with than Texas. Should some flamenco guitarist in general propose a jam session with you, then either you have talent or you're a pupil. Pena's friendship with classical guitarist, John Williams, began in 1969. They both had a thing with the Chilean band, the Inti-Illimani, with whom they performed in the seventies whenever the Inti-Illimani, toured to Great Britain. Those occasions finally led to the album, 'Fragments of a Dream', released in 1986, with Williams stepping out of classical, and Pena out of flamenco, to deliver to the world some Latin music from Chile with compositions by Inti-Illimani director, Horacio Salinas. Pena began touring with the theatrical, 'Quimeras', in 2010. His latest release, 'Quimeras', in 2013 is a contrast fusion of flamenco with rhythms out of North Africa: Guinea and Senegal. Pena is yet active with residences in both London and Cordoba.

Paco Pena   1971

   Solea De Córdoba

       Filmed live

Paco Pena   1975

   Farruca in D

       Duet with John Williams


       Television broadcast


       Television broadcast

Paco Pena   1976

   En las Cuevas

       Album: 'Toques Flamencos'

   La Romería

       Album: 'Toques Flamencos'

   Tientos de la Bahía

       Television broadcast:

       'The Five Faces of the Guitar'

Paco Pena   2013


       Filmed live

Paco Pena   2014

   NPR Tiny Dexk Concert

       Duets with Eliot Fisk


  Born in 1942 in Granada, Spain, flamenco vocalist and composer, Enrique Morente was a teenager when he headed for Madrid to become a professional singer in flamenco clubs. In 1964 he sacked employment with the Ballet de Marienma which found him touring to New York City at the World's Fair and Washington DC at the Spanish Embassy. He afterward continued working with dance companies, touring Europe and Japan, as well as performing in tablaos (flamenco venues) in Madrid. Morente's first recording was 'Cante Flamenco' in 1967 with guitarist, Félix de Utrera. 'Cantes antiguos del flamenco' followed in 1969 with guitarist, Niño Ricardo. Such were traditional flamencos. If Antonio Mairena was both popular and criticized for his pursuit of traditional gypsy flamenco, Morente was something the inversion of that, introducing innovations that purists found hard to swallow. Such forays began with his 1971 album: 'Homenaje flamenco a Miguel Hernández' ('Flamenco Homage to Miguel Hernández'), on which flamenco lyrics were exchanged for poetry by Miguel Hernández. During the seventies Morente toured Mexico and the States before releasing another homage in 1977, this time to folk (flamenco) vocalist, Antonio Chacón: 'Homenaje a Don Antonio Chacón' (Homage to Antonio Chacón). Such was a return to orthodox flamenco before he began innovating again in 1978 with 'Despegando' ('Taking Off'). His next return to traditional flamenco was in 1990 on 'Morente-Sabicas', the year that guitarist (Sabicas) died. The next year he released the LP, 'Misa Flamenca', complete with Gregorian chants. (There had been earlier combinations of flamenco with the Catholic Mass.)  In 1995 Morente would cause a disturbance by combining flamenco with rock, recording 'Omega' with the British band, Lagartija Nick. 'Enrique Morente en la Casa Museo de García Lorca de Fuentevaqueros' was issued in 2001, an album addressing the poetry of Federico García Lorca. 'Pablo de Málaga', addressing the poetry of Pablo Picasso, appeared in 2008. In 2010 Morente was hospitalized for an ulcer, a coma ensuing that found him brain dead that December.

Enrique Morente   1967

   La Verdulera

       Album: 'Cante Flamenco'

Enrique Morente   1969

   En un sueño viniste

       Album: 'Cantes antiguos del flamenco'

Enrique Morente   1975

   A la Hora de la Muerte

       Album: 'Se hace camino al andar'

Enrique Morente   1980


       Filmed live with Guadalquivir

Enrique Morente   1989

   El lenguaje de las flores

Enrique Morente   1995

   Soleá por Bulerías

       Filmed live with Juan Habichuela

Enrique Morente   1996


       Album with Lagartija Nick

Enrique Morente   1998

   El lenguaje de las flores

       Album: 'Morente – Lorca'

Enrique Morente   2006

   Festival de Jazz de Vitoria-Gazteiz

       Filmed concert

Enrique Morente   2010

   Live en Córdoba

       Filmed live


Birth of Modern Jazz: Enrique Morente

Enrique Morente

Source: Flamenco Gypsy

  Flamenco and jazz were two very different realms. So were flamenco and classical. Having its origins in itself, it remains distinctly a genre all to itself. Its mention, however, is something requisite to the Latin emphasis of this page. Though Camarón de la Isla  wasn't a jazz musician, he was only one performer removed from jazz, flamenco guitarist, Paco de Lucía, famous for his Guitar Trio with Al Di Meola and John McLaughlin. Born José Monge Cruz in 1950 in San Fernando, Cádiz, Spanish flamenco singer, Cameron was the son of a blacksmith and basket weaver. He picked up the name, Cameron (Shrimp) because he was blond and fair in complexion. De la Isla began singing for money at bus stops and inns at age eight. He left for Madrid in 1968 where he held a residency at the Tablao Torres Bermejas (restaurant and flamenco venue) for twelve years. In 1968 he turned up on an album by Antonio Arenas, 'Flamencos Aus Dem Sonnigen Spanien', on one track, 'Bulerias Gitanas'. De la Isla released his first album in 1969 with guitarist, Paco de Lucía: 'Al erte las Flores Lloran'. That LP together with the next four with de Lucia were issued minus titles, they known by the titles of their first tracks. His first of several albums with guitarist, Tomatito, 'Como el Agua', arrived in 1981. In 1989 de la Isla recorded 'Soy Gitano', with the Royal Philharmonic Orchestra, that the first album to achieve gold status (50,000 copies) in Spain. His final recordings are thought to be those on 'Camarón ‎– Potro De Rabia Y Miel', released in 1992. He died of lung cancer in Badalona, Spain, that year, above 100,000 people said to attend his funeral.

Camarón de la Isla   1968

   Bulerias Gitanas

       Album: 'Flamencos Aus Dem Sonnigen Spanien'

       With Antonio Arenas

Camarón de la Isla   1969

   Una estrella chiquitita

       Album: 'Al Verte las Flores Lloran'

       With Paco de Lucía

   Detrás del tuyo se va

       Album: 'Al Verte las Flores Lloran'

       With Paco de Lucía

Camarón de la Isla   1972

   Quia me me vio de nacer

       Album: 'Canastera'

       With Paco de Lucía

Camarón de la Isla   1978

   Bendita sea mi tierra

       With Tomatito

Camarón de la Isla   1990


       Filmed live with Tomatito

Camarón de la Isla   1991

   Soy gitano

       Filmed live at the Festival de Montreux


Birth of Modern Jazz: Camarón de la Isla

Camarón de la Isla

Source: Radiole

  Born Manuel Muñoz Alcón in 1943 in Cadiz, Spanish flamenco guitarist, Manolo Sanlúcar, was trained by his father, a baker who played guitar. Unlike Paco de Lucía, Sanlucar didn't mix flamenco with jazz. Rather, Sanlucar had a classical lean, combining flamenco with orchestra. As a composer he's a bit too late for the Classical section of these histories, but he brings up the tail end of this page well insofar as it concerns recording by Latin musicians in vicinity to jazz, howsoever that flamenco, as the folk music of Spain, remains a jealously guarded genre nigh exclusive to all but itself. Sanlucar began performing professionally at age thirteen ('57) with flamenco vocalist, Pepe Marchena. Sanlucar worked as a sideman before the release of his first name album, 'Recital Flamenco', in 1968. Unfortunately CERN is required to find those sessions so we give 1968 as his only known earliest vinyl. In 1971-72 Sanlucar released three volumes of 'Mundo y Formas de la Guitarra Flamenca', exampling the numerous forms of flamenco. In 1984 Sanlucar recorded 'Trebujena', a concerto for guitar and orchestra. 'Medea' emerged in 1987, a flamenco ballet composed by Sanlucar. 'Tauromagia', with bullfighting its theme, was issued in '88. That December saw the issue of 'Solea', again for the National Ballet of Spain. Sanlucar's symphony, 'Reservoir', premiered in Malaga in 1992. Also that year he was featured in the Carlos Saura film, 'Sevillanas'. Sanlucar's latest studio album, 'Locura de Brisa y Trino', was released in 2000 featuring vocalist, Carmen Linaris. In 2009 his 'Music for Eight Monuments' premiered, originally commissioned in 1991 by the government of Andalucia. Yet active as of this writing, Sanlucar remains among the principal interpreters of flamenco.

Manolo Sanlúcar   1968


      Album: 'Recital Flamenco'


      Album: 'Recital Flamenco'

Manolo Sanlúcar   1971

   Sevillanas de las Cuatro Esquinas

      Album: 'Mundo y Formas de la Guitarra Flamenca Vol I'

Manolo Sanlúcar   1975

   Sevillanas de las Cuatro Esquinas

      Album: 'Sanlucar'

Manolo Sanlúcar   1987

   Encuentro y Desencuentro

      Album: 'Medea'

Manolo Sanlúcar   1988


      Filmed live with Paco de Lucía


       Album: 'Tauromagia'


      Album: 'Tauromagia'

   Puerta del Principe

     Album: 'Tauromagia'

Manolo Sanlúcar   1991

   De Muleta

     Filmed live at Montreaux Jazz Festival

Manolo Sanlúcar   1992

   Fue en Sevilla

      Film: 'Sevillanas'

      Dance: Merche Esmeralda

   Sevillana a Dos Guitarras

      Film: 'Sevillanas'

      Duet with Paco de Lucía


      Film: 'Sevillanas'

      Dance: Merche Esmeralda

Manolo Sanlúcar   2000


      Album: 'Locura de Brisa y Trino'

      Vocal: Carmen Linares


      Album: 'Locura de Brisa y Trino'

      Vocal: Carmen Linares

Manolo Sanlúcar   2009

   Festival de la Guitarra de Córdoba

      With the Orquesta de Cordoba


Birth of Modern Jazz: Manolo Sanlucar

Manolo Sanlucar

Source: Membrilla


We suspend this history of Latin recording in Europe with Manolo Sanlucar.




Early Blues 1: Guitar

Early Blues 2: Vocal - Other Instruments

Modern Blues 1: Guitar

Modern Blues 2: Vocal - Other Instruments

Modern Blues 3: Black Gospel Appendix


Medieval - Renaissance


Galant - Classical

Romantic: Composers born 1770 to 1840

Romantic - Impressionist

Expressionist - Modern

Modern: Composers born 1900 to 1950




Country Western


Early Jazz 1: Ragtime - Bands - Horn

Early Jazz 2: Ragtime - Other Instrumentation

Early Jazz 3: Ragtime - Song - Hollywood

Swing Era 1: Big Bands

Swing Era 2: Song

Modern 1: Saxophone

Modern 2: Trumpet - Other Horn

Modern 3: Piano

Modern 4: Guitar - Other String

Modern 5: Percussion - Other Orchestration

Modern 6: Song

Modern 7: Latin Jazz - Latin Recording

Modern 8: United States 1960 - 1970

Modern 9: International 1960 - 1970

Rock & Roll

Early - Boogie Woogie - R&B - Soul - Disco

Doo Wop

The Big Bang - Fifties American Rock

UK Beat

British Invasion

Total War - Sixties American Rock

Other Musical Genres - Popular Music Appendix

Musician Indexes

Classical - Medieval to Renaissance

Classical - Baroque to Classical

Classical - Romantic to Modern

The Blues

Bluegrass - Folk

Country Western

Jazz Early - Ragtime - Swing Jazz

Jazz Modern - Horn

Jazz Modern - Piano - String

Jazz Modern - Percussion - Song - Other

Jazz Modern - 1960 to 1970

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