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Latin Recording 1

A VF History of Music & Recording

Europe

Group & Last Name Index to Full History:

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

 

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

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

Find on Page = F3. Not on this page? See history tree below.

Alphabetical

Carmen Amaya    Victoria de los Angeles

 
Franco Cerri    Antonio Chacón    Xavier Cugat
 
Mario Escudero
 
Flamenco
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

 

Chronological

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
   
1955 Enrico Intra
   
1956 Tete Montoliu
   
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

 

  Caveats in the employment of this page: 1. It descends in chronological order by the year the artist or band is first found on a commercial record issue (ideally) by year only, alphabetical thereat. One musician above another doesn't necessarily translate to earlier issue unless the year changed. 2. Though release dates are the aim with links to YouTube, some are recording dates and may not be everywhere clearly distinguished. 3. Reissues are used to represent originals without much discussion.
 
  This page addresses Latin recording in Europe. Being  dominated by flamenco in Spain, it is apt to commence with a few flamenco references: Academic: *. Copyrights: *. Cultural: 1, 2. Dance sites: 1, 2. Encyclopedias: 1, 2, 3, 4, 5. Flamenco sites: *. Guitar sites: *. Major artists: 1, 2. Terms: 1, 2, 3, 4, 5. Other: 1, 2, 3. See also 'Flamenco' by Dennis Koster (Alfred Music Publishing 2002); 'Flamenco Guitar: Basic Techniques' by Juan Serrano (Mel Bay Publications 1996/2016); 'The Keys to Flamenco Guitar' Vol I & II by Dennis Koster (Mel Bay Publications 2015); 'A New Anthology of Falsetas for Flamenco Guitar' by Paul Jared Newman (Bold Strummer 2009) and 'The Politics of Flamenco: La leyenda del tiempo and ideology' by Jesús López-Peláez Casellas 2017. 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 such as Ramon Montoya below. The folk music of Andalusia that is flamenco came about through a mesh of gypsies, Jews, Moors and the indigenous. The term "flamenco" appears in 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 cantantes (singers) and dancers at cafes were sharing stage with virtuosic tricks on guitar. As for percussion, it consisted of clapping, knocking and stamping via dance, flamenco's original element to which it is distinctly bound, embroidery by guitar virtuosi developing upon that. In addition to uniqueness to itself, as the folk music of Spain tradition is flamenco's essence, also making it less readily given to fusing w other genres. If Latin rhythms on the other side of the Atlantic in the Caribbean (notably percussion instruments) or South America 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 [: see Camarón de la Isla and Paco de Lucía with John McLaughlin], flamenco remains, as decidedly as necessarily, flamenco in and all of itself. 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 largely to the centuries-long contest there between Christianity and Islam.

 
Latin Music/Recording: Europe: 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, high-pitching singer, Antonio Chacon, is thought to have recorded on cylinder by 1901, those titles undetermined. Chacon avoided recording for much of his earlier career, presumably finding it pointless due to 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. Donald Clarke [Ref 3] has him recording in 1909, 1913, 1925 and 1928. Among the better known guitarists with whom he performed were Ramon Montoya, later Sabicas. Chacon died in 1929 in Madrid. References: 1, 2, 3. Catalogs: 1, 2, 3. IMDb. Compilations: 'Cátedra Del Cante' 1909/13/28 by Mivox 2006; 'Don Antonio Chacon' 3 CDs w book by Carlos Martín Ballester: 1, 2. Archives: 'Nuevo Mundo' 1926. Biblio: 'Seeking Silverio: The Birth of Flamenco' by Paco Sevilla (Sevilla Press 2008): 1, 2. Further reading: 1, 2, 3, 4, 5, 6, 7.

Antonio Chacón   1922

   Rosa si yo no te cogí

      Guitarra: Perico el del Lunar

Note: 'Rosa si yo no te cogí' is a grenadina, that is, native to Granada in southern Spain about 75 miles northeast Malaga. Composer is undetermined.

Antonio Chacón   1925

   Si preguntan por quién doblan

      Guitarra: Ramon Montoya

Note: 'Si preguntan por quién doblan' is a malaguena, that is, native to Malaga on the Mediterranean coast of southern Spain about 85 miles northeast of Gibralter. Composer is undetermined.

Antonio Chacón   1928

   Los Campanilleros

      Guitarra: Perico el del Lunar

Note: 'Los Campanilleros' is a siguiriyas [1, 2, 3, 4], developing from out the tona, an original flamenco approach thought to have its origins in the region between Seville and Cadiz on the southwest coast of Spain about 75 miles northwest of Gibralter. The composer is thought to be Niño Ricardo. See also the campanilleros form: 1, 2, 3.

 

Latin Music/Recording: Europe: Antonio Chacón

Antonio Chacón

Source: Fernando Barros
Latin Music/Recording: Europe: 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 1909. She married flamenco singer, Pepe Pinto, in 1931, 1933 or 1936 depending on the source. She issued about 355 records recorded into 1950. Having assumed her last theatrical role in 1949, she then retired, with the exception of a brief performance in Cardoba in 1961, until her death on 26 November 1969, twenty days after the death of her husband, Pepe. References: 1, 2, 3, 4. Catalogs: 1, 2, 3, 4, 5, 6. IMDb. Compilations: 'La Niña de los Peines: Heritage of Andalusia' 1910-50 by the Andalusian Center of Flamenco (258 recordings on 13 CDs) 1, 2. IA. HMR Project.

La Niña de los Peines   1910

With guitarist, Ramon Montoya:

   Acabara De Una Vez

Note: 'Acabara De Una Vez' is a cartagenera, that is, native to Cartagena on the Mediterranean coast about 250 miles northeast of Gibralter. It is a palo of the fandango family, the latter arising in the early 18th century as a dance for couples to eventually become a favorite among the aristocracy.

   Un Día Era Yo El Rey

   Malagueñas Estilo Chacón

   A Mí Mi Mare Me Bendijo

La Niña de los Peines   1929

   Salomón con ser tan sabio

      'Solomon to Be So Wise'

      Guitar: Manolo de Badajoz

      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

      Composition: 1882:

      Quirino Mendoza y Cortés

La Niña de los Peines   1961

   Bulerías

      Guitarra: Pepe Martinez

Note: The buleria [1, 2] is a style of cante (singing) developed out the more basic form of flamenco, the solea [1, 2], the latter probably originating in the Cadiz-Seville region.

 

 
Latin Music/Recording: Europe: Ramon Montoya

Ramon Montoya

Source: Shine Music School

Born in Madrid in 1879, flamenco guitarist, Ramon Montoya, is credited w originating the quivering note in flamenco guitar that is called tremolo. Montoya happened along at just the right place and time when flamenco dancers (it's element) and singers (added) began sharing stage w guitar virtuosi, making percussion, voice and guitar the primary elements of flamenco, which needn't come w anything else but emotive skirts and castanets. Which appears deceptively simple since flamenco also comes w a myriad of forms and styles (palos) that will give you a complex if you need a spare [but to begin: 1, 2, 3]. Montoya also made some of flamenco's earliest recordings as of 1909. Montoya didn't make flamenco guitar famous, but he prepared the path for his nephew, Carlos Montoya, who would. The large portion of Ramon's career was spent backing flamenco performers such as La Niña de los Peines [sessions 1909/11]. Montoya made no solo recordings issued in his own name until 1936, age 56, in Paris [Ref 2/ 1, 2, 3, 4]. Those were reissued [Discogs] in Spain in 1971 on 'Arte Clasico Flamenco' (Hispavox HAZS 270-01), and in France on 'Génie de la Guitare Flamenca' (BAM ‎LD 5430). The outbreak of the Civil War in Spain in 1936 saw him leaving for Buenos Aires, Argentina, (after Paris) where he began to tour South America w a couple other much younger flamenco masters also in flight from the War, Carmen Amaya and Sabicas. But he, being above fifty years of age at the time, wouldn't arrive to the same level of international renown as they before dying in Madrid on 20 June 1949. Numerous recordings on which Montoya features solo were made available in 1999 on the CD, 'Ramon Montoya: El Genio de la Guitarra Flamenca - Grabaciones Historicas 1923-1936' (Sonifolk 20130). See also IA. References: 1, 2, 3, 4, 5. Catalogs: 1, 2, 3, 4. IMDb. Interviews: 'La Nación' 1937. IA. Discussion. Other profiles: 1, 2, 3, 4, 5. More Montoya per 1924 under Pepe Marchena.

Ramon Montoya   1923-36

   Alborada

      Composition: Francisco Tarrega

   La Rosa

      Composition: Traditional

   Soleares en Mi

Note: Dates of the above are undetermined. 'Alborado' is the first track on the 1999 compilation: 'El Genio de la Guitarra Flamenca - Grabaciones Historicas 1923-1936' (Sonifolk 20130).

Ramon Montoya   1924

   Yo Ya No Vuelvo a Querer

      'I Won't Be Back Alive'

      With Nino de Marchena (Pepe Marhena)

      Composition:

      Mario Fernández Porta

Ramon Montoya   1925

   Si preguntan por quién doblan

      With Antonio Chacón

      Composition: Traditional

Ramon Montoya   1928

   Y el agüita no la aminoró

      With Aurelio Selles

Note: 'Y el agüita no la aminoró' ('El agua no la aminoro') is an alegria(s) [*,], a form of palo originating in Cadiz.

Ramon Montoya   1936

   Solea

      Composition: Montoya?

Note: 'Solea' is a solea [1, 2], a form of palo originating in Cadiz-Seville region. The above title is the initial track on 'Arte Clasico Flamenco' (Hispavox HAZS 270-01) and 'Génie de la Guitare Flamenca' (BAM ‎LD 5430).

 

Latin Music/Recording: Europe: Ramon Montoya

Ramon Montoya

Source: Flamenco Guitars

  Born José Tejada Marín in Marchena, Seville, in 1903, flamenco vocalist, Pepe Marchena (aka El Nino 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 as far away as Pakistan in 1961. Marchena passed away on 4 December of 1986 in Seville. References: 1, 2, 3, 4. Catalogs: 1, 2, 3, 4. IMDb. IA. Further reading: Alexandre D'Averc.

Niño de Marchena   1924

  A Ningún Hombre Quería

      Guitar: Ramón Montoya

Note: 'A Ningún Hombre Quería' is a palo of the fandango family, the latter arising in the early 18th century as a dance for couples to eventually become a favorite among the aristocracy.

Lucero de la Mañana

      Guitar: Ramón Montoya

Note: 'Lucero de la Mañana' is a fandango de Huelva [1, 2] originating in Huelva off the Spanish coast about 35 miles from the Portuguese border.

  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

Niño de Marchena   1929

   La Rosa

      Likely recorded in 1929

Niño de Marchena   1930

   Fandanguillos

      Guitar: Ramon Montoya

Pepe Marchena   1935

   Granaina de la película Paloma de mis amores

      Guitar: Ramon Montoya

Note: The above title is a granaina [1, 2, 3], meaning a fandango originating in Granada about 55 miles northeast of Malaga by air.

Pepe Marchena   1955

   Copita de Plata

      Composition:

      Hermanos Álvarez Quintero

      José Serrano

      Film: 'La Reina Mora'

   Excerpt

      Film: 'La Reina Mora'

 

Latin Music/Recording: Europe: Pepe Marchena

Pepe Marchena

Source: La Flamenca

  Xavier Cugat   See Xavier Cugat.



 
  Carmen Miranda   See Carmen Miranda.



 

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 is this solea flamenco from 1936. Though Montoya toured across the Atlantic he didn't arrive to the international renown that guitarist and oft younger partner (by 32 years), Sabicas, would, his a mastery that Chet Atkins, another world-class guitarist, thought to be 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, called Habicas as a child by his mother due to his liking of broad 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 Sabicas left Spain for South America w Carmen Amaya. Touring eventually led to Mexico City where he supported Amaya's dancing career, including a trip to New York City in 1941 to perform at Carnegie Hall. The early forties in Mexico also brought marriage to Esperanza González Erazo. Wikipedia has three of his four children - Maricruz (b '44), Carlos (b '46 deceased), Agustine (b '52) and Margaret (b '56) - yet living as of this writing. It was 1949 when Sabicas' album, 'Flamencan Guitar Solos', was issued in the U.S. on Decca CU 709. Later moving to New York City in the fifties, he returned to Spain in 1967. As a virtuoso Sabicas made a major contribution to the international renown of flamenco. He died of pneumonia in a Manhattan hospital upon multiple strokes on 14 April 1990. References: 1, 2, 3, 4, 5, 6, 7, 8. Catalogs: 1, 2, 3, 4, 5. IMDb. IA. Sheet music: 'Aires de Puerto Real' by Sabicas *; 'Embrujo de Huelva' by Sabicas *; 'Sabicas 1912' by Oscar Herrero *. Further reading: Alberto Reyes; RYM. Per 1945 below, later sources credit Sabicas with an uncredited appearance in the film, 'Los Amores de un Torero'.

Sabicas   1939

  Granadinas

     Film: 'Martingala'

        Soundtrack:

        Juan Álvarez García

Note: 'Grenadinas' may be a folk traditional first arranged for guitar by Andres Segovia. The title indicates authorship in the region of Granada, Spain, if not Granada.

Sabicas   1942

  Fandangos

With Anita Sevilla

     1: 'El Sentío'

      2: 'Que Tu Me Quieres Yo lo Se'

      3: 'Que le Mande a Decir'

      4: 'Las Cristianas

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

Sabicas   1945?

  Untitled

     Film: 'Los Amores de un Torero'

     Dance & vocal: Carmen Amaya

      Soundtrack:

      Antonio Díaz Conde

Note: The above is identified as a colombiana, meaning of Columbian, not Spanish, origin.

Sabicas   1957

With Carmen Amaya

  Las dos puntas

     Music: Carlos Montbrun Ocampo

     Lyrics: Osvaldo Rocha

  Entre Mendoza y San Juan

     Composition:

     Carlos Montbrun Ocampo

     Hernán Videla Flores

Note: Both of the above are identified as bularias [1, 2] and cuecas [1, 2, 3], The bularia is a fast-temoo style originating in Jerez, Spain, applied in the above to cuentas, meaning of origin in the region where Argentina, Bolivia and Chile all share common borders. The cueca is the national dance of Chile.

Sabicas   1959

  Bordones Granadinos

     Duet with Mario Escudero

     Composition: Sabicas/Escudero

     Carlos Montbrun Ocampo

  Bulerias del Terremoto

     With Dolores Vargas

     Composition: Sabicas/Escudero

  Flamenco Puro

     Album

  La Zarzamora

     Composition:

     Antonio Quintero Ramírez

     Manuel López-Quiroga

     Rafael de León y Arias de Saavedra

     Album: 'The Fabulous Sabicas'

Sabicas   1960

  Flamenco Fantasy

     Album

     All comps by Sabicas

Sabicas   1963

  La Malagueña

    Composition:

    Ernesto Lecuona (Cuban)

Sabicas   1972

  Rondena/Alegrias

     Television broadcast

Note: The rondena is a palo (form) of flamenco originating in Ronda, Malaga, forty or so miles west of Malaga for birds. The alegrias is a form of flamenco originating in Cadiz which developed alongside the basic solea (plural: solearas) [1, 2] perhaps originating in Seville, otherwise the Cadiz-Seville region.

  Suite

     1: 'Duquelas de Triana'

      2: 'Mi Solea'

       3: 'Embruyo Sevillano'

      Television broadcast

      All comps by Sabicas

Sabicas   1986

  Live in Seville

     Television broadcast

Sabicas   1988

  Live in Arles

     Filmed concert

 

Latin Music/Recording: Europe: Sabicas

Sabicas

Source: grapewrath

  Aldo Romano   See Aldo Romano.



 
Latin Music/Recording: Europe: Carmen Amaya

Carmen Amaya

Source: Gypsy Heart

 

Flamenco dancer (bailaora), Carmen Amaya, joins Sabicas in the distinction of taking flamenco international, making it famous on both sides of the Atlantic. Born with a passion in 1918 in Barcelona, there was a cave near Granada where she liked 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'). After appearing in 'La Hija de Juan Simón' (1935) she filled a starring role in 'Maria de la O' as Maria de la O in 1936. Filmographies indicate that wasn't released in Spain until 1939, following the three-year Spanish Civil War that began on 18 July of '36 and ceased on 1 April 1939 (resulting in the Nationalist dictator, Francisco Franco, assuming his position as Caudillo [Head of State]). 'Maria de la O' didn't premiere in the United States until 1942, eight years after filming. Upon the outbreak of the Civil War Amaya had headed for Buenos Aires, Argentina, with Sabicas, also joining much older Ramon Montoya there who had arrived from Paris. Touring in South America led to Mexico City where her career in dance was supported by Sabicas, they eventually taking a trip to New York City in 1941 to play Carnegie Hall [numerous sources though not listed at the CH timeline]. DAHR finds her in sessions in New York on 1 & 4 of June toward releases like 'Tondero (Decca 23227)', 'La Tana' (Decca 23227), 'Corazone de Acero' (Decca 23228) and 'Fiesta Jerenzana' (Decca 23228). Those were family recordings on which she was joined by Jose Amaya (El Chino - father), Leonor Amaya (sister), Paco Amaya (brother) and Antonio Amaya (unidentified). Flamenco Girls has her getting deported from the United States to Cuba after that, where she appeared in the short film, 'El Embrajo del Fandango', in 1941. In 1944 she returned to the States to perform 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. Marrying the guitarist, Juan Antonio Agüero, in 1951, 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 on 19 November 1963. References: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Sessions: DAHR (1941 NY). Catalogs: 1, 2, 3, 4. IMDb. Documentaries: 'Queen of the Gypsies' by Jocelyn Ajami. IA. Biblio: 'Carmen Amaya' by Montse Madridejos & David Pérez Merinero (Edicions Bellaterra 2013); 'Queen of the Gypsies' by Paco Sevilla (Sevilla Pr 1999). Further reading: Flamenco Papers; Montse Madridejos; Núria Martorell. Per 1961 and 1963 below, the bularia(s) is a fast-tempo flamenco form originating in Jerez.

Carmen Amaya   1929

  Untitled

      Film: 'La Bodega' ('The Winery')

Carmen Amaya   1935

  Untitled

      Film: 'La Hija de Juan Simón'

Carmen Amaya   1936

  Sevillanas/Soléa

      Film: 'Maria de la O'

Note: In the film above Carmen dances multiple sevillanas [1, 2, 3], a common form of flamenco springing from Seville. She finishes w a solea, a form originating in the Cadiz-Seville region.

Carmen Amaya   1938/45

  El Embrujo del Fandango

     'The Bewitching Fandango'

       Composition:

        José María Palomo

Note: The above is two versions of 'Embrujo del Fandango' w 1938 following 1945. The first (1945) is from the film, 'Los Amores de un Torero'.The second (1938) is from the film, 'Passion Gitana'.

Carmen Amaya   1954

  Zambra

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

Note: The zambra [1, 2, 3, 4], from Arabic "zumra" meaning "party", is a style of flamenco dance that had once been common at weddings. A zambra gitano indicates origination in Gitano, a quarter of Granada. The fusion of flamenco w the Arabic belly dance is more properly called the zambra mora.

Carmen Amaya   1941

  El Embrujo del Fandango

      'The Bewitching Fandango'

       Composition:

       José María Palomo

      Film: 'Original Gypsy Dances'

Carmen Amaya   1958

  Alegrias

      Film: 'Musica en la noche'

Note: The Alegrias [1, 2] is a form of flamenco originating in Cadiz. "Allegria" translates to "joy" in English.

Carmen Amaya   1961

  Bulerias

      Film

Carmen Amaya   1962

  Fiesta Jerezana

      Album: 'Cantos y Bailes Flamencos'

Carmen Amaya   1963

  Bulerias

      Film: 'Los Tarantos'

Carmen Amaya   1964

Album: '¡Inolvidable Carmen Amaya!'

Brunswick ‎EPB 10741

Recorded in New York

Guitar: Sabicas

Both comps by Amaya/Sabicas

  Colombiana Flamenca

  Garrotín

Note: The garrotin [1, 2, 3, 4] is a form of flamenco generally credited to Ramon Montoya, made famous by El Faico who combined it with dance in Madrid. Montoya derived the garrotin from out of the flamenca tango (which may or may not be related to the Argetine tango). That is disputed, however, by two schools of thought that would place its conception, not in Andalusia, but northern Spain. The one has gorrotin birthed in the Asturias-Galicia region in northwest Spain off the Atlantic, arriving to Andalusia by sea (past Portugal) at Cadiz on the Mediterranean (short of Gibralter eighty some miles). Another theory has garrotin developed by Catalan gypsies in northeast Spain. Relevantly, though the flamenca tango may or may not be related to the Argentine tango, one style of flamenco does share roots w dance across the Atlantic, the rumba flamenca, conceived from the Cuban guaracha.

 

Latin Music/Recording: Europe: Carmen Amaya

Carmen Amaya

Source: Carlos Olalla

Latin Music/Recording: Europe: Antonio Mairena

Antonio Mairena

Source: Iniciacion al Flamenco

Born Antonio Cruz García in Mairena del Alcor, Seville, in 1907, flamenco singer, Antonio Mairena, was as a vocalist who emphasized traditional gypsy flamenco, a purist who didn't participate in such as opera flamenco. Nor did he care to subject song to flamenco dance, Carmen Amaya is 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. The sixties brought his book co-authored w Ricardo Molina, 'Mundo y Formas del Cante Flamenco' (Revista de Occidente/ Madrid 1963). His autobiography, 'Las Confesiones de Antonio Mairena' (U of Seville 1976), was assisted by poet, Alberto García Ulecia. 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. References: Ambiente; Andalucia: 1, 2, 3; Biografias y Vidas; Wikipedia. Catalogs: 1, 2, 3, 4 (w lyrics), 5, 6. Compilations: 1945-83. IMDb. IA. Further reading: José Manuel Navarro.

Antonio Mairena   1941

  Las Llaves de Tetuan

      ('The Keys of Tetuan')

      Album: 'Fiesta por bulerías y fandangos'

Antonio Mairena   1954

From 'Disco de Londres'

Guitarra: Manuel Morao

  Alegrías y Cantiñas

  Toná de Triana

      Palo: Martinete

  Vestía de Nazareno

      Palo: Tiento

Antonio Mairena   1964

  Al llegar a tu puerta

      Palo: Fandango

      Guitarra: Melchor de Marchena

Antonio Mairena   1965

  Liviana

Antonio Mairena   1966

  Si las piedras de tu calle

      Palo: Solea

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

      Guitarra: Niño Ricardo

Antonio Mairena   1972

  Toná Liviana

      Guitarra: Melchor de Marchena

Antonio Mairena   1976

  Ovejitas

      Palo: Siguiriyas

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

      All comps by Mairena

Antonio Mairena   1979

  Tengo mi corazon

      Guitar: Enrique de Melchor

Antonio Mairena   1981

  Recital in Granada

      Guitar: Juan Habichuela

      See Claude Worms

Antonio Mairena   1983

From 'El calor de mis recuerdos'

Guitars: Enrique de Melchor & Pedro Pena

  Dichosa hora

      Palo: Bularia: 1, 2

  Soleá de Charamusco

      Palo: Solea

      See Andrés Raya

 

 
  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 in Germany (during the Spanish Civil War 1936-39) he performed guitar in the film, 'Carmen, la de Triana' (starring Imperio Argentina), alongside his uncle, Ramon. He also began working with dancer, La Argentinita (Encarnacion Lopez) in 1938 and would work with her until her death in 1945. 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. On 2 Oct 1940 he recorded a suite of solos for Decca under his own name: 'Bulerias' (18103), 'Fandanguillos' (18103), 'Alegrias' (18104), 'Farrucia' (18104), 'Solea Rosa' (18105) and 'Sevillanas' (18105). In 1946 Montoya recorded several titles with his Argentinians: 'Cafe Chinitas', 'Tango Del Negrito', 'Malaguena', 'Variociones Por Bulerias', 'Zambrilla' and 'Folias Canarias'. Among his more than 40 albums was 'Guitar Recital' issued on Period Records RL 1928 in 1958. Flamenco met jazz on 3 November of '58 when Montoya recorded 'From St. Louis to Seville' in NYC backed by musicians, Barry Galbraith (guitar), Milt Hinton (bass) and Osie Johnson (drums). He went down live at a solo concert given in Town Hall in NYC on 24 Feb 1962 toward 'The Incredible Carlos Montoya'. 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. Montoya died on Long Island (Wainscott), New York, on 3 March 1993 [obits: 1, 2]. His niece is California flamenco dancer, Rosa Montoya. References: 1, 2, 3, 4. Catalogs: 1, 2, 3, 4, 5. Compilations: 'From St. Louis to Seville' on Blue Moon BMCD 852. Further reading: Jason Webster. Other profiles: *. 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

  Untitled

      Film: 'Carmen de la Triana'

      Vocal: Imperio Argentina

Carlos Montoya   1949

  El Flamenco (alt)

      Album

Carlos Montoya   1953

  The Daughter of Juan Alba

      Vocal: Lydia Ibarrondo

      Composition:

      Francisco Infantes Florido

     Luis Rivas

Carlos Montoya   1954

  Suite

      With José Moreno

Carlos Montoya   1956

  Alorno y Verdial

      Composition: Carlos Montoya

Carlos Montoya   1957

  Bulerias

      Filmed live

Carlos Montoya   1958

  Malagueña

      Album: 'Recital di Chitarra Spagnola'

  St Louis Blues

      Composition: WC Handy

  Zambrilla

Carlos Montoya   1959

  Malaga

      Film

Carlos Montoya   1961

  Temas en Farruca

Carlos Montoya   1962

  Alegria Rosa

 

Latin Music/Recording: Europe: 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, also went by El Niño De Alicante. He 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'. He issued 'Viva Flamenco' in 1950 on Decca DL 8736 [1, 2]. In July of 1952 he recorded the album, 'El Pili Flamenco', with guitarist, 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 as El Niño de Alicante is thought to be 'Flamenco Festival' in 1957 (qualified in that no dates are identidied 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. He became a United States citizen in 1969, 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 on 19 Nov 2004, suffering with Parkinson's disease. References: 1, 2, 3, 4, 5. Discos: 1, 2. Discussion. Further reading: Da Flamenco. Biblio: transcriptions: 'The Glory of the Flamenco Guitar' by Claude Worms.

Mario Escudero   1946

With Estrellita Castro

Compositions: Kola/Castellanos

   Er Yeli

   Sevillanas de la Moda

Mario Escudero   1952

With Alberto Velez

   Brisas del Geni

      Composition: Escudero/Valez

   Fandangos por Solea

      Fandango: 1, 2

   Siguirillas Gitanas

      Siguirilla: 1, 2

Mario Escudero   1955

From 'Flamenco'

Folkways FP 920

   Almoradi

      Farruca

      Composition:

      Niño Ricardo/Jose Luis de la Paz

  Sarracena

From 'Mario Escudero and His Flamenco Guitar'

Montilla FM 57

   Para Amina

      Composition:

      Escudero/Ángel Ortiz de Villajos

   Piropo a la Soleá

      Composition:

      Francisco Merenciano Bosch/Escudero

Mario Escudero   1959

From 'Spanish Dances'

Folkways FW 8829

   Serranias

      Verdiales: 1, 2

   Jerezana

      Siguirilla: 1, 2

   Salinera Gaditana

      Alegria

Mario Escudero   1990

   Suite

      Filmed live

 

Latin Music/Recording: Europe: 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 (English). 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 in Rome on June 12, 2000, of heart attack [Wikipedia] so something doesn't wholly jive with Tom Lord's date of 7 Feb 2001 in Milan for 'Per Bruno Martino' (Philology W202-2) on which he contributes voice to 'Arrivederci' performed by the Renato Sellani Trio which also records other compositions by Martino on that album like 'Estate' ('Summer'), an earlier version by Martino apparently included. That is, tracks on which Martino appears had to have been recorded prior to 12 June 2000. See also 1, 2. Other profiles: 1, 2. Discos: 1, 2, 3, 4, 5. IMDb.

Bruno Martino   1958

   Perry Como Corride e Fa

      Composition: Francesco Pisano

Bruno Martino   1959

   Kiss Me Miss Me

      Composition:

      Roman Vatro/Carol Danell

Bruno Martino   1960

   Estate

      Music: Martino

      Lyrics: Bruno Brighetti

Bruno Martino   1972

   Florinda

      Music: Martino

      Lyrics: Vito Pallavicini

Bruno Martino   1973

   Cos'hai Trovato in Lui

      Telecast

      Music: Martino

      Lyrics: Bruno Brighetti

  Raccontami di Te

      Music: Martino

      Lyrics: Fiorelisa Calcagno

Bruno Martino   2002

   Arrivederci

      With the Renato Sellani Trio

      Session unknown <12 June 2000

      Possibly Martino's final recording

 

Latin Music/Recording: Europe: 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 foreign to the flamenco of her native country, Spain, she an opera singer. But Barcelona wasn't really gypsy territory, flamenco having its origins in Andalusia. Madrid, a few hundred miles north of flamenco's origins, eventually became a flamenco hub. Barcelona, however, was otherwise the most stylish place to live in Spain. It was Spain's jazz hub for American musicians on tour in Europe, and had for centuries been host to classical music while Islam further south remained busy either avoiding or banning Western influences. 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, interpreting 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. De los Angeles died the 15th of January, 2005 [obits: 1, 2, 3, 4, 5]. References encyclopedic 1, 2; musical: 1, 2, 3. Chronology. Catalogs: 1, 2, 3, 4, 5. IA. Biblio: 'Les introuvables de Victoria de los Angeles' (L'Avant-scène 1985) *; 'Victoria de Los Angeles' by Peter Roberts (Weidenfeld & Nicolson 1982) *. Other Latin classical, such as Andrés Segovia, are listed 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

   Habanera

       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

 

Latin Music/Recording: Europe: Victoria de los Angeles

Victoria de los Angeles

Source: All Music

Latin Music/Recording: Europe: Enrico Intra

Enrico Intra

Photo: Enrico Intra Esta

Source: Jazz Italia

Born in Milan, Italy, 1935, composer and 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 jazz at age twenty w his X Quartet. Lord and JDP have traced the X Quintet to as early as April of '55 in Milan w a crew of Franco Caldironi (vibes), Piero Virdis (guitar), Al King (bass) and Gianni Vailati (drums) putting away titles like 'Nightingale', 'O Sole Mio', 'Ciliegi Rosa', and 'Ritmo Affascinante', et al. No release dates are identified for HMV HN3462 and HMV HN3504 but 1955 is a reasonable guess. The next year in '56 Intra was in the Quintetto Jazz Di Ceglie for titles in May and June like 'Pennies from Heaven' (Parlophone TT9894) and 'Hallelujah' Parlophone TT9893. In 1957 Intra 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. Lord shows Intra recording w guitarist, Franco Cerri, as early as 1 September of 1962 in Rome w the Italian All Stars and Lilian Terry at vocals on 'Tune Up' (Ricordi MRJ8008) and 'Misty' (Ricordi MRJ8005). Vibraphonist, Milt Jackson, toured to Italy in 1964 where in Milan he sang vocals backed by Intra's ensemble released on 'Milt Jackson Sings' (Festival FLD3385). A decade later in '75 Intra hosted visiting Gerry Mulligan where in Milan they recorded 'Gerry Mulligan Meets Enrico Intra' (Produttori Associati  6.22662 AS). Come May of '81 for Intra's tribute to Bill Evans in a trio w Cerri and Lucio Terzano (bass) toward 'Omaggio a Bill Evans' (Dire FO 361). 'Effeto Alfa' went down including Cerri and Ernesto Verardi at guitars in '82 w the Orchestra Sinfonica Di Milano. Discogs has Intra good for above thirty albums as a leader or co-leader. Notable in '94 was 'Nosferatu Live' performed at the Iseo Jazz Festival on 7 August 1993 w drummer, Paolo Pellegatti. September 26 of '97 witnessed Intra w Cerri in a quintet toward their joint album 'From Milan to Brussels' (Sabena CDPM115). Cerri and Intra last performed together per Lord on 15 March of 2007 in Rome w Marco Vaggi (bass) and Tony Arco (drums) toward 'Double Trio' (Casa del Jazz CdJ2-09). Come Franco Ambrosetti on trumpet in 2009 toward 'Live in Milan' (Albore Jazz ALBCD-006). Intra issued 'Incipit', a suite of jazz standards, in 2015. 'Nicola Calgari Quartet featuring Enrico Intra' saw issue in Jan of 2016 followed by 'Three Generations w Mattia Cigalini (sax) and Paolino Dalla Porta (double bass). Intra is yet active as of this writing in September 2019. References: 1, 2. Discos: 1, 2, 3, Lord (leading 23 of 55 sessions). Facebook.

Enrico Intra   1958

  Lullaby for Trio

      III Festival Del Jazz Sanremo

      Bass: Ernesto Villa

      Drums: Pupo De Luca

      Composition: Enrico Intra

Enrico Intra   1962

From 'Jazz in Studio'

Bass: Pallino Salonia

Drums: Pupo De Luca

  Nardis

      Composition: Miles Davis

  Percussion

      Composition: Enrico Intra

Enrico Intra   1964

  Autumn Leaves

      Music: Joseph Kosma   1945

      Lyrics French: Jacques Prévert

      Lyrics English: Johnny Mercer

      Album: 'Milt Jackson Sings'

Enrico Intra   1968

  No Amor

      Backing Jacinta

      Composition:

      Enrico Intra/Vito Pallavicini

      Arrangement: Francesc Burrull

      LP: 'Jacinta: I San Remo 68'

Enrico Intra   1969

  Baby Love

      Music: Enrico Intra

      Soundtrack

Enrico Intra   1970

  Messa D'Oggi

      LP

      All comps by Ennio Franco Celant

Enrico Intra   1975

  Paopop

      Composition: Enrico Intra

      LP

Enrico Intra   1976

From 'Gerry Mulligan Meets Enrico':

   Fertile Land

      Composition: Enrico Intra

  Nuova Civiltà

      Composition: Enrico Intra

  Rio One

      Composition: Gerry Mulligan

Enrico Intra   2007

   Live with Franco Cerri

      Filmed live

Enrico Intra   2009

   E Se Domani

      Filmed live

      Composition:

      Carlo Alberto Rossi

      Giorgio Calabrese

Enrico Intra   2010

   Villanella

      Filmed live

Enrico Intra   2015

From 'Incipit':

   Love Is Here to Stay

      Composition:

      Gershwin Brothers   1938

      For the movie 'The Goldwyn Follies'

  Tea for Two

      Music: Vincent Youmans   1924

      Lyrics: Irving Caesar

 

 
  Tete Montoliu was born blind in Barcelona, Spain, in 1933. Montoliu's talent placed him an important role as host to American musicians on tour to Europe, drawing them south of the Pyrenees. 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. Perez-Fitzgerald [Discos 7 below] lend a date of January 1st of 1956 for the issue of eight titles on four Columbia 78s: '¡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. He took a trip to New York City in 1967 where he recorded unknown titles w Richard Davis (bass) and Elvin Jones (drums) at Top of the Gate (2nd story above the Village Gate), tapes lost. Montoliu held a poor opinion of free jazz but backed Anthony Braxton on 'In the Tradition' Vol 1 & 2 in 1974 as those addressed jazz standards like 'Just Friends' and 'Body and Soul' w a bit of bebop per 'Ornithology'. Another trip to the States in 1979, now Los Angeles, resulted in Montoliu's LP, 'Lunch in L.A.', a suite of solos excepting Chick Corea contributing to Larry Spear's composition, 'Put Your Little Foot Right Out'. Along w backing other musicians Montoliu issued well over fifty albums, 5 recorded for Steeplechase in 1980 alone: 'Boston Concert', 'I Wanna Talk About You' and 'Catalonia Nights' Vol 1-3. Highlighting the nineties was his release of 'The Man from Barcelona' in 1991 w George Mraz (bass) and drummer, Lewis Nash. Among other musicians significant to Montoliu's career were Dexter Gordon (7 albums) and Ben Webster (3 albums). Though Montoliu visited the States on multiple occasions the larger portion of his touring and recording was in Europe, preferring overall to keep to Barcelona where he was a key figure in making that city a requisite destination for American jazz musicians. Montoliu died in Barcelona on 24 August 1997 [obit]. References: 1, 2, 3. Sessions: Agustín Pérez-Michael Fitzgerald: main, multiple versions, personnel; Tom Lord (leading 79 of 131). Discos: 1, 2, 3, 4, 5, 6, 7. IMDb.

Tete Montoliu   1956

  Ayer No Viniste

      Composition: Jose Sole

  Eso Es El Amor

      Composition: Pepe Iglesias

  No Me Hagas Cosquillitas

      Composition: Sixta Batista Mana

Tete Montoliu   1958

  No, No y No

      Recorded in Netherlands 1954

      Composition: Osvaldo Farresa

Tete Montoliu   1962

  A Cabin in the Sky

      Filmed live

      Composition:

      Vernon Duke/John Latouche

Tete Montoliu   1963

  Short Story

      Trumpet: Kenny Dorham

      Composition: Dorham

Tete Montoliu   1964

  Second Balcony Jump

      Filmed live with Dexter Gordon

      Composition:

      Gerald Valentine/Billy Eckstine

Tete Montoliu   1973

  Suite

      Album: 'Temas Latinoamericanos'

Tete Montoliu   1974

  Giant Steps

      Composition: John Coltrane

      Album: 'Tete!'

  Vampyria

      Album

      Acoustic piano: Jordi Sabates

      Electric piano: Tete Montoliu

      All comps by Jordi Sabates

Tete Montoliu   1981

  Lover Man

      Filmed live with Sonny Stitt

      Composition:

      Roger Ram Ramirez

      Jimmy Davis/Jimmy Sherman

  Walkin'

      ('Gravy')

      Filmed live with Sonny Stitt

      Composition:

      Jimmy Mundy

      Gene Ammons

      Richard Carpenter

Tete Montoliu   1995

  Monk Medley

      Compositions: Thelonious Monk

 

Latin Music/Recording: Europe: Tete Montoliu

Tete Montoliu

Source: All Music
Latin Music/Recording: Europe: Manitas de Plata

Manitas de Plata

Source: Carlos Bonell

Born Ricardo Baliardo in 1921 in a gypsy caravan in Sète, France, Manitas de Plata [*], examples the enormous popularity of flamenco during the seventies and thereafter, De Plata to style rustic flamenco into a vehicle of superstardom despite critical appraisals of his oeuvre as not proper flamenco. 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!' (Connoisseur Society CS 2003). Reyes was one of De Plata's more important musical associates for years to come, particularly in terms of rumba flamenca, also called gypsy or Spanish rumba. Their relationship would also lead to the formation of the later Gipsy Kings, a highly popular rumba flamenca group that would consist of De Plata's three sons, Tonino, Jacques and Maurice, and Reyes' five sons, Nicolas, André, Canut, Paul and Patchaï. The Gipsy Kings (in which neither father, Jose or Manitas, was a member) issued their first album, 'Allegria', in 1982. Returning to De Plata, IMDb has him acting in the first of a few French films per the premiere of 'Where Are You From, Johnny?' on 30 Oct 1963 in which he assumed an uncredited role as a gypsy guitarist. He 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. IMDb traces his first of numerous television appearances throughout his career into the new millennium per an episode of 'Something Special' aired on 22 Feb of 1967 from Los Angeles. De Plata's 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 spent most of it living rich, drawn to casinos and expensive automobiles. Having played at London's Royal Albert Hall eleven times, De Plata died on 5 November 2014 in Montpellier, France [obits: 1, 2, 3, 4]. Discos: 1, 2, 3. IMDb. Compilations: 'Feria Gitane' 1988 (compositions by Plata) *; 'The Gipsy Legend' (9 albums 1963-68): 1, 2 Facebook tribute. Discussion: 1, 2. References for the Gipsy Kings (in which neither De Plata nor Jose Reyes were members though fathers to its personnel): 1, 2, 3, 4, 5, 6. Discos: 1, 2, 3, 4.

Manitas de Plata   1965

From 'Flamenco Guitar'

Debut LP

Recorded Oct 1963   Arles, France

Comps below by Plata

   Alegrías Clásicas

   Malaguenas Flamencas

   Jota

Manitas de Plata   1967

   Fandangos

       Album: 'Flamenco Magic'

       All comps by De Plata

   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'

       All comps by De Plata

Manitas de Plata   1975

   Gitarren Festival

       Filmed concert

Manitas de Plata   1986

   Live in Camargue

       Filmed concert

Manitas de Plata   1988

   Africana

       Film

       Composition: Manitas de Plata

 

 
Latin Music/Recording: Europe: 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. Howsoever, de Lucia would combine elements including a touch of jazz to flamenco that drew a demarcation between traditional and modern flamenco: nuevo flamenco, comparable to the demarcation between old folk and new folk in the United States w Bob Dylan. 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. He also fused flamenco w jazz that year w tenor saxophonist, Pedro Iturralde, per '¡Jazz Flamenco!' (Hispavox HH 11-128). 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 on 25 February 2014 while vacationing with his family in Mexico. He was buried in Algeciras, Andalusia [obits: 1, 2, 3, 4, 5, 6]. References: 1, 2, 3, 4, 5. Discos: 1, 2, 3, 4, 5, 6, Lord (leading 5 of 27 sessions jazz only). IMDb. Documentaries: 'Francisco Sánchez: Paco de Lucía' directed by Daniel Hernández 2002. IA. Javier Primo interview 2001. Instruction. Discussion. Further reading: El Pais; RTVE. Biblio: 'Paco de Lucía' by Diana Pérez Custodio (Servicio Publicaciones 2005); 'Paco de Lucía and Family: The Master Plan' by D. E. Pohren (Society of Spanish Studies 1992); 'Paco de Lucia: My Memories of a Flamenco Legend' by Rusel DeMaria (Waterfront Digital Press 2014). Other profiles: 1, 2, 3, 4, 5.

Paco de Lucia   1961

  Llorando Gotas de Sangre

       Flamenco traditional

       Tiento(s) y tanguillo(s) de Cadiz

       Album: 'Los Chiquitos de Algeciras Vol 3'

  Yo no le temo a la muerte

       ('I'm Not Afraid of Death Today')

       Flamenco traditional

       Canton por solea [1, 2] de Alcalá

       English lyrics

       Album: 'Los Chiquitos de Algeciras Vol 2'

Note: Titles above, Lucia age 14, were released w Lucia going by Paquito Sánchez at guitar and Pepito Sanchez on vocals. in 1963 Lucia released the same titles (same or alt versions unknown) on 'Cante Flamenco Tradicional' Hispavox HH 10-218 w Lucia going by Paco De Algeciras at guitar and Pepe De Algeciras on vocals.

Paco de Lucía   1964

  Dos Guitarras Flamencas

       Album w Ricardo Modrego

Paco de Lucía   1967

  La Fabulosa Guitarra de Paco de Lucía

       Album   Suite of solos

Paco de Lucía   1973

  Fuente y Caudal

       Album w Ramón de Algeciras

       All comps: Lucia/José Torregrosa

Paco de Lucía   1976

  Almoraima

       Album w Ramón de Algeciras

       Bass guitar: Álvaro Yebenes

       Percussion: Pedro Ruy-Blas

       All comps by Lucia

  Entre Dos Aguas

       Filmed live

       Composition: Lucia

Paco de Lucía   1978

  Live in Montreux

       Filmed live

Paco de Lucía   1981

  Alegria

       Belgian television   Solo

  Entre Dos Aguas

       Belgian television

       With Ramon de Algeciras

       Composition: Lucia

  Guardian Angel

       The Guitar Trio

       With Al Di Meola & John McLaughlin

       Composition: 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

       Composition: Al Di Miola

Paco de Lucía   2004

  Cositas Buenas (Tangos)

       Filmed live w Nuno Josele

  Zyryab

       Filmed live

       Composition: Lucia

 

 
  Enrico Rava   See Enrico Rava.



 
Latin Music/Recording: Europe: Paco Pena

Paco Pena   1984

Source: Wikipedia

Born in 1942 in Córdoba, Spain, traditional flamenco guitarist w style, 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. 'Toques Flamencos' saw release in 1976, along w a book of transcriptions by the same title (New Services). 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 were welcome (like jazz), 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 guitars. They see less messing with than Texas. Classical guitarist, John Williams, might have discovered that when he and Pena met in 1969. During the seventies they developed a relationship w the Chilean band, the Inti-Illimani, with whom they performed 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 some compositions by Chilean Inti-Illimani director, Horacio Salinas. Pena issued his book of transcriptions, 'Toques Flamencos', in 1992, that containing 10 pieces from his album by the same name released back in 1976 per above. Into the new millennium, Pena joined classical guitarist, Eliot Fisk, in 2006 toward the 2014 issue of 'Paco Peña & Eliot Fisk in Duo Recital' [1, 2]. 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 where none have yet dared, so far as known, to step into a dusty street to rattle spurs against the 'High Noon' marshal of flamenco guitar. References: 1, 2, 3, 4. Discos: 1, 2, 3, 4, 5. Books by Pena. Tributes by Pena to Paco de Lucía. Interviews: Robert Moss 1995; Angus McPherson 2017. Discussion.

Paco Pena

   Solea De Córdoba

       Filmed live

       Composition: Pena

Paco Pena   1975

   Farruca in D

       Duet with John Williams

   Granadinas

       Television broadcast

   Soleares

       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'

       Composition: Pena

Paco Pena   2013

   Flamencura

       Filmed live

Paco Pena   2014

   NPR Tiny Desk 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 recordings went toward the album, '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. Come his recital, 'Flamanco: Nueva Era', w guitarist, Manolo Sanlúcar, at the Colegio Menor de la Juventud en Jerez on 7 July 1972 [*]. During the seventies Morente toured Mexico and the United 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 1996 Morente caused a disturbance by combining flamenco with rock on the issue of 'Omega' [*] with the British band, Lagartija Nick, that gone down on 23 July in Granada [Discogs]. Into the new millennium 'Enrique Morente en la Casa Museo de García Lorca de Fuentevaqueros' was issued in 2001, an album addressing the poetry of Federico García Lorca. Morente merged flamenco with punk rock during an encore performance by Sonic Youth at Heineken Greenspace in Valencia on 28 October 2005 [1, 2, 3]. '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 on 13 December [obits: 1, 2, 3, 4, 5]. Morente is survived by his daughter, flamenco singer, Estrella Morente [1, 2], born in 1980 in Las Gabias, Granada, to dancer, Aurora Carbonell. References: 1, 2, 3, 4. Discos: 1, 2, 3, 4, 5. IBDb. Further reading: Angel Romero; Claude Worms (analysis: composition). Other profiles: 1, 2.

Enrique Morente   1967

  La Verdulera

       Composition: Mirabras

       Album: 'Cante Flamenco'

Enrique Morente   1969

  En un sueño viniste

       ('You Came in a Dream')

       Music: Enrique Morente

       Lyrics: Al Mutamid

Enrique Morente   1975

  A la Hora de la Muerte

       Composition: Enrique Morente

       Album: 'Se hace camino al andar'

Enrique Morente   1980

  Alegrias

       Filmed live

       With members of Guadalquivir, et al

Enrique Morente   1989

  El lenguaje de las flores

       Music: Enrique Morente

       Text: Federico Garcia Lorca

Enrique Morente   1995

  Soleá por Bulerías

       Filmed live with Juan Habichuela

     Guitar: Juan Habichuela

       Compás al golpe: Antonio Carmona

Enrique Morente   1996

  Omega

       Album with Lagartija Nick

       [1, 2]

Enrique Morente   1998

  El lenguaje de las flores

      Music: Enrique Morente

      Text: Federico Garcia Lorca

       Album: 'Morente: Lorca'

Enrique Morente   1999

  Ciudad Sin Sueño Directo

       Live with Lagartija Nick

       Music:

       Enrique Morente/Lagartija Nick

       Text: Federico Garcia Lorca

Enrique Morente   2005

  Oriente y Occidente

       Filmed live w Sonic Youth

        Heineken Greenspace, Valencia

       Oct 28 2005

       Composition: Enrique Morente

Enrique Morente   2006

  Festival de Jazz de Vitoria-Gazteiz

       Filmed concert

Enrique Morente   2008

  Montes de Málaga

       Composition:

       Popular/Enrique Morente

     Album: 'Pablo de Málaga'

Enrique Morente   2010

  Live en Córdoba

       Filmed live

 

Latin Music/Recording: Europe: Enrique Morente

Enrique Morente

Source: Flamenco Gypsy

  Camarón de la Isla was a flamenco guitarist who released his debut album at the age of nineteen w Paco de Lucía, the latter 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 Verte las Flores Lloran' [reissue 2005], most titles written by himself. That album together with the next four with de Lucía were issued minus titles, they known by the titles of their first tracks. His first of several albums with guitarist, Tomatito [1, 2, 3], 'Como el Agua' [*] arrived in 1981 w Lucía. 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 [obits: 1, 2]. References: 1, 2, 3, 4, 5. Discos: 1, 2, 3, 4. IMDb. Reviews. Documentary: 'Camarón: Flamenco y Revolución' ('Camerón: The Film' US) directed by Alexis Morante 2018 *. IA. Further reading: Felix Contreras; Bryan Hemming. Bibliography: 'Composition ... Flamenco ... Present' by Peter Manuel (CUNY 2010); 'Camarón de la Isla: El Dolor de un Principe' by Francisco Peregil (Aguilar 1993).

Camarón de la Isla   1968

   Bulerias Gitanas

       Album: 'Flamencos Aus Dem Sonnigen Spanien'

Camarón de la Isla   1969

   Una estrella chiquitita

       Lyrics: José Monge

       Album: 'Al Verte las Flores Lloran'

       With Paco de Lucía

   Detrás del tuyo se va

       Lyrics: José Monge

       Album: 'Al Verte las Flores Lloran'

       With Paco de Lucía

Camarón de la Isla   1972

   Quia me me vio de nacer

        Composition:

       Antonio Sánchez/Paco De Lucia

       Album: 'Canastera'

       With Paco de Lucía

Camarón de la Isla   1978

   Bendita sea mi tierra

       With Tomatito

         Composition:

Camarón de la Isla   1990

   Tangos

       Filmed live with Tomatito

Camarón de la Isla   1991

   Soy gitano

       Filmed live at the Festival de Montreux

       Lyrics:

       José Fernández Torres

       José Monge Cruz

       Vicente Amigo

 

Latin Music/Recording: Europe: Camarón de la Isla

Camarón de la Isla

Source: Radiole

  Born Manuel Muñoz Alcón in November 1943 in Cadiz, Spanish flamenco guitarist, Manolo Sanlúcar, was trained by his father, a baker who played guitar. As the folk music of Spain flamenco is a genre distinct to itself, fusions with other styles uncommon, such as Paco de Lucía mixing flamenco with jazz musicians like Al Di Miola or Enrique Morente combining flamenco with rock in the nineties. Sanlucar did neither of those, his a classical lean. Combining flamenco with orchestra, Sanlucar would fit aptly into the classical section of these histories under Flavors, the more so as his career progressed. In so doing, Sanlucar brought rustic gypsy flamenco into the posh. In the meantime, as a latter entry on this page Sanlucar helps wrap up clarification of the various styles of flamenco, that the address of his first several albums. 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, that addressing various forms of flamenco via titles composed by himself. Unfortunately CERN is required to find those sessions so we give 1968 as his only known earliest vinyl. In 1971-73 Sanlucar released three volumes of 'Mundo y Formas de la Guitarra Flamenca', exampling numerous forms of flamenco, titles written by himself [1, 2, 3]. Among future albums came 'Sanlucar' in 1974 w most titles composed by himself [1975: Discogs/ RYM] His composition, 'Alfarero', saw issue on 'Sentimiento' [*] in 1976, the same year his 'Fantasia para Guitarra y Orquesta' premiered at the Teatro Real (Royal Theatre) [*] in Madrid. The album, 'Fantasia para Guitarra y Orquesta' [*], arrived in 1978 w titles authored by himself, orchestration by Ricardo Miralles. In 1984 Sanlucar recorded 'Trebujena', a concerto for guitar and orchestra, the same year his flamenco ballet, 'Medea', premiered on 13 July at Madrid's Teatro de la Zarzuela [*/ other sources other years] w the Ballet Nacional de España. Manuel Ruiz at ABC Sanlucar recording the album, 'Medea' [1, 2, 3], the same month, that to emerge in 1987 w direction of the Orquesta Filarmónica de Málaga by Alexander Rahbari. 'Medea' is a very rare album nowhere found except in a 2011 compilation shared w 'Tauromagia' [1, 2, 3], Sanlucar's album w bullfighting its theme issued in '88. (Sanlucar's 'Medea' witnessed reinterpretation by guitarist, Manuel Barrueco, in 2013, winning a Latin Grammy for Best Classical Album.) December of 1988 saw the issue of 'Solea', another work 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' [1, 2], 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. Francesc Serracanta has Sanlucar announcing his retirement from staged concerts on 27 July, 2013 after a performance of 'Himno de Andalucía' at the Cueva de Nerja [1, 2, 3] in Malaga. (The 'Himno de Andalucia' ['Anthem of Andalucia'] was composed by José del Castillo Díaz with lyrics by Blas Infante. It premiered in 1936 at the Alameda de Hércules [*] in Seville a week before the beginning of the Spanish Civil War, the latter on 17 July [*] toward the establishment of the Franco regime.) Sanlucar ceased giving concerts in order to more concentrate, as a principle interpreter of flamenco, on an audiovisual project begun in 2010, ‘La Guitarra Flamenca’, a documentary of flamenco guitar which premiered in 2016 at the Picasso Museum in Malaga per the Festival de Cine Español [*]. Sanlucar is yet active,  though experiencing various ailments of old age, he approaching 76 years as of this writing. References: 1, 2, 3, 4. Discos: 1, 2, 3, 4, 5. IMDb. IA. Transcriptions: 1, 2. Pepe Oliva interview 2016. Further reading: Manuel Bohórquez, Jason Webster. Other profiles: 1, 2, 3, 4.

Manolo Sanlúcar   1968

From 'Recital Flamenco'

Album of flamenco styles

All comps by Sanlucar

  Malagueñas

  Puertatierra

Manolo Sanlúcar   1971

  Sevillanas de las Cuatro Esquinas

      Album:

      'Mundo y Formas de la Guitarra Flamenca Vol I'

      Flamenco styles

      All comps by Sanlucar

      See Vol 1, 2, 3

Manolo Sanlúcar   1975

  Sevillanas de las Cuatro Esquinas

       Album: 'Sanlucar'

Manolo Sanlúcar   1987

  Encuentro y Desencuentro

      Album: 'Medea'

      Orquesta Filarmónica de Málaga

      Director: Alexander Rahbari

      See 'Tauromagia - Medea'

Manolo Sanlúcar   1988

From 'Tauromagia'

All composition Sanlucar

See 1, 2, 3

  Maletilla

  Nacencia

  Puerta del Principe

Manolo Sanlúcar   1990

  Compadres

     Filmed live w Paco de Lucia

     Composition: Lucia/Sanlucar

Manolo Sanlúcar   1991

  De Muleta

     Filmed live at Montreux Jazz Festival

     Composition: Sanlucar

Manolo Sanlúcar   2000

From 'Locura de Brisa y Trino'

Voice: Carmen Linares

All music Sanlucar

All text Federico García Lorca

  Campo

  Normas

Manolo Sanlúcar   2009

  Festival de la Guitarra de Córdoba

      With the Orquesta de Cordoba

 

Latin Music/Recording: Europe: Manolo Sanlucar

Manolo Sanlucar

Source: Membrilla

 

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

 

 

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