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RíTO Y GEOGRAFíA DEL TOQUE

  (Texto: Norberto Torres Cortés.Translation: Pierre LeFranc)

The year 2000 opens with an event for years undreamt-of by guitar players, aficionados, and music lovers in general: the publication, in the form of videos, of most of the archives of Spanish Television (Televisión Española,TVE) concerning the flamenco guitar. They range from the year 1964 with Niño Ricardo, Ricardo Modrego, and a then 16-year old Paco de Lucía, to Tomatito at his most gypsy in the 1979 record La Leyenda del Tiempo, and they include in between Serranito, Manolo SanLúcar, Enrique de Melchor, Pepe Habichuela, Diego Carrasco, Paco Cepero, Andrés Batista, Pedro Bacán, Paco de Lucía and Camarón in 1972, together with those classically-oriented: Melchor de Marchena, Diego del Gastor, Manuel Morao, Pedro Peña, Felix de Utrera, Manolo el Sevillano, and… Sabicas « live » in one of the last concerts he gave. Thus a total of 16 years of flamenco guitar are made available visually. The period 1964-1979 was an extraordinary one for flamenco, owing to the coexistence of tradition and a rising new generation, then innovative, now classical, which was establishing the foundations of today’s toque (style of playing). If we add to this the interviews and commentaries made in those days, mainly by José María Velázquez and Fernando Quiñones, we can appreciate the undreamt-of magnitude of what is being offered to us by Alga Editores, which had already made available two other video series, which can also be ordered from Catalina's: Ríto y Geografía del Cante (26 videos) and Ríto y Geografía del Baile (12 videos) . Although, unavoidably, most of the images are in black and white, and the sound is of a less high quality than it would be today, one can submit that this is an added merit: it brings us in contact with the authenticity of a period in which the detestable « play-back » was not yet a standard technique.

Ríto y Geografía del Toque 6 video Set is $175.00 (The set is available in either PAL or NTSC)

Here is a detailed description of these videos:

1 2 3 4 5 6  

VÍDEO Nº 1

I. POEMA DE LA GUITARRA I (1964).. Black and White, 15min. (Series: Antología de Cante y Baile andaluces)

NIÑO RICARDO (1904-1972),  " Sevilla es mi tierra " (Soleá) by Manuel Serrapi  Sánchez                              PACO DE LUCÍA y RICARDO MODREGO, "Guajira flamenca"                      

II. PACO DE LUCÍA (1972)...Black and White, 32min.   (Series: Ríto y Geografía del Cante)

Taranta, Bulerías (accompanied by his brother Pepe de Lucía); Camarón playing Bulerías; Paco de Lucía with  his older brother  Ramón de Algeciras practicing a Bulería , playing Soleares, and Rumbas with Carlos Rebato on the second guitar.

III. PEPE MARTÍNEZ (1972) ...Black and White, 30min.    (Series: FLAMENCO de Fernando Quiñones)

José Martínez León « Pepe Martínez » (Sevilla, 1923-84), playing a Granaína, interpreting the choros « Xodó da Bahiana » by the Brasilian composer Dilermando Reis, giving guitar classes, and in Colombianas, a Zapateado, and Guajira in D major with the sixth string in D.

Comments: A moving recording of Niño Ricardo in Soleáres, and the earliest images of Paco de Lucía, at sixteen, already preparing his future records with Ricardo Modrego, with a stunning Guajira in which one can already find one of the variations of his famous « Guajira de Lucía ». Also, from the Flamenco program of Spanish Television, images shot in 1964 under the guidance of Antonio Sánchez Pecino, the father of Paco de Lucía. It may be due to this that Paco is particularly prominent in the series  (we even see him dressed up as a barber in a barber’s shop, practicing Tarantos), and we believe that his guitar can also be heard in the video’s opening, in nothing less than Bach’s Toccata and Fugue in D flat (BMW 565).

The program dedicated to Paco de Lucía comes from the series Ríto y Geografía del Cante, shot between 1971 and 1973, and it can be dated 1972. We hear him in Taranta variations found in his records Fantasía (1969), La Fabulosa Guitarra de Paco de Lucía (1967), a forerunner of Fuente y Caudal (1973), and other pieces then still unpublished; he also plays Bulería variations from « El Tempul », « Plazuela », and « Punta del Faro », and accompanies Pepe de Lucía in the grip of duende (flamenco exaltation); we see him at home in pajamas, in a practicing session with Camarón who briefly plays Bulerías, working alone on the Taranta of « Fuente y Caudal », and fine-tuning with his brother Ramón a Bulería variation found in one of the early records of Camarón. The series continues with the Soleáres « Cuando canta el gallo » and the Zapateado from the record El Duende de Paco de Lucía, and it ends with a rumba half-way between the « Rumba Improvisada » from the 1971 record Recital and « Entre Dos Aguas » from Fuente y Caudal (1973) which belies the legend of this famous piece having been improvised and shows that all that Paco de Lucía recorded was the outcome of earlier maturations.

Another pleasant surprise in this video n° 1 is the possibility of listening to Pepe Martínez, a great concert-oriented flamenco guitar as was Ramón Montoya, and now unjustly neglected. The interviews enable us to evaluate the impact of Pepe Martínez in London and the eminent role that he played in spreading the knowledge of flamenco in Great Britain. All this is a delight for the lovers of the classical toque, and the Colombiana and the Guajira in D major bring a particular homage to Sabicas.

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VÍDEO Nº 2

MELCHOR DE MARCHENA (1971)... Black & White , 30min      (Series: Ríto y Geografía del Cante)

Melchor Jiménez Torres « Melchor de Marchena » (Marchena, 1907 - Madrid, 1980) is shown in his family in Marchena, playing Seguiriyas and Taranta; being interviewed, accompanying Manolo Caracol and Beni de Cádiz in fandangos;  playing Tanguillos de Cádiz; his son Enrique plays Soleáres and Melchor concludes them with a variation of his own.

ENRIQUE DE MELCHOR (1977)... Color, 16min.     ( Series: FLAMENCO de Fernando Quiñones)

 Enrique Jiménez Ramírez « Enrique de Melchor » (born Marchena 1950) with Luis (bass), Pedro (flute), Josele (flamenco guitar), Martín (bongos), in columbianas, in an interview, in Bulerias in the tonality of Tarantos, and in Rondeñas. .  

ENRIQUE DE MELCHOR (1974)... Black & White, 28min.     (Series: FLAMENCO de Fernando Quiñones)

Enrique plays in this episode a Farruca, a Taranto, a Bulería with José Cobos and Paco Heredia (guitars); then follows an interview, a Soleares, a  Serrana, and a Rondeña again with José Cobos and Paco  Heredia.

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VÍDEO Nº  3

PACO CEPERO (1976)...Black & White, 30min.  (Series: FLAMENCO de Fernando Quiñones)

Francisco López Cepero García « Paco Cepero » (born Jerez 1932) plays: Gaditana  (a jaleo) with La Polilla de Madrid, Lolita Baena and Carmen Heredia (palmas), is interviewed, then plays Tarantas and Tarantos, Tientos and Tangos, a Farruca, " Amuletto " (Rumba), and Bulerías.

DIEGO CARRASCO (1979)... Color, 17min.              (Series: FLAMENCO de Fernando Quiñones )

Diego Carrasco Fernández « Diego Carrasco "el Tate " (born Jérez 1954), is accompanied by Luis (acoustic ovation guitar), Miguel Angel (bass), Pedro (flute), Tito and Rafa (flamenco guitars), and Pedro (bongos). They interpret " Luz de Farolas" (Bulerías); he is interviewed, and sings and plays Bulerías, including " Bulerías del 7 ".

ANDRÉS BATISTA (1975)...Black & White, 29min.      (Series: FLAMENCO de Fernando Quiñones)

Andrés Batista (born Barcelona 1937) is interviewed on flamenco in Catalonia; he then plays Granaínas, Guajiras, Bulerías, danza mora, Fandangos, and a Zapateado.

Comments: together with the launching of Enrique de Melchor, we witness Paco Cepero’s career as a soloist, and hear him perform various pieces found in his first and only record as a soloist, Amuleto (1977). Also, the unquiet tocaor and singer Diego Carrasco already proposes, in these late 70’s, a reinterpretation of the Bulerías of his native Santiago district, with influences from Chick Corea’s group « Return to Forever » and a markedly oriental coloring which makes us think of the present group Radio Tarifa, and even of the theme « Reino de Silia » by Vicente Amigo in the estribillos (refrains) of the « Bulería del 7 » which served as an introduction theme for the program Flamenco presented by F. Quiñones.

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VÍDEO Nº  4

PEPE "HABICHUELA" (1974)...Black & White, 30min.    (Series: FLAMENCO de Fernando Quiñones)

 José Antonio Carmona Carmona « Pepe Habichuela » (born Granada 1944) performs Soleares, is interviewed, plays Alegrías in E major, Taranto, Seguiriya, Tangos with Carlos Carmona « Habichuela » and Benjamín Santiago (guitar players). 

PEPE " HABICHUELA" (1979)...Color, 14min.            (Series: FLAMENCO de Fernando Quiñones)

Bulerías with Juan Habichuela "hijo" (guitar), Jaleo in the tonality of a Minera with Juan Habichuela « hijo » (guitar), and Guadiana, Chocolatillo, and Ángel (Palmas).

VICTOR MONGE "SERRANITO" (1975)...Black & White, 26min.  (Series: FLAMENCO de Fernando Quiñones 

Victor Monge Serrano "Serranito" (born Madrid 1942) is heard in a Taranta, Soleáres, an interview, in "Popular Themes" and a Zapateado with Alejandro Winia and Manolo Sison (guitar players).

Comments: we are first given a black-and-white Pepe Habichuela at the outset of his career as a soloist at the beginning of the 70’s, with toques still influenced by his brother Juan, Sabicas, and Paco de Lucía, though his special mark already emerges (particularly in Soleáres); then the same Pepe Habichuela in colour, at the end of the 70’s, with his personality now better defined and matured, is heard in toques from his first record A Mandelí (1983) and of the record Despegando which he made in 1977 with Enrique Morente. The second guitar is that of his nephew, then known as Juan Habichuela « hijo », who later became Juan Carmona « El Camborio », and is today the established leader of the Ketama group.

The video ends with fascinating images of the astonishing Serranito, « a guitar-player for guitar-players », in full possession of his virtuosity: Tarantas and Soleáres played solo, « Popular Themes » which are nothing else than the Tarara on a Tientos rhythm and in E minor, and his famous Zapateado for three guitars, « Punta y Tacón ».

DIEGO DEL GASTOR (1971)...Black & White, 32min.        (Series: Rito y Geografía del Cante) 

 Diego Flores Amaya "Diego del Gastor"  (Arriate, Málaga, 1908 - Morón de La Frontera, Sevilla, 1973) is heard in alegrías, an interview, Seguiriyas; He accompanies por Bulería a series of Alboreás sung by Joselero de Morón, and plays soleares. 

 TOMATITO (1980)... Color, 14min.                               (Series: FLAMENCO de Fernando Quiñones) 

José Fernández Torres « Tomatito » (born Almería 1958), together with Jorge Pardo (flute), Carlos Benavent (bass), Juan Habichuela « hijo », Rubén Dantas (percussions), Romerito de Algeciras, Guadiana, José Soto « Sordera », Tino de Madrid (palmas), are heard in Bulerías, an interview, in Bulerías in the tonality of a Taranto, and in tangos.  

GUITARRA FLAMENCA II WITH MANUEL MORAO, PEDRO BACÁN, PACO DE LUCÍA, MANOLO SANLÚCAR (1972)...Black & White, 26min.                        ( Series: Rito y Geografía del Cante)

 Interviews of Rafael del Aguila (Jérez, 1900-76); Manuel Moreno Jiménez « Manuel Morao » (Jérez 1929) plays Soleáres; Pedro Peña Fernández  "Pedro Bacán" (Lebrija, 1939-1997) plays Tarantas; Paco de Lucía plays Bulerías; the cantaor Juan Peña "El Lebrijano"  is interviewed; Manuel Muñoz Alcón "Manolo Sanlúcar " (born Sanlúcar de Barrameda, 1945) plays Seguiriyas (Elegía al Niño Ricardo).

Comments: Again moving images of the legendary Diego del Gastor shortly before his death, taking a walk in Morón, in a gathering with friends, talking about the toque, interpreting Alegrías, Seguiriyas, and Soleáres solo, and accompanying his cousin Joselero in Bulerías in masterly fashion and with a duende worthy of his legend. El Tomatito, emerging from his recent recording of La leyenda del tiempo (1979) with Camarón, interprets various rhythmic pieces with the intensely gypsy expression which sets him apart from all others, accompanied by a first version of the Paco de Lucía sextet, Juan Carmona the second guitar of the Ketama group, and the palmas of the no less famous celebrities of today’s Guadiana, José Soto « Sorderita » (then « Sotito de Jérez ») and Tino. Then follow an interview of Rafael del Aguila, the disciple of Javier Molina and master of the current generation of Jérez guitar-players; Manuel Morao in one of the earliest expressions of that unmistakable Jérez toque; a youthful Pedro Bacán interpreting with great virtuosity one of his earliest Tarantas; Paco de Lucía in Bulerías accompanied by Camarón’s knuckles in a flamenco gathering; Turronero and Paco Cepero; Juan Peña « el Lebrijano », then a youthful upholder of the classical flamenco tradition, expressing his opinion on the toque of the early 70’s ; Manolo Sanlúcar playing por Seguiriya his « Elegía al Niño Ricardo », the master who had just died when this recording was made in 1972 (Sanlúcar recorded this piece that same year in vol. 2 of his Mundo y Formas de la Guitarra Flamenca). Those documents form a superb miscellany which illustrates the coexistence of the traditional toque and the renewal then in its early stages.

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GUITARRA FLAMENCA I  WITH MANUEL MORAO, MELCHOR DE MARCHENA, PEDRO PEÑA, PACO DE LUCÍA, DIEGO DEL GASTOR (1972)... Black & White, 30min.      (Series: Rito y Geografía del Cante)

Manuel Morao in Seguiriyas, Melchor de Marchena in Tarantos, an interview of Pedro Peña who sings and plays Soleáres, Paco de Lucía in Rondeñas, and Diego del Gastor in Bulerías.

POEMA DE LA GUITARRA III WITH FELIX DE UTRERA, CONDE HERMANOS, MANUEL MORAO, MANOLO SEVILLANO:  (1964)...Black & White, 15min (Series: FLAMENCO Antología de Cante y Baile andaluces)

Felix de Utrera is heard in Tientos; comments on the making of guitars in the workshop of the brothers Conde; Manuel Morao plays Seguiriyas; El Calderas de Salamanca (Cante) and Manolo el  Sevillano (guitar) are heard in Peteneras, and Juan Cantero (Cante), Matilde España (Baile) and Manolo Sevillano (guitar) in tangos.

SABICAS...Color, 32min  a performance in homage to Sabicas, on the occasion of his death in 1990, with a coverage of his funeral in his native Pamplona; Sabicas is shown playing in Alegrías in A minor and in "Temas del Pueblo", la Niña de la Puebla, Pepe Montoya « Montoyita », and Laura Toledo evoke Sabicas who plays "La Comparsita " por Granaína.

Comments: the Miscellany which opens this video completes that of the previous one by illustrating several toques by traditionalists and solos by the current renovators, with some curious shots of the guitar-player-cum-singer Pedro Peña Fernández « Pedro Peña » (Lebrija, 1939), father of the piano-player Dorantes, brother of the singer Juan Peña "El Lebrijano", and cousin of Pedro Bacán; Pedro Peña achieves the feat of singing and accompanying himself in Soleáres, with his mother La Perrata embroidering on the rhythm with her knuckles. We also see Paco de Lucía performing his famous rondeña « Doblan Campanas » from the record El Duende (1972); he concludes it here with the ending of his earlier Rondeña recorded in La Fabulosa Guitarra (1967) and revealingly includes allusions to the Rondeña « Cueva del Gato » which he recorded four or five years later in Almoraima (1976): one more proof that maturity came to Paco de Lucía before he made records.

The last miscellany shows us the "official " guitar-player of Hispavox, Felix García Vizcaíno " Felix de Utrera " (born in the Canaries 1929), playing Tientos a la Niño Ricardo; it takes us on a visit to the workshop of the Madrid guitar-makers Hermanos Conde, against the musical background of a Zorongo played by Ricardo Modrego; Manuel Morao at his most sublime in Seguiriyas; the toque of Manuel Antilla León « Manolo el Sevillano » (Marchena 1910, Madrid 1988), accompanying in Peteneras Rafael Salazar Motos « Calderas de Salamanca », and Juan Cantero in tangos extremeños danced by Matilde España.

The series could not end better than by rendering homage to Agustín Castellón Campos « Sabicas » (Pamplona 1912 - New York , April 18, 1990) one of the greatest guitar-players of all times, with a report on his native town and house, his multitudinous and grief-stricken funeral, an evocation of his friends and familiars like la Niña de la Puebla, Montoyita and Laura Toledo, and various extracts from one of the last concerts Sabicas gave, with his famous alegrías in A major which incline towards the jota, « Temas del Pueblo », the popular tune « Los Cuatro Muleros » as arranged by the master, the most famous Río de la Plata tango by M. Rodríguez « La Comparsita », which the gypsy from Pamplona included in 1969 in his record Tres guitarras tiene Sabicas, and a tremendously modern Granaína.  

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To Order: Please mail personal or bank draft. Price of  the 6- video Set  is $175.00. California residents, add 7.75% state sales tax. Add $12.00 for shipping within the US .Other countries, please inquire.  PLEASE EMAIL YOUR CHOICES to Catalinas@aol.com so that the shipment is prepared and mail your check (with our thanks) made out to Catalina's to:

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