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Sabicas |
Esteban Sanlúcar |
Sabicas was a different case. The Navarre-born
guitarist, who used to pride himself on being self-taught, acted as an international
ambassador of flamenco guitar, especially in the United States, where he is considered
to be a real legend. Standing out from his musical contribution is his expressive
ability, technical complexity, sensitivity, the richness with which he revitalized
flamenco styles... and which opened new possibilities to evolve. Not in vain was
he one of the first to flirt with jazz, as is made clear by his collaborations
with saxophonist El Negro Aquilino. Thus is reflected in the compilations 'Sabicas.
Grandes figuras del flamenco. Vol. 14', a record profuse in documentation and
with commentaries on each composition; and 'Sabicas. Concierto. 1940-1950', with
recordings on 'high fidelity' records made in the United States. As a study tool,
the transcription book is also available, accompanied by the album 'Rey del flamenco'.
Another three names stand out in this period. Melchor de Marchena, a guitarist
who stood out above all in accompaniment. And so attest his recordings together
with La Niña de los Peines, Tomás Pavón, Antonio Mairena
and Manolo Caracol. Esteban Sanlúcar, who backed, among others, Pepe Marchena
and Angelillo, spread his toque throughout Latin America, where he ended up settling
down. There is currently no discography available of this artist, although there
is a way to study his music: the transcription book 'Esteban Sanlúcar.
Maestro de la guitarra flamenca'. Diego del Gastor has gone down in toque flamenco
history for the peculiarities of his style and his technique, deep-rooted in his
hometown of Morón, in the middle of the Sevillian countryside. Unfortunately,
there is no record available by this author; although it is possible to hear him
accompanying cantaores like Juan Talega on the album of the same title; and even
to see him in the archive photo collection on DVD 'Rito y geografía del
toque' where, moreover, other toque stars of the period appear such as Niño
Ricardo, Melchor de Marchena and Sabicas himself.
The validity today of this repertoire is more tacit than explicit... with very
few exceptions. One of them is the recital recently offered live by Rafael Riqueni,
in which he recovers "songs by maestros who preceded us and paved the way
for us to build the present and future of flamenco guitar", according to
his own words. And he tackles scores such as 'Danza árabe' by Sabicas,
'Recuerdo a Sevilla' by Niño Ricardo and 'Mantilla de feria' by Esteban
de Sanlúcar, this latter song also being revised by Paco de Lucía
on his first albums; its peculiarity is being a composition acting as a vehicle
between South American and flamenco music. For the time being, this tribute to
the great maestros by Rafael Riqueni has not been recorded, but this comment serves
as a formal request. Another of the flamencos who has recently recalled the forefathers
of toque is, curiously, a cantaor: Enrique Morente. And what he has done is, by
means of technology, to excerpt old recordings by Ramón Montoya, Sabicas
and Manolo de Huelva to add his cante to them, today. As the Granada-born artist
explains, 'El pequeño reloj' contains "a tribute to the guitar and
to toque for singing, since they're maestros who have set the example". It
is worth listening to the experiment... and, if possible, also live. The experience
is hair-raising.
We have now seen and heard. Those wishing to complete their knowledge of flamenco
guitar history and its stars need only read. And they are lucky, since journalist
Ángel Álvarez Caballero has completed his trilogy on flamenco with
the book 'El toque flamenco', an indispensable document that journeys throughout
the history of flamenco guitar from its origins to the present, stopping at key
figures. A nice story, illustrated with photographs, created for the delight of
those who want to make sure that there was life before Paco de Lucía.
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