José Antonio Rodríguez, guitarist. Interview

"I like listening to other guitarists because they have another way of feeling, I love the difference"

Silvia Calado, April 2004
Translation: Joseph Kopec

The guitar is his expressive vehicle, which he drives with visa in hand in order to cross over borders, without ever losing his flamenco plates. José Antonio Rodríguez is consolidating himself as a versatile musician resorted to by baile companies, demanded by cantaores, called on by singers and musicians of any type. Like all his colleagues, he is facing the indifference of the record industry by resorting to self-producing. A follower of Manolo Sanlúcar's 'doctrine', he is now delving into flamenco free of straightjackets, without ever losing sight of the varied musical references that feed him, with Debussy at the forefront. The 'megatour' by Alejandro Sanz on the American continent is taking his toque before hundreds of thousands of people, which he sees as a way not only for other audiences to take an interest in flamenco, but even for "flamencos to take an interest in flamenco".

José Antonio Rodríguez (Photo: Javier Hurtado)

You have seen your facet as a composer praised with an assignment by the Spanish National Ballet. What was the experience like?

I'd considered the Spanish National Ballet (BNE) something untouchable since the first times they'd had me write for dance. With the tremendous musicians who have composed such as Paco de Lucía and Manolo Sanlúcar, I was really thrilled. When Joaquín Grilo called me it was the max because I'd just done non-flamenco music for other ballets and what was being laid out for me here was flamenco, without an outline. The work is called 'Tiempo' and that's what it is, playing with time. I had a really good time doing the music, with Joaquín and with the staff of the BNE, who I hope will uphold it for me. In flamenco each guitarist has his own personal way and when another one comes along it isn't grasped; it's dangerous, though I think they're going to do it well.

How do you tackle these kinds of jobs?

In normal circumstances, I lay down a continuous sheet of paper on the floor and I start to draw what I want. I start putting down sheets and notes, and making a structure that changes as I go along. Not in this case. Joaquín called me, I liked the idea and a week later I had nearly five minutes of music done at my own risk. I thought about who it was for and I imagined what could work. And that's what happened. He gave me absolute freedom. We had a couple of meetings, since there's always some glitch, something to get rid of. And in this case, nothing, just to strengthen some little parts.

How does your music change when you plan it out for baile and when it's for your solo guitar?

It changes in how much of a drag I become, because when I do an assignment, then I really like what I do, I'd like to play it, which I can't do. And when I do something for myself... I have some alegrías on the computer that I started in the year 2000. And I've got about thirty minutes now. I listened to it the other day determined to get a tune out of it. Five minutes later I quit because I didn't like it at all. With an assignment, I work things out. When it's for me, I take a really long time; I leave it in the drawer. Before, I used to throw it out straight away; now with the computer at least it's saved there.

Little is said about composition for baile flamenco, but there is already quite a line. What is your analysis of that music?

	"It thrills me to add music to an outline or an idea somebody has"

I know two situations: on the one hand, the guitarists of the companies themselves do the music; and on the other hand, companies that have a musician by trade do it, because they like his way of making music. They're different circumstances. I've liked it a lot, since the first work I did, which was very important to me, but wasn't understood: 'Tiempo, amor y muerte' ('Time, Love and Death') by Mario Maya. It was an attempt to mix contemporary dance with flamenco, even contemporary music with flamenco. It thrills me to add music to an outline or an idea somebody has. I think my training really heads in that direction, ever since my maestro Manolo Cano. I always have to provide the music I do with a picture.

The album 'La Leyenda' came out recently, the work you composed two years ago for the Andalusian Dance Company...

At last. I've also already recorded 'El guitarrista azul' ('The Blue Guitarist'). Like they say, what isn't recorded doesn't exist. I do a ton of music every year and it always ends up for such-and-such a ballet or for such-and-such a work and it never, for market reasons I don't understand, becomes a record. On this occasion, everything turned out very well and it's been able to be released. I proposed it to a small company, and we directly mastered the album there. We forget about the aspirations of the multinationals, radio formulas and all of that. I just want people who want to listen to it to be able to have it.

José Antonio Rodríguez (Photo: Daniel Muñoz)

	"I trust in an affordable production and in accordance to what it is, instrumental music, we all want great things, but you have to be consi"

It caught my eye recently when I went to see 'La Leyenda' ('The Legend') for the fifth time at a theater in Seville, that among the audience there were quite a few young guitarists and cantaores who'd gone to hear the music. It really thrilled me. In my hometown, in Córdoba, it's really hard; there's very little camaraderie. Now artists go to the theater. It's no longer strange to go and see a colleague. It should've always been like that, but it never was. People talk about others in a completely normal way. It's not like the artists there used to be when I started who always went around dressed up and haughty. These kids play or sing wonderfully and are very good enthusiasts.

To find a market for your records, do you see self-producing as the way to go?

That's an option we instrumental musicians have, here and anywhere. Recording in Miami with Alejandro Sanz, percussionist Luis Comte, who's played with Pat Metheny and with Madonna, told me he had no company. For his next album, he's going to send me a session of 'Pro Tools' for me to play. We already recorded a couple of tunes there. That's what awaits us and it's not bad. I trust in three things: an affordable production and in accordance to what it is, instrumental music, we all want great things, but you have to be consistent; I believe in the Net, certainly, everybody online; and of course, live shows. The album - 'La Leyenda' - isn't the reflection of my live show, but you see perfectly well what it's about, since my group is there; there are no collaborations. I think those are the roads we must travel. Flamenco is live, stage music.

And upcoming albums?

'El guitarrista azul' already has the guitars recorded. Everything's scheduled to put in the orchestra and there I am with the budget. The problem is that it's very expensive, we need a large orchestra; we figure sixty musicians. A Spanish orchestra is very expensive; one from Eastern Europe requires traveling. But it's a whim that I'll drive forward. It might not come out for another three years, but it's one of the jobs I like the most.

Where is your music heading at this point in time?

	"You don't have to wear a straightjacket or do a standard finish for it to sound like a soleá"

I don't really know. The only thing that's seen in 'La Leyenda' is that I'm not bound to a specific flamenco style. And it's not that it's better than being subject to a soleá with a logical structure. The music is much richer, you don't have to wear a straightjacket or do a standard finish for it to sound like a soleá. It's attributed to guitarists that nowadays nobody knows about what they're playing, but you can look for the key for it to be there, but you don't have to resort to the same old standard, which is precious, no doubt. I know it can be done. Several tracks came out for me in these compositions. The layout and the intention have to be changed when composing; it has to be worked on. And this is inspired by Manolo Sanlúcar, who's always spoken to me about that restlessness he's had for many years. You're provoked. I learn tremendously every time I see him.

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