Moraíto Chico. Guitarist.
October 2000

"I ALWAYS CARRY A POCKET FULL OF RHYTHM"

Photo: Anahí Cármody

How's your guitar breathing after recording "Aire?"

Just fine. Especially after finding out that, after just a few days on the market, the recording is about to go gold. I heard that we've sold about 50,000 copies. I'm running around all over the place with all kinds of work. When there's not something going on at the Sociedad General de Autores, I'm usually in rehearsal. The last few weeks I've been going non-stop.

How's your playing different here than on previous recordings?

Basically, there's no difference. I did actually try a few new things; on the rumba with the Cubans. And I add different kinds of music, like the blues. We did. But you'll always hear Moraíto in there, behind it all. There are some classic pieces, like the fandangos del Gloria, or a soleá that I play por medio-as you guys say-, and it sounds really flamenco. I'm actually on all the tracks from the recording.

Do you have a favorite track?

I haven't really thought about it, to tell you the truth. Aire has a strong flamenco flavor, because it's got the Jerez sound, but I couldn't really tell you. They've all got something, you know?

Can you work just as easily with other sounds, or is that a problem?

Not at all. This recording was a lot of fun. We had a great time with the blues harmony, and it was all possible because I decided to dive right into it, without keeping one foot within flamenco. I do the same thing with the cajón. It's easier for me if I record without listening to it through the headphones. I'd rather do it with just the guitar.

What's easier for you, accompanying Mercé por derecho, or following the format of a recording?

It's much harder to follow him when he's improvising. A lot harder. It's like bullfighting. Until the bull comes out you won't know how to react. The same thing happens at festivals. Mercé is unpredictable. On the other hand, we went over all the material for the recording four or five times. The downside is having to sit in the studio for several weeks, fixing things here and there.

Is your creativeness unlimited, or is it like mus (a Spanish card game) or dominoes, in that you get to a point where you can't pull off any more surprises?

Sometimes I still surprise myself. Logically, you're always trying to invent things; you've got that inside you. I think the secret lies in going back to your hometown to take a break whenever you can. Having a morcillita and mosto, and seeing how things happen there, with your lifelong friends.

Bienal of Sevilla 2000

On a more personal note, do you stop thinking about music when you put down the guitar, or are you always thinking in terms of six strings?

That's it. I've always got a pocket full of rhythm. Although it seems incredible, it's with me all the time. You can't just set it down somewhere. At least, that's how it is for me, believe it or not.

What's the man like behind Moraíto Chico?

Uh... (laughs). He's a normal guy. Sometimes he's just as shy as when he goes onstage. But I honestly believe that we're all a little shy, even if we don't act like it. The most extroverted types, even the most aggressive ones, are a little shy, in my opinion.

Who do you identify yourself with, the artist, or the person?

With the man, always; although the artist makes up about sixty or seventy percent of the person. This is always reflected, but the person is always there, above everything else.

In your own words, you work has allowed you to fill half the fridge. Today, you could fill up more than a few of them...

This is the compensation. I had to wait 45 years, and it feels good. I believed so strongly in myself in the beginning; from the very start... It's a proven fact that in all professions you'll get somewhere if you're persistent. If you do something half-way, you'll never get anywhere. My first years were hard; now it seems like things are easy.

Not long ago, you mentioned having a certain amount of respect for solo guitar. Do you still feel that way?

Sure I do. This Thursday, I have to perform two pieces at the Teatro Real and I can't even sleep. You have to put hours of work into a concert. It's a serious thing.

Do you need any more than flamenco to be a happy guitarist?

Not right now. It all depends on where you set your sights. In the case we just mentioned, if there's a concert to do, I'll do it, but I wouldn't go out of my way to set it up; not now.

Plenty of young guitarists play your falsetas. Who'd you learn from?

First, from my family. But I also had Cepero, Paco de Lucía, Juan Habichuela, Sabicas, and Manuel Parrilla, among others. Then, I started to do my own things, like everybody does. The same thing will happen with today's young players. They'll listen to me, or Tomatito, or any other guitarist, but they'll travel their own road in the end.

Moraíto and José Mercé
Bienal of Sevilla 2000

It seems that today there are more youngsters than ever before that are willing to try flamenco and jamón, instead of rock and hamburgers...

Mercé is mostly responsible for turning on so many kids to flamenco. With all his work, José's done his part. And it's an important thing, because, unlike a lot of groups don't have a traditional base, he can sing everything well. And that's something important.

Now your names appear in Spanish music stores along with those of Alejandro Sanz, Bon Jovi, or Ricky Martin, with the top-sellers. Can you believe it yet?

We don't want to let it go to our heads. You can be here today, and gone tomorrow. That's the way things work. Today we've got to enjoy this great moment. It's part of the game, and part of these times. You never know where you'll be tomorrow.

This recording has already sold more than all those of Chacón, Mairena, and Manuel Torre together. You must agree that the past wasn't always better.

That's right. It's incredible. The advertising, the recording companies; it all makes a difference. You used to have to go to Seville to buy a record. Now you've got Internet or the shop on the corner. Flamenco is everywhere. I think it's gotten to where it deserves to be.

The Teatro Real is opening up for you... Not many flamencos have been there before.

Yeah... We hope that this is just the start, and that they program more flamenco. That's what we're trying to do, and we hope it'll be possible.

Tell me, in three seconds if you can, what you're going to be doing to promote the recording.

We have to go to accept the Premio Ondas award, and we'll be presenting "Aire" in the Teatro Real. We've been invited as guests to the television show, "Crónicas Marcianas," and we'll also be doing something very soon at the Teatro Villamarta in Jerez. And then the tour. Quite a gig.

At "Arco de Santiago," a cozy bar located in the heart of the neighborhood where this guitarist was born, many artists get together around this time of year to try the year's new wine. On any given day, Diego Carrasco might show up with some mushrooms that Agustín, the owner, prepares with noodles and prawns. Curiously, although the artists live in different parts of the city, their meeting place is still in the Santiago neighborhood. It's a tradition that they're happy to keep up.

Interview by David Fernández
Translation: Norman Paul Kliman