Moraíto Chico, guitarist. Interview

“I consider myself a musician who's open to
the vanguard, but without losing sight of
my classical edge”

Silvia Calado. Jerez, March 2005
Translation: Gary Cook

Location: the Arco de Santiago. Midday. A whiff of a fideos and king prawns is already floating out from the kitchen. The barman swings into action and starts to serve beers. The odd flamenco artist from the barrio puts in an appearance at the ‘office’. …And did you see the review they put in the paper... and my cousin's got a job with such and such company... and I got a mention in this magazine... Moraíto Chico AKA Morao or Manué is one of the regulars. When he arrives this morning he's welcomed with a glass of cream sherry, the customary round of greetings and an interview which takes the form of a chat at the bar. José Mercé's latest recording, the artistic development of his son Diego del Morao, his contribution to Jerez Puro, an album he has in the pipeline, some criticisms of the recording industry and a lot of memories all fit into the space of a half hour's conversation... although I could quite easily go on till dawn with the legend of the flamenco guitar.

Moraíto Chico (Photo: Daniel Muñoz)

In the wake of José Mercé's successful trilogy, how did it feel to take part in ‘Confí de fuá’?

Just like on the previous albums, I'm José Mercé's trusted foot-soldier. We're on all the albums working together. The truth is we banged it out between the three of us: José, Isidro (Muñoz) and I. We were looking at stuff for a few months before we went into the studios, we'd go to Isidro's house, and later we'd weave in all the collaborators' work: Diego Carrasco, los Cherokee, my son Diego, Manolito Nieto... always top-quality recordings.

And what role did your guitar play this time?

Perhaps on this album I didn't have such a hard task, I was more relaxed. My son Diego contributed more than on other albums and they treated me with more respect this time... must be my age, to not put too much of a burden on my shoulders. I really enjoy myself. Recording is what I like best because in the studio you have a good time. That's where new creations are born. A lot more than on stage, where some improvisation happens, but it's always measured. You're thinking about the people in front of you. In the studio you have more time, you can put things right, you're more relaxed, it's like being at home practicing.

These albums combine traditional accompaniment for vocalists and flamenco guitar adapted to other genres, how does your guitarwork find its way between the two?

Fine, no problems. I consider myself a guitarist who's open to new trends, to the vanguard, but always as part of a certain structure, without losing sight of my classical edge, that's my pride and joy. I think my guitar treads the path well, like on most of José's albums, where classical comes face-to-face with contemporary.

You have a lot of fun playing live, don't you? How does it feel up there on stage?

The truth is we have a great time. It's the one moment when you can really enjoy yourself: before that come the nerves; afterward you relax. And between nerves and relaxation comes the live performance. You can tell we enjoy ourselves, our joy shows through.

How did you feel taking part in recording projects that sold so well and reached such diverse audiences?

I think, just like José, that what we always wanted was recognition for our work. And I think there was a greater recognition than I was expecting - the fact that my guitar and his vocals made an impact on new, young listeners, I think that's the important thing. The youth hold the key to the future.

	Moraíto Chico (Photo: Daniel Muñoz)

How do you feel about the growth your son Diego del Morao is experiencing as a musician?

As a father, you can imagine, it fills me with pride and satisfaction that he chose to make a career in music. I also think he's making a pretty good job of it. And the fact that legends like Paco de Lucía, who are at the cutting edge right now, have focused their attention on him, makes me so proud.

But you didn't want him to be a guitarist... why not?

Well, I mean it's like a bullfighter who doesn't want his son to be a bullfighter. But later you see how he does and everything changes. I also took the other one, my youngest, to El Carbonero for some classes, and it was him who said to me: “Manuel, this one isn't exactly Dieguito.” And that's all there is to it. Later time convinced me that the way Diego was going maybe one day he could become a good guitarist. The proof is out there, there are already signs.

And you never sat down to teach him...

The same thing happened to me, too. You almost don't have to when you get to that kind of guitarist's mindset, when you reach that level. I used to listen to my father and to my uncle, and they didn't have to tell me this way or that. I would go to my room and it would work. And as for the directions, you pick them up yourself along the way, even if you have a school running in your veins, built into your genes. That's true of my son Diego, he plays mine and the family's music, but at the same time there’s Tomatito in there, Vicente Amigo too, and Paco de Lucía, Cañizares... the people at the forefront right now. My family's style rubbed off on me, but I also liked Melchor de Marchena, Habichuela, Sabicas... I rolled them all into a little style and made it my own. And he works the same way, he does my stuff, he modernizes it, he changes it to suit him, draws it into his territory, and all with a modern style of guitar.

	"I think they go a little over the top with their technique. You have to give it a little feeling, too, and make it sound flamenco"

In what direction do you think young musicians like Diego are taking flamenco guitar? What future can you see for it?

Playing is becoming more and more intricate. Given that level of difficulty and that complex technique, the most difficult thing is to keep the guitar still sounding flamenco. I think they go a little over the top with their technique. You have to give it a little feeling, too, and make it sound flamenco. If not, I listen to Baden Powell or other guitarists who play really well. But if we're talking flamenco, at least make it sound like flamenco... with all the technicalities that implies, because that's so important. Good technique opens doors for you, it opens your mind.

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