Óscar Herrero, flamenco guitarist. Interview

“You can say a lot with two notes
and little with two thousand”

Silvia Calado. Madrid, February 2006
Translation: Joseph Kopec

The old-timers from El Escorial say that if the clouds come from Mount Abantos, it rains. But the impressive peak of Sierra de Guadarrama brings not just water, but also inspiration. Óscar Herrero has found in it his muse and company during the composition of his third solo album. Six years having gone by since ‘Torrente’, the Castilian guitarist offers a record he splits in two. On the one hand, ‘Abantos’ with instrumental arrangements and collaborations. And on the other hand, ‘Abantos’ with solo guitar. It isn't a vindication, since he sees both options as necessary. As necessary as work, honesty, learning... He doesn't skimp on advice to his pupils; both those attending in person as well as the thousands he teaches long-distance with his methods. He wants to make the road easier for all of them in a complicated scenario: “An average guitarist nowadays used to be extraordinary before, but now he's hardly anybody”.

	Óscar Herrero (Photo: Daniel Muñoz)

‘Abantos’ is a homemade album, isn't it?

I've recorded this album at home; I bought just the right equipment and I have a room that sounds good. Then I went to a really good studio to do the mixing, but I did most of it at home: you save money and you do it your way. And besides the fact that you can save money, if you're paying a studio by the hour and at that moment it catches you at a bad time, it catches you at a bad time.

Do you think these technological facilities will boost the release of flamenco albums?

On the one hand, it's easier to make an album and on the other hand, it's harder to sell it. It isn't easy to survive with so much piracy. But with scarce economic means, it's now easy to have a good-quality product.

How was ‘Abantos’ made? How was it composed and recorded?

‘Abantos’ is a number of separate pieces -- it isn't a single work in itself -- which I've composed over several years since I finished my previous album. When I had enough material, I saw it was time to sit down and record. So far I haven't followed a special methodology; I sit down and compose and I don't think of anything specifically; things start to come out and then I shape them up. And once I start to think about going to a studio to record, then I also think about what musicians and what kind of arrangements could go well with those songs.

Everything comes out of the guitar skeleton...

Yeah, that's what gave me cause to make the second solo guitar album.

Do you think there's anything unnecessary on guitar records?

No, there's nothing unnecessary. The only thing that happens is that there are a lot of enthusiasts who like listening to solo guitar. And since it's not so much work in this case, since the songs are intended just for guitar, it was simply a question of leaving it alone once it was recorded. And there are a lot of people thanking me for it.

Óscar Herrero (Photo: Daniel Muñoz)

When Gerardo Núñez did so live in Seville, everyone was thunderstruck...

People are no longer used to seeing a solo guitarist. They think it's something from another world and it's what's always been done. They're eras. It was also necessary for other instruments to come into flamenco; we were really simple for too long. I think all the contribution of other colors, other sounds, is good for any type of music, including flamenco.

You use a variety of styles and instruments. What flavor did you want to give to the compositions?

There are really varied tunes, like flamenco is in itself, which has a lot of styles, from very dramatic ones to very happy ones. Depending on each song, I've given it a different air. For example, there's a minera where I thought of a couple of sets of lyrics being sung, but with one of them accompanied by a sax. Instead of it always being the guitar, for another instrument to do the accompaniment. Then there's a tune where I start off with a rumba and end up with bulerías, ‘Rumbolé’, and there I have the collaboration of Antonio Serrano on harmonica. And in that song I did a round of chords at the end which an improvisation fit really well into. I thought two instruments could converse; sax (Pedro Esparza) and harmonica (Antonio Serrano), plus a varied percussion base and a bass, which gives it a lot of shape.

The main song, ‘Abantos’, the title cut, has two different parts. Abantos is the mountain surrounding San Lorenzo de El Escorial and is the perennial companion I have for hours and hours. It's what I see out my window. It's a privilege. And the first part is called ‘Horizonte’, which is very melancholy, where the guitar does some melodies over the taranta tone. There's an arrangement by a musician called Fran Villarrubia for cello, violin and piano. This first part ends and the rhythm appears in that second part called ‘Compañero’, since Abantos is my bosom buddy. And as you start to build up a little confidence, you allow yourself to play bulerías...

Do you lean more towards free style than rhythmical?

	"To me, Enrique Morente is the most important cantaor flamenco's ever seen"

I like everything. In fact, I think there are more rhythmic touches. It's true that I love playing taranta or soleá; I like playing bulerías just as well at a given moment. In the end, appearing in the song, very important to me, is the collaboration of Enrique Morente, who sings lyrics done by my wife Carmen, a dialogue between the mountain and me.

What do you like about Enrique Morente?

Ever since I heard ‘Estrella’ as a boy, I've always been an admirer of his for everything, for what he's contributed and for what he's contributing to flamenco. To me, he's the most important cantaor flamenco's ever seen. And on top of it, as a person, he's given me everything, so to me he's nearly God.

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