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From Seville to
Córdoba
Continuing the revision geographically, from west to east,
a stop must be made in Seville. Enrique
de Melchor followed in the footsteps of his father Melchor
de Marchena, but enriching the line with the new airs that
were coming. He thus became another ineludible guitarist for
cantaores such as Antonio Mairena, Fosforito, Carmen Linares,
José Menese... With the cantaor from La Puebla de Cazalla
he forms a constant alliance actively in full swing, as is
proven by the new album ‘A
mis soledades voy, de mis soledades vengo’. And
he has developed his facet as a concert performer with the
same vitality, which has materialized into albums such as
‘La noche y el día’ (1991), ‘Cuchichí’
(1992) and ‘Bajo la luna’ (1996).
Due to the international repercussions of his work, Córdoba-born
guitarist Paco
Peña deserves a place in this revision. He settled
in London and has developed a career from there in which albums
like ‘Misa flamenca’ stand out. The album ‘Essential
flamenco recordings’ is a fine example of the work by
the guitarist, who is also founder of the Córdoba Guitar
Festival and of Flamenco Studies at the Conservatory of Rotterdam.
From Sacromonte
Granada. Juan
Habichuela learned the secrets of the guitar from the
hands of El Ovejilla in Sacromonte. He played for baile and
for cante, together with artists such as Gracia del Sacromonte,
Fernanda Romero and Mario Maya, on the one hand, and Manolo
Caracol, Rafael Farina, Camarón de la Isla... A great
career which would nevertheless not provide an album of his
own until 1999, the year when the tribute ‘De la zambra
al duende’ is released. Three years later, ‘Campo
del Príncipe’ comes out, with a selection of
top-notch collaborations: Enrique Morente, Rancapino, Juan
Valderrama, Estrella Morente...
Breaking away much more has been the career of his brother
Pepe Habichuela, very parallel to that of cantaor Enrique
Morente. Together they made albums such as ‘Despegando’
and ‘Homenaje a D. Antonio Chacón’. Moreover,
he was the first member of the family to become a concert
performer, with brilliant works like ‘A Mandeli’
(1983), ‘Habichuela en rama’ (1997) and the more
recent ‘Yerbagüena’ (2001), in which he combines
his guitar with the Hindu musicians of The Bollywood Strings.
And Almería
In the far east of Andalusia another pillar of modern guitar
was established. Beginning with the roots of Miguel el Tomate,
two unsurpassable guitar figures arise: Niño
Miguel and Tomatito. Niño Miguel - born and living,
nevertheless, in Huelva - has had an off-again, on-again career,
but even so, has left dazzling scores such as ‘Vals
flamenco’ and ‘Brisas de Huelva’. His music
has been compiled in the collection ‘Grandes guitarras
del flamenco’ (‘Great Flamenco Guitarists’)
by Philips, but it goes on and off the catalogue. What is
available for scholars is the transcription in tablature and
standard notation of six of his songs, with the title ‘Guitarra
gitana’.
Tomatito
is currently one of the international flamenco guitar stars.
For the general public, the letter of introduction of this
self-confessed follower of Paco de Lucía was his participation
on the historical album ‘La leyenda del tiempo’
by Camarón. And he was together with the cantaor until
the very end. ‘Potro
de rabia y miel’ and ‘Soy gitano’ are
fine examples of his work together with the legendary cantaor.
Upon the latter's decease, he devoted himself wholeheartedly
to concert performance, a facet which was captured on well-rounded
albums such as ‘Barrio negro’ (1991) and ‘Guitarra
gitana’ (1997). Extending registers, his flirtation
with latin jazz stands out, as is shown by the album ‘Spain’
(2000) recorded together with pianist Michel Camilo; and with
guitarist George Benson, who collaborates on the album ‘Paseo
de los castaños’ (2001). Also noteworthy are
the albums recorded for other cantaores like ‘Duquende
con la guitarra de Tomatito’, his collaboration on ‘Omega’
and ‘El pequeño reloj’ by Enrique Morente;
as well as the score for the film ‘Vengo’ by Tony
Gatlif and the musical ‘Salomé’ by Carlos
Saura. His latest album, ‘Aguadulce’, delights
in his flamencura and toque for singing. Nor should we forget
his re-encounter with Camarón, together with Paco de
Lucía, in ‘Cositas buenas’, a collaboration
which closes the circle.
Tomatito (Photo: Daniel Muñoz)
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