Daniel Casares is really restless. He is still in his twenties and he’s already on his fourth solo album. ‘Caballero’ is the latest one, a record on which he consolidates his passion for composing and concert performing. He offers ten toques, most of which were wrought at the studio with production of the most colorful, energetic sort. Still shaping up his own personality, he doesn’t give up influences in his music (and in passing, in that of every guitarist in his generation) exerted by maestros such as Vicente Amigo, Paco de Lucía and Manolo Sanlúcar. Above all he takes attitudes from them, but also ways of solving composition, rhythmics, melody and harmony. And he combines all of those elements his way, with brilliant skills in technique and a way of enveloping devoid of complexes. Side by side with producer Manolo Toro, he hasn’t skimped on either the instrumental or vocal arrangements. And interesting collaborators come in there such as cantaor Pitingo, contrabass player Francis Pose – of the trio D’3 -, cellist Nicasio Moreno and Oliver Sierra on mandola and Cuban tres. But there are also moments for withdrawal which, as Casares lets on, is going to be his next step. And he remains alone on the guitar in the malagueña and in ‘Caballero’, a taranta dedicated to his father which entitles an album that pumps vitamins and fresh air into today’s toque scene.