‘Aguadulce’ (Universal, 2004) marks Tomatito's return to flamenco. Not that he ever abandoned it - it's just that the flamenco he offers us here is detached from those other musical styles that nourished projects like ‘Spain’ and ‘Paseo de los castaños’. And all this comes at a time when the artist boasts a maturity and serenity faithfully reflected in the photo on the album cover.

Perhaps that’s why the music from this album seems to burst forth from the guitar with natural simplicity - though you wouldn't say it was lacking in any way, it just concentrates on the essential. And there's a mission statement, to give audiences what they want: “I play rhythmic styles, maybe to connect better with listeners: they like the way I play bulerías, the way I play tangos...” And the fact is, except for the soleá ‘Porque tú lo vales’ -more intimate, more from within - the rest of the track listing leans toward the more lively side of flamenco. Take for example the bulerías ‘Al Mariyya’ and ‘Manduka’ and the soleá por bulerías ‘A miles’, tracks driven by a melody that becomes the centerpiece around which the composition revolves; its very definition.

Tomatito wanted, too, to take a step back and, “humbly”, play accompaniment to vocalists... just as he did so many times before with Camarón de la Isla. Just as he did on ‘Guitarra gitana’, he selects an élite team of cantaores to give each distinguished song its own unique personality. While Diego el Cigala performs the tangos ‘Gallibando’ alone, the bulerías ‘En casa del herrero’ offer a striking shoulder-to-shoulder performance by El Potito and Guadiana, where the whole is more than the sum of the parts. In addition, his daughter Mari Ángeles adds a sweet note to the tangos ‘¿Dónde está tu cariño?’, a more light-hearted, even catchy number, aimed at a wider audience.

The exception on this album is ‘Pa’Salinas’, a rumba that carries on the fusion work of ‘Spain’, with its eyes firmly fixed on the opposite shores of the Atlantic. And for this track he's accompanied by Argentinean guitarist Luis Salinas and on harmonica by Antonio Serrano - a musician who's making his mark on the current flamenco scene following his contributions to discs such as Nono García's ‘Atún y Chocolate’, and his performances at some concerts on Paco de Lucía's ‘Cositas buenas’ tour.

And speaking of musicians, there are several guest appearances worthy of mention on this new CD by the well-known guitarist from Almería. Firstly there's Paquete, who takes some credit for the production, besides playing occasional second guitar and mandola. On the percussion side, there are the delicious, knowing touches added by Antonio Carmona, as well as by Bandolero, Piraña and Lucky Losada. With the odd keyboard and drumkit thrown in, they make up a different ‘band’ from the one he normally tours with. This, he explains, is simply down to the fact that “very often you write stuff that calls to mind other instruments.”

‘Aguadulce’ by Tomatito brings another moment of joy to guitar lovers and all flamenco fans, at a time when new projects by Paco de Lucía (‘Cositas buenas’) and Gerardo Núñez (‘Andando el tiempo’) have already caused a stir. This is, of course, essential listening for fans of Tomatito, and a solid buy for anyone beginning to get interested in flamenco.

More information:

Interview with Tomatito, guitarist (July 2004)