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Flamenco / Spain

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        <h3>FLAMENCO ET SONS NATURELS DANS LES MARISMAS</h3>\n
        <p><br /><br /></p>\n
        <p>One of the wildest nationals parks in Europe is visited each year by strange convoys of ox-waggons accompanied by thousands of men and women on foot or horseback. To the sound of a concert of birds, drums, horses and fifes they are going to the Feast of the Virgin of El Rocio for Whitsun. That concert, both grandiose and secret, is the subject of his album : the alliance of centuries-old tradition and age-old nature. Sections are numbered to help you use the booblet to understand this timeless trip approach the atmosphere of a much threatened great wildlife area.<br /><strong>Patrick Frémeaux</strong></p>
        """
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        <h3>PÈLERINAGE ANDALOU</h3>\r\n
        <p align="justify"></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Soustitre2">PÈLERINAGE ANDALOU “rocio grande”</span></p>\r\n
        <p class="MsoNormal" align="justify"><strong><span class="Texte">Flamenco et sons naturels dans les marismas</span></strong></p>\r\n
        <p><span class="Texte"> </span></p>\r\n
        <p align="justify"><span class="Texte"><br /></span><span class="Soustitre">Andalousie</span><br />Terre de passage, de métissages et de mélanges culturels, riche d’un biotope exceptionnel, l’Andalousie est sans doute l’un des espaces d’interconnections culturelles les plus libres et diversifiés d’Europe. Ce disque, qui nous place au cœur du delta du Guadalquivir, achève la fusion des éléments naturels : terre de feu andalouse, air marin et nature opulente de l’un des plus beaux deltas du monde. Historiquement, géographiquement et sociologiquement, la diversité des influences, des cultures et des formes artistiques a été reconnue et protégée de façon très précoce par les Andalous. Reconnue, et même revendiquée - ce qui est plus exceptionnel ! Rappelons, par exemple, le cas de la cathédrale de Cordoue : édifiée autour de la Mosquée que les occupants Arabes avaient bâti cinq siècles plus tôt, la nouvelle cathédrale fusionne les genres et les cultures. Charles Quint, se serait écrié à son propos : “Ce que vous avez construit peut se trouver partout, ce que vous avez détruit était unique”. Cette phrase extraordinaire prouve la volonté précoce de protéger la diversité culturelle comme la capacité à s’émerveiller de ce qui ne relève pas de sa culture.Conquise dès le bas Moyen Age par les Arabes en provenance de l’Afrique du Nord, toute l’Espagne – particulièrement le sud – a vécu dans une cohabitation de populations distinctes : Espagnols catholiques, Arabes et Juifs. Chacun a pu, durant des siècles, exprimer sa culture dans un climat de tolérance – avant que n’émerge l’Inquisition. Cette culture mosaïque s’est développée jusqu’en 1492, date à laquelle la Reconquista espagnole a pris fin : les Arabes sont chassés de Grenade (dernière ville occupée) et les Juifs sont expulsés du territoire catholique.Pour autant, toute l’architecture, nombre de rites et de traditions culturelles portent la marque de ce métissage du passé. La force du peuple chrétien d’Espagne fut alors de respecter cet héritage et de lutter pour la conservation de ce patrimoine légué par un peuple étranger à leur culture – un peuple qu’ils avaient chassé de leur terre. Paradoxe apparent qui confère à cette région sa richesse et la tolérance dont elle fait encore preuve aujourd’hui. Peut-être l’Andalousie a-t-elle connu cette tolérance en raison de l’enracinement, quasi minéral, de son peuple à sa terre. Ce disque illustre magnifiquement la force du rapport – aujourd’hui trop souvent oublié – entre l’homme et la terre, le naturel et le culturel dans un environnement extraordinaire qu’est celui du delta.<br /><em>Patrick FREMEAUX</em><br /><span class="Soustitre">Au bord du Guadalquivir</span><br /><strong>Voix et chemins des Marismas</strong><br />El Rocio est sans doute l’un des villages les plus dépaysants d’Europe. Il n’appartient à aucune famille d’urbanisation. Ses bâtisses ressemblent à de petites chapelles surmontées d’un clocheton; ses places de sable sont démesurées; et son environnement, tantôt marécageux, tantôt sableux, tantôt forestier, n’est pas sans évoquer tout à la fois les savanes africaines, les dunes du Sahara et certaines zones humides de l’Inde.Situé au cœur du triangle défini par les villes de Seville, Huelva et Cadiz, El Rocio marque le centre du delta du Guadalquivir (“Oued el Kebir” signifie “le grand fleuve” en arabe), qui abrite le parc naturel le plus vaste d’Europe : le “Coto Doñana”. Les “grands” d’Espagne y avaient leur chasse et les “Petits” leur pèlerinage : le “Rocio Grande” ou la “Romeria d’El Rocio”.Cette fête rassemble durant quelques jours plus d’un million de pèlerins : les Rocieros. Ceux-ci se regroupent en confréries (Hermandades), qui correspondent soit à des villages, soit à l’un des quartiers d’une grande ville, comme Triana ou Coria à Seville.Ces confréries, qui peuvent compter jusqu’à plusieurs centaines de personnes, s’organisent en convois évoquant l’image de la conquête de l’Ouest aux Etats-Unis d’Amérique.A travers toute la réserve naturelle, de longues colonnes de chars bâchés aux roues énormes convergent vers El Rocio.Ces convois sont chargés de fourrage pour les bêtes, de vêtements, de couvertures pour les bivouacs et de toutes les victuailles nécessaires pour toute la durée du pèlerinage.Leur progression est dure et lente. Le sable, ou la boue selon les années, la poussière, le soleil qui peut déjà être ardent à la Pentecôte, les nuits qui sont encore fraîches à cette époque, transformeraient vite le trajet en épreuve, si une gaieté mystico-païenne ne soutenait les pèlerins. La marche qui débute au lever du jour est ponctuée de fréquentes haltes bien arrosées de Manzanilla, où l’on danse au son des tambours, où l’on chante des Sevillana, où l’on interpelle la Vierge d’El Rocio : la “Paloma Blanca”, la “Guapa”, tant elle est belle!Dans tout le delta, et même sur le Rio Guadalquivir, se mêlent alors la rumeur lointaine de ces Rocieros et les chants des oiseaux. Une tradition séculaire traverse un ordre millénaire.Hors du présent, c’est un voyage dans le temps, dans l’exubérance sauvage du marais où trompette la Poule sultane, où mugit le Butor étoilé et où flûte l’Aigle botté, dans l’extraordinaire convivialité des confréries qui adoptent les étrangers parcourant les Marismas, les nourrissent et les abreuvent..<br /><strong><span style="text-decoration: underline;">Repérage des différentes plages</span></strong><br /><strong>1.</strong> Début du CD.      <br />Babils de Chardonnerets (Carduelis carduelis) et de stridulations d’insectes.<br /><strong>2.</strong> Plusieurs jours avant le départ, dans un bar, les adolescents de la confrérie d’Almonte aiguisent leurs tambours dans la nuit. Ces tambourineros précèderont leur convoi, qui sera le premier à entrer dans El Rocio.<br /><strong>3.</strong> Au même moment, dans les Marismas, le silence n’est pas parfait. Dans la fraîcheur de la nuit, le concert discret des grenouilles vertes qu’accompagnent quelques Rousserolles turdoïdes (Acrocephalus arundinaceus) est rythmé par les appels sourds du Butor étoilé (Botaurus stellaris). Pour les habitants du delta, ce grand héron nocturne plongerait la tête sous l’eau afin de rendre son cri plus effrayant et chasser ainsi vaches et taureaux susceptibles d’écraser son nid dans les roseaux.          <br />Quelques Foulques macroules (Fulica atra) s’activent sur le plan d’eau.<br /><strong>4.</strong> Cette “trompette bouchée” marque la présence de la Poule sultane (Porphyrio porphyrio) qui délimite ainsi son territoire en bordure de la roselière. Tantôt de noir ou tout turquoise iridescent, ce gros oiseau d’eau au bec et aux pattes corail vif ne subsiste plus qu’au sud de l’Espagne. Il a disparu du reste de l’Europe méridionale avec la régression des marais méditerranéens. Ses pattes aux doigts démesurés qui se terminent en palette lui permettent de marcher dans la vase ou sur la végétation aquatique sans s’y enfoncer. On distingue ensuite les cris ou chants de : Foulque macroule (Fulica atra), Pouillot véloce (Phylloscopus collybita), Vanneau huppé (Vanellus vanellus), Grèbe castagneux (Tachybaptus ruficollis), Bouscarle de Cetti (Cettia cetti) et Mésanges à moustaches (Panurus biarmicus).<br /><strong>5.</strong> Un grand feu de camp illumine le coteau Hato Blanco. Une messe en plein air marque le dernier bivouac de l’Hermandad de Triana, parti de Seville trois jours plus tôt. Les chariots bâchés sont organisés selon un grand cercle au centre duquel on chantera et boira jusqu’à la rosée. Après une messe matinale pouvant être très brève, la colonne s’étire et disparaît dans une pinède, vers El Rocio, derrière le tambour, l’effigie de la vierge et les dignitaires de la confrérie.<br /><strong>6.</strong> A San Lucar de Barameda, au sud du grand fleuve, la veille du départ. A l’église, dans les arènes, ou autour des derniers chariots, les pèlerins déambulent, commentent la novillada, s’affairent aux derniers préparatifs. Dans la nuit, la plupart d’entre eux rejoignent un bar et se mesurent dans le chant, la danse et le Xéres.<br /><strong>7.</strong> Le Coto Del Rey se réveille; le ciel de l’est s’est éclairci. C’est l’instant où les oiseaux de la nuit : Rossignol philomèle (Luscinia megarhynchos), Œdicnème criard (Burhinus oedicnemus), Engoulevent à collier roux (Caprimulgus ruficollis), Chouette chevêche (Athene noctua) et hulotte (Strix aluco), se disputent cette parcelle de temps avec les oiseaux du jour : Pigeon ramier (Columba palumbus), Merle noir (Turdus merula), Chardonneret (Carduelis carduelis)...<br /><strong>8.</strong> Lorsque le soleil se dégage de l’horizon, un certain calme se rétablit. Seuls les Choucas des tours (Corvus monedula) se font remarquer, lorsqu’ils quittent les chênes-lièges où ils ont élu domicile. Puis, avec la chaleur qui monte et l’apparition des ascendances, les Cigognes blanches (Ciconia ciconia) quittent leur colonie sous les craquètements des adultes qui gardent les jeunes. L’Hermandad de San Lucar passe au loin alors que plusieurs espèces d’oiseaux se manifestent dans les bois : Guêpiers (Merop apiaster), Huppe (Upupa epops), Serin cini (Serinus serinus), Etourneaux unicolores (Sturnus unicolor), Coucou gris (Curulus canorus),...<br /><strong>9.</strong> Midi. Dans la pinède, la chaleur diffuse les odeurs de résine. L’Aigle botté (Hieraaetus pennatus) et les Milans noirs (Milvus migrans) planent au-dessus de leurs nids, en flûtant et sifflant. Les Chardonnerets babillent dans les feuillages et quelques Pigeons ramiers roucoulent calmement. Çà et là des pèlerins assoupis à l’ombre des pins attendent la fraîcheur du crépuscule pour reprendre leur marche.<br /><strong>10.</strong> Chez un garde du Coto del Rey, dans sa cuisine, deux jeunes Rocieras (femmes) pavoisent encore un instant avant de rejoindre leur convoi. La Romeria d’El Rocio est ausi l’occasion de rencontres ou de séductions dont on ne mesurera souvent l’effet que l’année suivante.<br /><strong>11.</strong> Aux portes d’El Rocio, les deux jeunes femmes saluent à leur manière des cavaliers en parade qui viennent leur offrir une fleur.<br /><strong>12.</strong> Toutes les confréries ont rejoint le village, accueillies par celles d’Almonte. La taille du village prend enfin sa signification. Ses multitudes de maisons vides toute l’année sont enfin remplies. Ses places immenses ne sont plus que masse humaine d’où émergent les cavaliers à la recherche des cavalières. La poussière du chemin est oubliée. Après le rosaire, charque Hermandad présente ses meilleurs musiciens, parfois des professionnels. Le delta redevient silencieux. C’est le temps de l’Alouette lulu (Lulula arborea). Dans le village, on pare les chars, les chevaux et les bœufs.<br /><strong>13. </strong>Les femmes et les hommes vêtus de leur tenue de parade défilent le dimanche matin devant la Basilique de Notre Dame d’El Rocio. C’est le début des cérémonies du pèlerinage. Elles se clôtureront par la procession du lundi de Pentecôte.<br /><em>Cette chronique sonore de patrimoines culturels et scientifiques est un extrait de la sonothèque d’APPI(*), organisme dont le but est de recueillir et conserver les mémoires sonores menacées. Beaucoup d’entre elles risquent de s’éteindre, comme les peuples et les écosystèmes des forêts tropicales. Les enregistrements ainsi préservés demeureront ainsi sans doute l’un des rares témoignages de ces milieux pour la mémoire collective.     (*) : Audio Patrimoine International.<br />Ce disque a été réalisé avec la complicité de Pepa Cabrera Medina et sa famille, de Christian Meyer et de Sylvain Cordier. Qu’ils en soient tous ici très chaleureusement remerciés.</em><br />© 1990-2005 GROUPE FRÉMEAUX COLOMBINI SAS<br /><em><strong>english notes</strong></em><br /><span class="Soustitre2">In the Guadalquivir delta, Andalusia</span><br /><span class="Soustitre">Voices and tracks in the Marismas</span><br />El Rocio is probably the most disconcerting village in Europe. It belongs to no familiar urban tradition. Buildings look like tiny chapels with little bell towers and sandy squares appear outsized. On the other hand, the natural surroundings, in places swampy, in places forested, or sometimes sandy in open terrain, call to mind the African savanas, the dunes in the Sahara, or even some wetlands of India.Located in the middle of a triangle formed by the towns of Sevilla, Huelva, and Cadiz, El Rocio is thus the center of the Guadalquivir delta (“Wadi el Kebir” means “the great river” in Arabic), which hosts one of the largest  nature reserve in Europe, the Coto Doñana. The Spanish grandees knew it as a game preserve while the lower classes went there on a pilgrimage : the “Rocio Grande” or the “Romeria of El Rocio”.The latter tradition is still alive, and each year brings together for a few days more than one million pilgrims : the Rocieros.They come together in brotherhoods (Hermandades) corresponding either to villages, or to a district of a large town, like Triana or Coria in Sevilla.Such brotherhoods, which may be hundreds strongs get organized in convoyes reminiscent of the American West. Thus, long columns of bullock carts with huge wheels converge toward El Rocio through the nature reserve.These convoys are laden with forage, chothes, travelling rugs for the bivouac, and all the provisions needed for the pilgrimage. Their advance is laborious and slow : sand, or mud according to the years, dust, burning sun, and cool nights would easily make the journey an ordeal without the mystic and pagan cheerfulness holding pilgrims in their faith. The walk begins early in the morning but is broken by a number of stops. It’s then the time to drink the Manzanilla, to dance to the drums, to sing Sevillanas, and to invoke the Virgin of El Rocio : the “Paloma Blanca”, the “Guapa”, she is so beautiful, “Nuestra Señora del Rocio”!All over the delta, and even on the Rio Guadalquivir, the distant clamour of these Rocieros joins the songs of the wild birds. An age-old tradition meets a millennial order.It’s a timeless journey in the wild exuberance of the marshes, home of the colorful Purple Gallinule with a trumpet-like call, the shy Bittern, the elegant Booted Eagle; and also a journey in the outstanding hospitality of the brotherhoods giving food and drink to strangers who travel through the Marismas.<br /><span style="text-decoration: underline;"><strong>List of marks :</strong></span><br /><strong>1.</strong> Start of the CD.     <br />Chatter of Goldfinches (Carduelis carduelis) and stridulations of crickets.<br /><strong>2.</strong> Several days before the start, in a bar, boys from the brotherhood of Almonte are playing the drum in the night. These tambourineros will precede their convoy, and be the first to come into El Rocio.<br /><strong>3.</strong> At the same time in the Marismas, frogs, raucous songs of Great Marsh Warblers (Acrocephalus arundinaceus), and dull calls of the secretive Bittern (Botaurus stellaris) put rhythm into the quiet of the night. According to the people inhabiting the delta, this large heron puts its head under the water when calling in order to produce a song more frightening to keep cows and bulls away from its nest hidden in the reeds. Some Coots (Fulica atra) are busy on the pond.<br /><strong>4. </strong>The “muted trumpet” is that of the elusive Purple Gallinule (Porphyrio porphyrio) demarcating its territory on the fringe of the reed-bed. Sometimes appearing all black, or sometimes of a beautiful iridescent turquoise, this large water-bird with bright red bill and legs survives in Europe only in southern Spain. This species has vanished from other Mediterranean countries because of the dramatic loss of marshes and wetlands. Its long spatulate toes enable it to walk on wet mud or marsh vegetation without sinking in, as do Moorhens.  Next come the calls and songs of the following species : Coot (Fulica atra), Chiffchaff (Phylloscopus collybita), Lapwing (Vanellus vanellus), Little Grebe (Tachybaptus ruficollis), Cetti’s Warbler (Cettia cetti), and Bearded Tit (Panurus biarmicus).<br /><strong>5.</strong> A large camp fire illuminates eucalyptus tress in the Coto del Rey. Open air mass solemnizes the last bivouac of the Hermandad of Coria, which left Sevilla three days earlier. Covered waggons are united in a wide circle in the middle of which dancing and drinking go on all night up to the dawn.        After a short mass celebrated in the early morning, the column of pilgrims heads towards the village of El Rocio through the pine trees. Going in front are the drum, effigy of the Virgin, and the dignitaries of the brotherhood.<br /><strong>6. </strong>The evening before departure, on the southern edge of the large river, at San Lucar de Barameda. In the church, in the bullrings, or all around the last waggons, pilgrims stroll about, make final preparations and comment on the “novillada”. In the night, most of therm will meet in a bar to dance, sing, and drink sherry.<br /><strong>7.</strong> The Coto de Catalena wakes up; sky lights up to the east.          It’s the moment when night birds like Nightingale (Luscinia megarhynchos), Stone-curlew (Burhinus oedicnemus), Red-necked Nightjar (Caprimulgus ruficollis), Little (Athene noctua) and Tawny Owls (Strix aluco), are singing together with the diurnal species : Woodpigeon (Columba palumbus), Blackbird (Turdus merula), Goldfinch (Carduelis cardulis), and others.<br /><strong>8.</strong> A sort of peacefulness takes over as the sun gets higher. Only the Jackdaws (Corvus monedula) attract attention when they leave the hollow cork-oaks where they nest.  Then, with the help of the hot weather, White Storks (Ciconia ciconia) leave their colony in climbing flights under the bill-snapping of some adults staying to keep an eye on the nestlings.The Hermandad of San Lucar passes in the distance, and some birds make themselves heard, like Spotless Starlings (Sturnus unicolor), Serin (Serinus serinus), House Sparrows (Passer domesticus), Hoopoe (Upupa epops), Bee-eater (Merops apiaster), Cuckoo (Cuculus canorus),...<br /><strong>9.</strong> Midday.  Under the warmth, all the pine forest is redolent of resin smells. Booted Eagle (Hieraaetus pennatus) and Black Kites (Milvus migrans) soar over their nest, fluting and whisling.          Some Goldfinches (Carduelis carduelis) and Woodpigeons (Columba plumbea) call quietly in the foliage.  Here and there sleeping pilgrims are resting in the shade, waiting for the cool of the evening to resume their walk.<br /><strong>10.</strong> At a Coto Del Rey guardian’s house, in the kitchen, two young “Rocieras” (women) keep up the festivs spirit before leaving with their own convoy. The Romeria of El Rocio is also a good opportunity for personal meetings, for seductions, leading to what next year only may tell.<br /><strong>11.</strong> At the gates of El Rocio, the two young women gret men on horseback come to offer them flowers.<br /><strong>12.</strong> All the brotherhoods have reached the village where the Almonte hermandad greets them. Now wa see the reason for the size of the village : the houses empty all year are full. The huge squares are filled with crowds from which emerge horsemen seeking their partners. Forgotten the dusty road! Prayers are followed by performances by the best musicians (some of them professionals) in each Hermandad. Silence falls again over the delta. It is the hour of the Woodlark (Lulula arborea). In the village waggons, horses and oxen are being decorated.<br /><strong>13.</strong> Sunday morning, women and men in formal dress walk in procession in front of the basilica of El Rocio. Pilgrimage ceremonies are now beginning. They will end in the Whit Monday procession.<br /><em>Many thanks to Pepa Cabrera Medina and its family, Christian Meyer, and Sylvain Cordier.<br />Translation by Walter Dunlop.</em><br />© 1990-2005 GROUPE FRÉMEAUX COLOMBINI SAS</p>\r\n
        <p align="justify"></p>\r\n
        <p class="MsoNormal" align="justify"><span class="Source">CD Pélerinage Andalou © Frémeaux & Associés (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span><span class="Texte"><br /></span></p>
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      "description" => "<p><h3>TERREMOTO DE JEREZ - EL NINO DE ALMADEN • NIÑA DE LOS PEINES • CARMEN AMAYA • MANOLO CARACOL • SABICAS...</h3></p><br><br><p>“As “popular music” in the noble sense, flamenco was born out of the cultural mix which developed in Andalusia. This anthology shows that flamenco is indeed the expression of a collective tradition whose ideal was sublimated by such singers as Manolo Caracol, Terremoto de Jerez or Niña de Los Peines, and guitarists like Melchor de Marchena or Sabicas. Here, the full musical richness of Spain — Arab, Judaeo-Christian and gypsy — affirms its status as a World Music precursor.” Philippe LESAGE</p><br><br><p></p>"
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      "dwf_livret" => "<h3>Flamenco FA5448</h3><span class=Texte>  </span><p align=center class=MsoNormal><span class=Soustitre2>FLAMENCO</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Soustitre>1952-1961</span></p><span class=Soustitre>  </span><p align=center class=MsoNormal><span class=Soustitre>TERREMOTO DE JEREZ - AMALDEN </span></p><span class=Soustitre>  </span><p align=center class=MsoNormal><span class=Soustitre>Ni&ntilde;a De Los Peines - Carmen Amaya<br />Manolo Caracol - SABICAS</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p align=center class=MsoNormal><strong><span class=Texte>FLAMENCO 1952-1961</span></strong></p><span class=Texte> </span><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Un peu d&rsquo;histoire</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Il n&rsquo;est qu&rsquo;une seule certitude quant aux racines, aux fondations et &agrave; l&rsquo;essence du Flamenco : cette forme musicale issue du petit peuple des campagnes, des montagnes et des quartiers citadins pauvres de S&eacute;ville, de Jerez de la Frontera ou de Malaga est n&eacute;e de la rencontre de l&rsquo;orient et de l&rsquo;occident en terre andalouse, une terre de passage o&ugrave; se sont install&eacute;s au XVIe si&egrave;cle des gitans venus de l&rsquo;Inde au sein d&rsquo;une population de brassage ib&eacute;rique et arabe. L&rsquo;assertion qui veut associer le Flamenco aux seuls gitans n&rsquo;est donc pas totalement fond&eacute;e m&ecirc;me si elle garde une large part de v&eacute;rit&eacute; et, pour expliquer certains aspects comme les m&eacute;lismes arabisants, des postures de la danse ou quelques inflexions rythmiques, certains ont souhait&eacute; souligner des sources historiques indiennes, byzantines ou arabes voire juives. Des intellectuels sinc&egrave;res comme Manuel de Falla et Federico Garcia Lorca, pour estomper une image qui semblait n&eacute;gative en Espagne et lui donner une respectabilit&eacute; plus andalouse, sont m&ecirc;me aller jusqu&rsquo;&agrave; le rebaptiser en 1922 de &laquo;&thinsp;Cante Jondo&thinsp;&raquo;, com-me s&rsquo;il fallait encore ajouter &agrave; la confusion. Quoi qu&rsquo;il en soit, au final, l&rsquo;essence du Flamenco, c&rsquo;est le bras-sage culturel au fil des si&egrave;cles qui donne naissance &agrave; une musique qui ne sombrera jamais dans un folklore en voie d&rsquo;extinction. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>C&rsquo;est aux ferments de cette histoire de m&eacute;tissage que se nourrissent, plus ou moins consciemment, les &laquo;&thinsp;can-taores&thinsp;&raquo; (les chanteurs) et &laquo;&thinsp;tocaores&thinsp;&raquo; (guitaristes) que pr&eacute;sente notre anthologie. Certains sont n&eacute;s &agrave; la fin des derni&egrave;res d&eacute;cades du XIXe si&egrave;cle et ont crois&eacute; et/ou accompagn&eacute; Don Antonio Chacón, Manuel Torre et portent les r&egrave;gles d&rsquo;une musique toujours en gestation, d&rsquo;autres sont n&eacute;s avec le si&egrave;cle et les &laquo;&thinsp;caf&eacute;s cantantes&thinsp;&raquo;. Au cours des ann&eacute;es 1950, la p&eacute;riode que couvre notre anthologie, ils sont la m&eacute;moire qui ne flanche pas du Flamenco que le franquisme cherche alors &agrave; &eacute;touffer sous des oripeaux folkloriques. La chance du genre est que dans les quartiers populaires des villes d&rsquo;Andalousie il s&rsquo;est perp&eacute;tu&eacute; dans les cris de la vie quotidienne et lors des f&ecirc;tes comme le sugg&egrave;rent les enregistrements r&eacute;alis&eacute;s en 1952 par le musicologue am&eacute;ricain Alan Lomax.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Le Concept de Puret&eacute;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Dans les derni&egrave;res d&eacute;cades du XIXe si&egrave;cle, &eacute;poque &agrave; laquelle le Flamenco pointe &agrave; l&rsquo;horizon comme un genre musical &agrave; part enti&egrave;re et non comme une musique d&eacute;g&eacute;n&eacute;r&eacute;e de gitans d&eacute;class&eacute;s, il est une assertion qui revient en boucle, c&rsquo;est celle du concept de puret&eacute;. D&egrave;s que la zone g&eacute;ographique d&rsquo;influence s&rsquo;&eacute;tend, d&egrave;s qu&rsquo;une nouvelle g&eacute;n&eacute;ration &eacute;merge, d&egrave;s qu&rsquo;il se donne &agrave; entendre en des lieux nouveaux (caf&eacute; cantante, th&eacute;&acirc;-tre ou tablao&thinsp;; en Andalousie mais aussi &agrave; Madrid) ou sur des supports technologiques nouveaux (du 78 Tours au CD), il est de bon ton de clamer que le Fla-menco perd de sa puret&eacute;. On en fera grief, par exemple, &agrave; Camarón de la Isla dans les ann&eacute;es soixante-dix, &eacute;poque &agrave; laquelle le Flamenco trouve un nouveau souffle expressif. Et son comp&egrave;re Paco de Lucía de r&eacute;pondre en substance : &laquo;&thinsp;le Flamenco a toujours su assi-miler ce qui &eacute;tait assimilable &agrave; son esprit et &agrave; sa nature et son &eacute;volution ne peut que se concevoir de mani&egrave;re imperceptible...Pour moi, tout avance si on sait garder l&rsquo;&eacute;quilibre. Je pense qu&rsquo;il est vital de ne pas perdre de vue la tradition, parce que c&rsquo;est l&agrave; que se tiennent l&rsquo;essence, le message et les fondations. Si vous pouvez construire dans n&rsquo;importe quelle direction, vous ne pouvez pas perdre les racines parce que c&rsquo;est l&agrave; que si&egrave;ge votre identit&eacute;, le go&ucirc;t et l&rsquo;odeur du Flamenco&thinsp;&raquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;Une chose est certaine : on n&rsquo;entre pas par effraction dans ce genre musical impudiquement pudique, aride et hautain. Il impose une &eacute;coute attentive, une empathie active, l&rsquo;oubli de certains crit&egrave;res classiquement admis du beau pour s&rsquo;en forger d&rsquo;autres en ayant l&rsquo;audace de percer ses secrets alchimiques et d&rsquo;en accepter sa philosophie libertaire. Comment trouver son chemin ? D&rsquo;aucuns, comme ceux qui aiment le blues ou le samba, s&rsquo;attacheront en priorit&eacute; au grain des voix, &agrave; l&rsquo;&eacute;motion qui sourde d&rsquo;un cri quasi primal, d&rsquo;autres privil&eacute;gieront la sensibilit&eacute; rythmique des &laquo;&thinsp;tocaores&thinsp;&raquo; alors que les kinesth&eacute;siques entreront par la porte des danses. Mais on doit admettre qu&rsquo;une fois les codes perc&eacute;s, on ne sort plus indemne de ce genre musical qui porte haut la noblesse musicale populaire.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Les Rugueux et le Polic&eacute;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Aux d&eacute;tours des ann&eacute;es 1900, le Flamenco - dont le nom appara&icirc;tra seulement au moment de sa profes-sionnalisation - sort du cadre intime et des tavernes gitanes pour entrer dans les &laquo;&thinsp;caf&eacute;s cantantes&thinsp;&raquo; dont le plus fameux fut celui de Silv&eacute;rio Franconetti, un italo-andalou. Deux esth&eacute;tiques vont alors s&rsquo;affronter : le rugueux gitan face au polic&eacute; occidental. Le chant, toujours primordial dans le Flamenco, est le lieu id&eacute;al pour mesurer l&rsquo;affrontement des deux antagonismes. Ce sera la voix gitane qui blesse, &laquo;&thinsp;que hiere&thinsp;&raquo;, rauque, rugueuse, cass&eacute;e, &eacute;raill&eacute;e dite &laquo;&thinsp;affila&thinsp;&raquo;, en r&eacute;f&eacute;rence au chanteur du d&eacute;but du si&egrave;cle El Fillo, contre la voix &laquo;&thinsp;laina&thinsp;&raquo;, haute et vibrante ou la douce voix &laquo;&thinsp;redonda&thinsp;&raquo; plus occidentalis&eacute;es. Il est bien vrai que le chant ne pouvait plus, face &agrave; un public, se contenter d&rsquo;&ecirc;tre brut et uniquement accompagn&eacute; &laquo;&thinsp;a palo seco&thinsp;&raquo; (tra-duc-tion&#8199;: un long b&acirc;ton soit une sorte de canne qui permet de frapper le sol pour marquer le rythme) ou par un marteau sur une enclume ou par des &laquo;&thinsp;palmas&thinsp;&raquo;. Il lui fallait le soutien d&rsquo;un instrument et c&rsquo;est de cette &eacute;poque que date l&rsquo;essor de la guitare flamenca dont Ramón Montoya - il n&rsquo;&eacute;tait d&rsquo;ailleurs pas gitan - sera le premier virtuose &agrave; se produire en soliste. Cette guitare flamenca, plus &eacute;troite et plus l&eacute;g&egrave;re, a ses propres carac-t&eacute;-ris-tiques dues &agrave; la conformation de sa caisse : le son est r&eacute;fl&eacute;chi plus vite et induit une dynamique plus violente. Un guitariste Flamenco se reconna&icirc;t par la vigueur dans l&rsquo;attaque, par une sonorit&eacute; brillante et l&rsquo;utilisation des syncopes et des silences, par les coups frapp&eacute;s sur la table d&rsquo;harmonie, l&rsquo;orientalisme et les couleurs inso-lites des gammes ainsi que par le &laquo;&thinsp;rasgueado&thinsp;&raquo; avec le pouce. C&rsquo;est de l&rsquo;osmose de divers ingr&eacute;dients que va na&icirc;tre l&rsquo;&eacute;quilibre classique caract&eacute;ristique du Flamenco autour des &eacute;l&eacute;ments constitutifs que sont le chant, la guitare flamenca, le &laquo;&thinsp;baile&thinsp;&raquo; (la danse), les &laquo;&thinsp;palmas&thinsp;&raquo; (claquement des paumes de la main) et le &laquo;&thinsp;zapateado&thinsp;&raquo; (coup de talon pour marquer le rythme) sans oublier les &laquo;&thinsp;coplas&thinsp;&raquo;, les couplets dont la po&eacute;sie de veine populaire s&eacute;culaire vante un art de vivre. Il n&rsquo;emp&ecirc;che, c&rsquo;est le couple voix/ guitare qui sonne le mieux m&ecirc;me si tous les &laquo;&thinsp;cantes&thinsp;&raquo; &agrave; voix nue et les &laquo;&thinsp;Saetas&thinsp;&raquo;, avec leur accompagnement de &laquo;&thinsp;cornetas&thinsp;&raquo; et &laquo;&thinsp;tambores&thinsp;&raquo;, filent le frisson.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Les Palos </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ce sont tous les &laquo;&thinsp;cantes&thinsp;&raquo; qui sont &agrave; la base du Fla-menco et c&rsquo;est &agrave; leurs sujets que les discussions sont les plus vives entre musicologues et m&eacute;lomanes. C&rsquo;est aussi ce qui est, sans doute, le plus difficile &agrave; appr&eacute;hender par un non-initi&eacute;. La classification la plus simple est celle qui s&rsquo;articule autour des rythmes binaires (rumba, tangos, tientos) et les ternaires, &agrave; savoir tous les autres (sol&eacute;as, bulerias, alegrias, caracoles, fandangos, siguiriyas) Ajoutons que fandangos est le terme g&eacute;n&eacute;rique qui englobe les malague&ntilde;as, les granaínas - qui sont des fandangos de Malaga - et les fandangos de Huelva. On peut ajouter que les verdiales et les fandangos de Huelva sont des chants avec &laquo;&thinsp;compás&thinsp;&raquo; alors que tout les autres sont des chants libres qui, de ce fait, &eacute;cartent la danse. Il est une jolie formule qui dit que la solea est la m&egrave;re des rythmes &agrave; trois temps et que les tarentos sont la figure paternelle des &laquo;&thinsp;compás&thinsp;&raquo; &agrave; 4 temps.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Les Enregistrements des Ann&eacute;es 50 </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Tout en &eacute;cartant une approche encyclop&eacute;dique qui sentirait trop le parfum folklorique, il a bien fallu puiser dans des r&eacute;alisations d&rsquo;&eacute;poque dont l&rsquo;objectif &eacute;tait de relever tous les cantes afin de valoriser une musique qui n&rsquo;&eacute;tait alors audible pour le grand public que depuis une trentaine d&rsquo;ann&eacute;es. On ajoutera qu&rsquo;un cante comme le &laquo; martinete&thinsp;&raquo; - celui qui fait appel aux coups du marteau sur une enclume - qui peut apparaitre &agrave; certains comme trop ancr&eacute; dans la tradition, est toujours pr&eacute;sents dans les concerts de Flamenco. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Les ann&eacute;es cinquante furent une &eacute;poque b&eacute;nie o&ugrave; les majors du disque prenaient encore des risques pour le bienfait de l&rsquo;histoire de la musique et de la culture espagnole. On trouvera donc dans notre anthologie un large &eacute;cho des enregistrements parus respectivement en1954 (Antologia Del Cante Flamenco) et en 1958 (Una Historia Del Cante Flamenco), de Manolo Caracol, r&eacute;alisations faites sous la houlette de musicologues patent&eacute;s alors que le franquisme, lui, valorise l&rsquo;Op&eacute;ra Flamenco. En cette p&eacute;riode o&ugrave; le Flamenco que l&rsquo;on pourrait qualifier de libertaire vit donc une relative mise en sommeil, Hispavox, sous la houlette du musicologue Tomás Andrade de Silva, monte un projet fantastique autour du guitariste Paco del Valle - connu comme Perico el del Lunar, dans le milieu Flamenco - un guitariste au toucher doux et agile ayant accompagn&eacute; Don Chacón et dont la probit&eacute; artistique est reconnu de tous. A ses c&ocirc;t&eacute;s, on trouve des cantaores anciens, n&eacute; &agrave; la fin du XIXe si&egrave;cle comme Pepe de la Matrona ou Bernardo el de los Lobitos et des cantaores dans la force de la trentaine et de la quarantaine &agrave; l&rsquo;&eacute;poque de l&rsquo;enregistrement comme Rafael Romero ou Roque Montoya (Jarrito). En huit jours et huit nuits, dans un studio madril&egrave;ne, on essaie de retrouver le climat id&eacute;al pour que les artistes donnent le meilleur de l&rsquo;art du Cante. On ira m&ecirc;me jusqu&rsquo;&agrave; enregistrer une fanfare de cornetas y tambores au pas de procession et en plein air afin de reproduire au plus pr&egrave;s le son d&eacute;bordant de la saeta. Cette anthologie couvre les Cantes Matrices (les chants de base), les estilos camperos (les chants campagnards), les Cantes autoctonos (chants qui puisent &agrave; l&rsquo;essence du Flamenco sans relever directement du genre, comme la Nana par exemple), les Cantes sin guitarras (chants sans accom-pa-gne-ment de guitare), les Cantes de Levante (les chants de la partie est de l&rsquo;Andalousie), les estilos de Malaga (les chants de la province de Malaga) ainsi que les Cantes con baile (les chants pour la danse), soit un panorama exemplaire du Flamenco des origines jusqu&rsquo;aux ann&eacute;es cinquante, soit aussi la l&eacute;gitimit&eacute;, la densit&eacute; et la v&eacute;rit&eacute; du Cante Jondo arch&eacute;ologique et de ses variantes, soit enfin l&rsquo;expression d&rsquo;une tradition collective comme interpr&eacute;tation d&rsquo;un id&eacute;al. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cette anthologie de trois LP, qui se verra d&eacute;cerner le Grand Prix de l&rsquo;Acad&eacute;mie du Disque, paraitra chez Hispavox en 1954, sortira ensuite chez Ducretet-Thomson en 1958 avant d&rsquo;&ecirc;tre r&eacute;&eacute;dit&eacute;e par Hispavox en 1960 pour le march&eacute; espagnol. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Quelques ann&eacute;es plus tard, Manolo Caracol, &agrave; l&rsquo;apog&eacute;e de son art, se lance dans un projet ambitieux sous la direction du musicologue Manuel Garcia Marcos. Il y reprend tous les chants de base avec un accompa-gnement somptueux de Melchor de Marchena, son guitariste attitr&eacute;. En 1966 (donc hors de notre antho-logie pour des raisons l&eacute;gales), le grand chanteur Antonio Mairena, qui fut aussi un musicologue fier de ses racines, fera para&icirc;tre &laquo;&thinsp;La Llave de Oro del Cante Flamenco&raquo;, enregistrement de qualit&eacute; qu&rsquo;on recom-mande chaudement de se procurer. De son c&ocirc;t&eacute;, entre 1952 et 1958, le musicologue am&eacute;ricain Alan Lomax, en vir&eacute;e en Europe, enregistre sous forme de collectage l&rsquo;expression populaire andalouse. Nous empruntons au volume 3, d&eacute;volu &agrave; Jerez et S&eacute;ville, des plages musicales qui donnent une respiration de simplicit&eacute; quotidienne tout en soulignant la pr&eacute;gnance du Flamenco aupr&egrave;s de populations qui n&rsquo;ont parfois pas les moyens de s&rsquo;offrir une guitare.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>La Danse </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Elle est repr&eacute;sent&eacute;e ici par Carmen Amaya et par les enregistrements pris sur le vif par Alan Lomax. On notera que l&rsquo;intensit&eacute; reste la valeur fondamentale du &laquo;&thinsp;baile flamenco&thinsp;&raquo;. Avant tout individuelle et abstraite dans la mesure o&ugrave; elle ne fait r&eacute;f&eacute;rence &agrave; aucun argu-ment narratif, il suffit &agrave; la danse flamenca d&rsquo;un espace r&eacute;duit, partag&eacute; avec un guitariste et, &eacute;ventuellement un chanteur, pour improviser ses figures. Ne pouvant se marier avec la gravit&eacute; tragique du Cante Jondo, la danse flamenca ne colle qu&rsquo;avec les rythmes plus souples et l&eacute;gers qui s&rsquo;inscrivent dans les cat&eacute;gories dites du Cante Chico (fandangos, sevillanas) ou du Cante Intermedio (bulerias). C&rsquo;est entre 1920 et 1950, &agrave; la p&eacute;riode dite de &laquo;&thinsp;la op&eacute;ra flamenca&thinsp;&raquo;, que le fandango s&rsquo;impose d&eacute;finitivement en lien avec la profession-nalisation d&rsquo;artistes comme Carmen Amaya qui se produisent dans des th&eacute;&acirc;tres en quelque chose qui se rapproche plus du ballet classique avec chor&eacute;graphie pens&eacute;e et r&eacute;p&eacute;t&eacute;e que du &laquo;&thinsp;baile flamenco&thinsp;&raquo; traditionnel. Les sevillanas, proches du &laquo;&thinsp;baile flamenco&thinsp;&raquo; sans en relever vraiment, sont plus extraverties et sont les seules dans le panorama &agrave; se danser &agrave; deux.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Les Artistes de ce Disque</span> </p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Nous citons ici les artistes qui se produisent dans cette anthologie mais &eacute;galement quelques figures historiques dont les noms apparaissent dans le corps du texte de pr&eacute;sentation.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Perico El Del Lunar (Pedro del Valle)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; en 1894 et d&eacute;c&eacute;d&eacute; &agrave; Madrid en 1964, ce guitariste est une importante figure du flamenco parce qu&rsquo;il fut l&rsquo;accompagnateur de Manuel Torre, de Tomás Pavon, de Ni&ntilde;a De Los Peines et surtout de Antonio Chacón pendant douze ans. Sa ma&icirc;trise et sa connaissance du style traditionnel en font l&rsquo;interlocuteur id&eacute;al des cantaores de l&rsquo;anthologie r&eacute;alis&eacute;e pour Hispavox.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Pepe El De La Matrona (Jos&eacute; Nunez Melendez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; en 1887 d&rsquo;une m&egrave;re sage-femme (&laquo;matrona&thinsp;&raquo; en espagnol) d&rsquo;o&ugrave; lui vient sur surnom, il est le doyen des sessions d&rsquo;Hispavox en 1954. Il passe son enfance dans le quartier gitan de Triana &agrave; S&eacute;ville et sera un prota-goniste des &laquo;&thinsp;caf&eacute;s cantantes&thinsp;&raquo; en ayant pour mentor Don Chacón. Sp&eacute;cialiste des sol&eacute;ares et grand &eacute;rudit &agrave; l&rsquo;&eacute;gal d&rsquo;Antonio Mairena, il dispara&icirc;t en 1980.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte><strong>Rafael Romero</strong> </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Gitan de Jaen, n&eacute; en 1910, il devint professionnel malgr&eacute; l&rsquo;opposition paternelle. Sp&eacute;cialiste des cantes sans guitare comme les peteneras ou les tientos, il fut un pilier du tablao Zamba. Il chantait les yeux ouverts en tendant la main devant lui, main sur laquelle brillaient trois diamants sur un anneau d&rsquo;argent. On le surnommait aussi &laquo;el gallina&thinsp;&raquo;.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Pericon de Cadiz (Juan Martinez Vilches)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; &agrave; Cadix en 1901 et d&eacute;c&eacute;d&eacute; en 1980, il fut marchand de caramels pendant son enfance. Il avait obtenu le 1e prix de soleares &agrave; Madrid en 1936 et celui de siguiriyas en 1948. </span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Bernardo El de Los Lobitos (Bernardo Alvarez Perez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>C&rsquo;est l&rsquo;autre &laquo;&thinsp;ancien&thinsp;&raquo; de l&rsquo;anthologie Hispavox, puis-qu&rsquo;il est n&eacute; en 1887 &agrave; S&eacute;ville. Il avait un style innovant. Son surnom lui vient d&rsquo;une bul&eacute;ria qu&rsquo;il avait cout-ume de chanter : &laquo;&thinsp;a noche sonaba que los lobitos me comian&thinsp;&raquo; (cette nuit, j&rsquo;ai r&ecirc;v&eacute; que des petits loups me mangeaient). Cet archiviste des styles anciens est mort &agrave; Madrid en 1969.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ni&ntilde;o de Almaden (Francisco Antolin Gallego)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; &agrave; Ciudad Real en 1899, il travaillait dans les mines de charbon comme son p&egrave;re. Cet admirateur de Don Chacón, mort en 1968, &eacute;tait un pur repr&eacute;sentant des styles du Levant.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Roque Montoya Heredia dit Jarrito</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; &agrave; Alg&eacute;siras (province de Cadix) en 1925 et d&eacute;c&eacute;d&eacute; en 1995, il fut barman du mus&eacute;e tauromachique avant d&rsquo;&ecirc;tre reconnu comme un excellent styliste par Tomás Pavon et sa s&oelig;ur Ni&ntilde;a de Los Peines. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Carmen Amaya</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Danseuse, et aussi parfois chanteuse, n&eacute;e &agrave; Ciudad R&eacute;al en 1913 et d&eacute;c&eacute;d&eacute;e &agrave; Barcelone en 1963 &agrave; l&rsquo;&acirc;ge de 48 ans, elle &eacute;tait r&eacute;put&eacute;e pour son temp&eacute;rament anticon-formiste. Elle dirigeait une compagnie dans laquelle Sabicas &eacute;tait le guitariste attitr&eacute;. Elle se produit dans le monde entier, tourne des films &agrave; Hollywood, gagne des fortunes mais, g&eacute;n&eacute;reuse et prodigue, pris dans les rets de la famille, elle doit se d&eacute;penser sans compter en voyages incessants jusqu&rsquo;&agrave; prendre froid dans un train et en mourir d&rsquo;une infection pulmonaire.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Don Antonio Chacón</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ce natif de Jerez de la Frontera, d&eacute;c&eacute;d&eacute; &agrave; Madrid en 1929, est le &laquo;&thinsp;cantaor&thinsp;&raquo; le plus important de l&rsquo;histoire du flamenco, le seul &agrave; porter le titre de &laquo;&thinsp;Don&thinsp;&raquo;. R&eacute;put&eacute; pour les malague&ntilde;as et les cantes du Levant qu&rsquo;il donnait, il eut aussi le m&eacute;rite de faire passer le genre des caf&eacute;s cantantes aux th&eacute;&acirc;tres.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>El Fillo</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cette figure l&eacute;gendaire est un s&eacute;villan n&eacute; en 1878, disciple de El Nitri et de Silverio. Il avait une voix &laquo;&thinsp;afi-lla&thinsp;&raquo;, c&rsquo;est &agrave; dire rauque. La date de sa mort reste inconnue.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Manolo Caracol (Manuel Ortega Juarez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Issu d&rsquo;une grande famille gitane, il est le &laquo;&thinsp;cantaor&thinsp;&raquo; le plus exceptionnel du XXe si&egrave;cle. Reconnu d&egrave;s l&rsquo;&acirc;ge de 12 ans pour l&rsquo;obtention du premier prix au Concours de cante Jondo de Grenade de 1922, l&rsquo;historique con-cours lanc&eacute; par Manuel de Falla et Federico Garcia Lorca. Son succ&egrave;s public tient aussi aux spectacles qu&rsquo;il donne avec Lola Flores, le grand amour de sa vie, des spectacles aux danses flamenquis&eacute;es ainsi qu&rsquo;aux quatre films qu&rsquo;il a tourn&eacute;s (dont trois avec Lola Flores.) Ces d&eacute;rives n&rsquo;enl&egrave;vent rien &agrave; un talent qu&rsquo;il suffit de peser en l&rsquo;&eacute;coutant dans les volumes 1 et 2 de &laquo;&thinsp;Una Historia del Cante Flamenco&thinsp;&raquo;, accompagn&eacute; par le g&eacute;nial Melchor de Marchena, son guitariste qui lui restera toujours fid&egrave;le tant il &eacute;tait sous le charme de cette voix &laquo;&thinsp;afilla&thinsp;&raquo;. Mort dans un accident de voiture en 1973, Manolo Caracol a, comme Ni&ntilde;a De Los Peines, sa statue &agrave; S&eacute;ville.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Tomás Pavon Cruz</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; en 1893 et mort en 1952, il &eacute;tait le fr&egrave;re de Ni&ntilde;a De Los Peines. Il fit peu d&rsquo;apparition en public tant il &eacute;tait timide et discret mais il reste un des grands cr&eacute;ateurs du Cante Puro du XXe si&egrave;cle.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ni&ntilde;a De Los Peines (Pastora Pavon Cruz)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>S&oelig;ur du pr&eacute;c&eacute;dent et &eacute;pouse de Pepe Pinto, elle est consid&eacute;r&eacute;e comme la plus grande &laquo;&thinsp;cantaora&thinsp;&raquo; de tous les temps pour les styles de f&ecirc;te et elle est sublime dans les peteneras et les tangos. Elle poss&eacute;dait un sens prodigieux du rythme et savait aussi &eacute;mouvoir. Elle &eacute;tait n&eacute;e &agrave; S&eacute;ville, dans le quartier de Triana, le 10 f&eacute;vrier 1890 et s&rsquo;est &eacute;teinte le 26 novembre 1969. Issue d&rsquo;une famille gitane pauvre, analphab&egrave;te, elle se produit en public &agrave; l&rsquo;&acirc;ge de neuf ans &agrave; la Taberna de Caferino de S&eacute;ville et son surnom lui vient des vers d&rsquo;un tango qu&rsquo;elle chantait. Ses premiers vrais pas professionnels remontent &agrave; 1920, ann&eacute;e o&ugrave; elle commence &agrave; enre-gistrer (cf l&rsquo;anthologie Ramon Montoya parue chez Fr&eacute;meaux). Influenc&eacute;e par Arturo Pavon, un fr&egrave;re plus &acirc;g&eacute; de quelques ann&eacute;es et cornaqu&eacute;e par Tomás, l&rsquo;autre fr&egrave;re, elle fut l&rsquo;amie de Federico Garcia Lorca &agrave; qui elle rendra un hommage lors d&rsquo;un concert donn&eacute; &agrave; Madrid, la capitale encore r&eacute;publicaine, le 19 ao&ucirc;t 1937, trois semaines apr&egrave;s que le po&egrave;te ait &eacute;t&eacute; fusill&eacute; par les troupes de Franco. Lorca disait &agrave; son propos : &laquo;&thinsp;ce timbre de pur m&eacute;tal&thinsp;&raquo;.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ni&ntilde;o Ricardo (Manuel Sanchez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&laquo;&thinsp;Tocaor&thinsp;&raquo; de renom n&eacute; &agrave; S&eacute;ville en 1904 et d&eacute;c&eacute;d&eacute; en 1974, il aura &eacute;t&eacute; influenc&eacute; par Ramon Montoya. Comme lui, il saura harmoniser les caract&eacute;ristiques de la guitare flamenca et celles de la guitare classique et se produira en soliste.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Sabicas (Agustin Castellon Campos)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Autre tocaor incontournable du Flamenco. N&eacute; &agrave; Pampelune en 1912, neveu de Ramon Montoya, il r&eacute;sidera longtemps au Mexique et aux Etats Unis, ce qui explique son d&eacute;c&egrave;s &agrave; New York en 1990. Il avait fait partie de la compagnie de Carmen Amaya, sign&eacute; de nombreuses compositions et ouvert de nouveaux hori-zons pour la guitare flamenca dont saura se saisir la nouvelle g&eacute;n&eacute;ration &eacute;close dans les ann&eacute;es soixante.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ramon Montoya</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; en 1879 &agrave; Madrid et d&eacute;c&eacute;d&eacute; en 1948 toujours &agrave; Madrid, il fut un guitariste autodidacte qui fit ses classes aupr&egrave;s de Don Chacón et qui a aussi accompagn&eacute; La Ni&ntilde;a de Los Peines. Il avait d&eacute;velopp&eacute; un jeu de falsetas inattendues et se produisait aussi en r&eacute;cital. Son nom reste grav&eacute; dans les m&eacute;moires comme le guitariste le plus c&eacute;l&egrave;bre de l&rsquo;histoire du Flamenco (cf &laquo;&thinsp;l&rsquo;art de Ramon Montoya&thinsp;&raquo; FA 5049, &eacute;ditions Fr&eacute;meaux).</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Manuel Morao (Juan Moreno Jimenez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Tocaor natif de Jerez de la Frontera, il est le beau-fr&egrave;re de Terremoto et le p&egrave;re de Moraíto. Outre ses qualit&eacute;s de musicien, il est admir&eacute; pour avoir soutenu de jeunes artistes.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Terremoto (Fernando Fernandez Monje)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Le chant &agrave; l&rsquo;&eacute;tat brut, celui qui vient des tripes et qui dit ce que la parole ne sait pas exprimer. C&rsquo;est que Terremoto &eacute;tait un analphab&egrave;te total, ne sachant ni lire ni &eacute;crire. On raconte qu&rsquo;&agrave; l&rsquo;enterrement de sa m&egrave;re ador&eacute;e, il rompit un mutisme atroce en se lan&ccedil;ant dans un chant &agrave; gorge d&eacute;ploy&eacute;e Por siguiriyas. Gitan de Jerez, il se destinait &agrave; la danse avant de rejoindre un tablao de S&eacute;ville. Chanteur tr&egrave;s irr&eacute;gulier, il fonctionnait avant tout &agrave; l&rsquo;inspiration. Son beau fr&egrave;re Manuel Morao disait : &laquo;&thinsp;Yo creo que era todo intuitivo. Lo tenia todo dentro, lo tenia en la sangre, lo tenia en el alma, lo tenia en el corazon. Era un hombre que no sirvio mas que para cantar&thinsp;&raquo; (Je crois que tout &eacute;tait instinctif. Il le portait &agrave; l&rsquo;int&eacute;rieur de lui, il l&rsquo;avait dans le sang, il l&rsquo;avait dans l&rsquo;&acirc;me, il le portait dans son c&oelig;ur. C&rsquo;&eacute;tait un homme qui ne savait rien faire d&rsquo;autre que chanter). N&eacute; le 17 mars 1930, il a enregistr&eacute; un premier EP en 1956 avant de retrouver les chemins des studios en 1963. </span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Fosforito (Antonio Fernandez Diaz)</span></strong> </p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>N&eacute; le 3 ao&ucirc;t 1932 &agrave; Cordoue. Il est le cinqui&egrave;me gar&ccedil;on d&rsquo;une famille humble de huit enfants. Un de ses oncles avait &eacute;t&eacute; un chanteur reconnu. En 1956, au Concours de Cordoue, &agrave; l&rsquo;&acirc;ge de 23 ans, alors qu&rsquo;il relevait d&rsquo;une grave op&eacute;ration intestinale qui l&rsquo;avait &eacute;cart&eacute; du chant pour se consacrer &agrave; la guitare, il remporte le premier prix de chaque cat&eacute;gorie de cante, ce qui est un fait unique dans l&rsquo;histoire du Flamenco. En 1999, il a enre-gistr&eacute; un magnifique disque o&ugrave; il est accompagn&eacute; par Paco de Lucía.</span></p><span class=Texte>  </span><p align=\right class=MsoNormal><span class=Soustitre>Philippe LESAGE</span></p><span class=Texte>  </span><p align=\right class=MsoNormal><span class=Texte>&copy; 2014 Fr&eacute;meaux &amp; Associ&eacute;s</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Remerciements au photographe Ren&eacute; Robert pour le pr&ecirc;t du disque r&eacute;alis&eacute; par Alan Lomax et &agrave; Alexis Frankel qui est aussi un guitariste flamenco et qui m&rsquo;a donn&eacute; de pr&eacute;cieux conseils.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Glossaire </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Pour assimiler et retenir quelques mots qui reviennent sans cesse.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bailaor : Danseur de Flamenco</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cantaor : Chanteur de Flamenco</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Tocaor : Guitariste Flamenco</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Palmero : le musicien qui assure les &laquo;&thinsp;palmas&thinsp;&raquo; (frapper dans les paumes des mains). &laquo;&thinsp;Car un bon palmero vous rehausse le plat, il aide la chanteur &agrave; sortir ce qui doit, le remet dans le droit chemin, s&rsquo;efface devant ses silences&thinsp;&raquo; (David Fauquemberg dans &laquo;&thinsp;Manuel El Negro&thinsp;&raquo;)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cante : Mot r&eacute;serv&eacute; au Flamenco car, en espagnol, pour tout chant non Flamenco, on utilise le terme &laquo;&thinsp;canto&thinsp;&raquo;. Comme l&rsquo;&eacute;crit David Fauquemberg dans son roman &laquo;&thinsp;Manuel el Negro&thinsp;&raquo; : &laquo;&thinsp;De l&rsquo;alegria au tarento, il y a un monde. Chacun des &laquo;&thinsp;palos&thinsp;&raquo; exprime une &eacute;motion dis-tincte. Otez-la, il ne reste rien&thinsp;&raquo;. De son c&ocirc;t&eacute;, le grand chanteur Antonio Mairena, qui eut aussi une action de musicologue, disait : &laquo;&thinsp;Nous sommes convaincus de l&rsquo;im-possible d&eacute;finition du cante. Son ins-piration n&rsquo;est pas esth&eacute;tique, il ne recherche pas, non plus, la facilit&eacute; et son but n&rsquo;est pas d&rsquo;amuser.&thinsp;&raquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cante Jondo : Chant profond&thinsp;; la force d&rsquo;expression nait des sentiments les plus intimes. Le terme s&rsquo;applique aux cantes ayant des r&eacute;sonnances anciennes. Luiz Lopez Ruiz, dans son livre &laquo;&thinsp;Guide du Fla-menco&thinsp;&raquo; pr&eacute;cise : &laquo;&thinsp;Le cante est l&rsquo;art des opprim&eacute;s et des minorit&eacute;s. Dans le cante Jondo, l&rsquo;expression d&eacute;rive uniquement d&rsquo;une passion personnelle.&thinsp;&raquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Compás : Mesure d&rsquo;une phrase musicale qui tient compte du rythme et de la guitare</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Duende : &laquo;&thinsp;Le duende est un pouvoir et non un acte. Une lutte, non une pens&eacute;e.&thinsp;&raquo; (Gar-cia Lorca) C&rsquo;est &ecirc;tre dans un &eacute;tat d&rsquo;ins-piration proche de la transe.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Falsetas : Solos de la guitare flamenca</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Jaleo : Manifestations diverses pour encou-rager les interpr&egrave;tes.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Palo : Type de cante .</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Voix affila : Voix rauque, sans doute id&eacute;ale pour chanter le Flamenco. Elle est bien repr&eacute;sent&eacute;e dans notre anthologie par Manolo Caracol et Terremoto.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Bibliographie</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Luis Lopez Ruiz : &laquo;&thinsp;Guide du Flamenco&thinsp;&raquo; (L&rsquo;Harmattan &eacute;diteur)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bernard Leblon : Flamenco (Cit&eacute; de la Musique -Actes Sud)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cl&eacute;ment L&eacute;pidis : L&rsquo;or du Guadalquivir (roman&thinsp;; Editions du Seuil)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Francis Marmande : Rocío (Verdier)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>David Fauquemberg : Manuel El Negro (roman, fayard)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Soustitre2>FLAMENCO 1952-1961</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>History</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Concerning the roots, foundations and essence of Flamenco, only one thing is certain: this musical form practised by those who lived in the poor quarters of Seville, Jerez de la Frontera or Malaga, and the surrounding countryside and mountains, was born out of the encounter between Orient and Occident in the land of Andalusia, where, in the 16th century, gypsies arriving from India settled amidst Iberian and Arab peoples. So the assertion that flamenco belongs to gypsies alone is not entirely founded, even though largely true; and to explain certain aspects of flamenco &mdash; Arabic melismata, the poses and gestures of its dances, certain rhythmical inflexions &mdash; others have underlined historic sources: Indian, Byzantine or Arabian, even Jewish. In 1922, intellectuals like Manuel de Falla and Federico Garcia Lorca quite sincerely sought to soften its seemingly negative image in Spain, and give the genre a more Andalusian respectability: they even went so far as to rechristen the genre Cante Jondo, as if there were not enough confusion already. But when all is said and done, the essence of flamenco is that cultural mix which, over the centuries, gave birth to music that has never foundered; it is no folklore destined for extinction.&nbsp; </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>The fermentation in this history of cultural mixing is that which nourished, more or less consciously, the cantaores (singers) and tocaores (guitarists) to whom our anthology is devoted. Some were born in the last decades of the 19th century, and their paths crossed those of Don Antonio Chacón and Manuel Torre; indeed they played with them, according to the rules of music that was still in gestation. Others were born with the 20th century and its caf&eacute;s cantantes. In the course of the Fifties, the period covered by this set, they represent the unfailing memory of flamenco which Francoism was then attempting to stifle with the flashy rags of traditional songs. In the popular city-quarters of Andalusia, the genre was fortunate enough to be perpetuated in the shouts and cries of everyday life, and in feasts and festivals like those suggested by the 1952 recordings made by American musicologist Alan Lomax.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>The Concept of Purity</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>In the last decades of the 19th century &mdash; the dawn of flamenco as a music genre in its own right, and not some &ldquo;degenerate&rdquo; music form spread by second-class gypsies &mdash; one notion which constantly returned was the concept of purity. As soon as its influence spread beyond Andalusia, or when a new generation emerged, or as soon as it was heard in a new venue &mdash; a caf&eacute; cantante, theatre or tablao whether in the south or in Madrid &mdash; or by some new technical means, from a 78rpm record to a CD, flamenco was commonly said to be losing its purity. In the Seventies, for example, when flamenco expressions found new breath, Camarón de la Isla was rebuked for that loss; his musical partner Paco de Lucía would reply to such reproaches by saying in substance, &ldquo;Flamenco has always assimilated everything that was to be absorbed in spirit and nature, and its evolution can only be conceived in an imperceptible manner&hellip; In my view, everything advances if a balance can be maintained. I think it is vital not to lose sight of the tradition, because that is where the essence, the message and the foundations are to be found. If you are able to build, whatever the direction, then you cannot lose those roots, because that is where your identity, the taste, and the smell, of flamenco lie.&rdquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>One thing is certain: this shamelessly modest, arid and high-mannered music genre cannot be entered by just breaking down a door. It demands careful listening, an active empathy, and it also requires you to forget certain classically-acknowledged criteria of beauty so that you may forge others in daring to pierce the secrets of its alchemy, and in accepting its libertarian philosophy. How does one find one&rsquo;s way into all this? Some, such as those who love blues or sambas, will at first concentrate on the grain of flamenco voices, on the emotion which wells up from inside an almost primal cry; there are those who will favour the rhythmical sensibilities of the tocaores, while others will kinaesthetically enter through the doors of flamenco dan-cing. But once inside, with the codes deciphered, it must be admitted that one can no longer come out of this music genre unscathed: it is a genre which holds high the popular nobility of music.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>&nbsp;</span></p><span class=Soustitre>  </span><p class=MsoNormal><span class=Soustitre>The Rough and the Civilized</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>In the course of the 1900s, flamenco &mdash; the term would only appear with the advent of professionalism &mdash; came out of its intimate setting and gypsy taverns to enter the caf&eacute;s cantantes, and the most famous of these was owned by Silv&eacute;rio Franconetti, an Italo-Andalusian. Two aesthetics would face each other: those of the rough gypsy and the civilized westerner. Song, always primordial in flamenco, was the ideal ground to measure the confrontation between the two antagonisms: it would be the gypsy voice that hurts, &ldquo;que hiere&rdquo;, raucous, rough, broken and hoarse &mdash; the voice was called afilla, in reference to the singer El Fillo who was popular at the turn of the century &mdash; versus the voice called laina, high and vibrant, or the softer redonda voice that belonged more to the West. It is quite true that, when faced with an audience, a song could no longer content itself to be raw and accompanied solely by a palo seco (i.e. with a long stick or cane which would strike the floor to beat the rhythm), or a hammer and anvil, or palmas (handclaps). Songs needed the backing of an instrument, and so began the rapid rise of the guitarra flamenca, whose first virtuoso soloist was Ramón Montoya, incidentally not a gypsy. This flamenco guitar, narrower and lighter, had its own characteristics due to the shape of its body: the sound was reflected more quickly and resulted in more violent dynamics. A flamenco guitarist was recognizable: a vigorous attack, a brilliant sound, the use of syncopation and rests, the slaps given to the soundboard, and oriental traits such as the unusual colouring of the scale or the rasgueado effect produced by the thumb. The osmosis of various ingredients gave birth to the classical balance characteristic of flamenco, whose elements are song, the flamenco guitar, baile, or dancing, palmas (slapping the palms of the hands together) and the zapateado (stamping with one&rsquo;s heel to mark the rhythm), not forgetting the coplas or couplets whose poetry &mdash; in a secular, popular vein &mdash; vaunted a way of life. All the same, it was the voice/guitar pairing which sounded the best, even if the cantes sung by a voice alone, and the Saetas with their accompanying cornetas and tambores, could make listeners shiver.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>The Palos </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Those cantes lie at the foundations of flamenco, and also at the heart of the liveliest discussions between musicologists and music-lovers. They are also the part of flamenco which is most difficult to apprehend for a non-initiate. The most simple classification is that which separates binary rhythms (rumba, tangos, tientos) from ternary rhythms, in other words, all the others (soleás, bulerias, alegrias, caracoles, fandangos, siguiriyas). It should be noted that fandan-gos is a generic term which embraces the malague&ntilde;as, the granaínas &mdash; the fandangos of Malaga &mdash; and the fandangos of Huelva. Concerning the latter, the verdiales and fandangos of Huelva are songs with compás whereas the others are all free songs, which rules out dancing. There&rsquo;s a rather nice formula which says that the soleá is the mother of rhythms in three, and that tarentos are the father figure of those compás (measures) in four.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Fifties recordings </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>An encyclopaedic approach to this set had to be avoided &mdash; it would have given the contents an excessive &ldquo;folk-music&rdquo; flavour &mdash; but it was still necessary to draw on recordings of the period, the aim being to select all the cantes which provide the value of a style of music which hadn&rsquo;t been heard by most audiences until thirty years ago. It might be added that a cante or martinete &mdash; the one with recourse to a hammer striking an anvil &mdash;, which might appear too anchored in tradition for some listeners, were always present in flamenco concerts.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>The Fifties were years that were blessed, in that major record companies would still take risks for the sake of music history and Spanish culture. So our anthology contains a large echo of recordings by Manolo Caracol which appeared respectively in 1954 (&ldquo;Antologia Del Cante Flamenco&rdquo;) and in 1958 (&ldquo;Una Historia Del Cante Flamenco&rdquo;), productions made under the aegis of officially recognized musicologists, while Francoism preferred Opera Flamenco. So in this period, which saw the kind of flamenco one might call libertarian made relatively dormant, Hispavox, led by the musicologist Tomás Andrade de Silva, undertook a fantastic project devoted to guitarist Paco del Valle &mdash; known in flamenco circles as Perico El Del Lunar &mdash;, a guitarist with a soft, nimble touch who had accompanied Don Chacón and whose artistic integrity was recognized by all. Alongside him you can find older-generation cantaores born at the end of the 19th century, like Pepe de la Matrona or Bernardo el de los Lobitos, and cantaores who were in their vigorous thirties and forties at the time they were recording, like Rafael Romero, or Roque Montoya, known as Jarrito. For eight days and nights in a Madrid studio, they tried to recreate the ideal atmosphere for the artists to give the best of their art of the Cante. Even a marching band of cornetas y tambores was re-created outdoors so that they could come closest to the sound spilling out of the saeta. This anthology covers the Cantes Matrices (the basic songs), the estilos camperos or songs of the countryside, the Cantes autoctonos (songs drawing from the essence of Flamenco without directly being part of the genre, like Nana for example), the Cantes sin guitarras (songs without a guitar accompaniment), the Cantes de Levante (from eastern Andalusia), the estilos de Malaga (songs from the Malaga province) and also the Cantes con baile (songs for dancing); in other words, a complete panorama of flamenco from its origins to the Fifties, and therefore also a panorama of all the legitimacy, density and truth of the archaeological Cante Jondo and its variants: this, finally, represents the expression of a collective tradition as the interpretation of an ideal. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>The resulting anthology of three LPs, which was awarded the &ldquo;Grand Prix de l&rsquo;Acad&eacute;mie du Disque&rdquo; in France, was issued by Hispavox in 1954, released by Ducretet-Thomson four years later in 1958, and then reissued by Hispavox in 1960 for the Spanish market. </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>A few years later, Manolo Caracol, now at the apogee of his art, undertook an ambitious project for which the musicologist Manuel Garcia Marcos was responsible. For this project he went back to all the basic songs, but this time he was sumptuously accompanied by Melchor de Marchena, his regular guitarist. In 1966 &mdash; legal reasons prevent its inclusion here &mdash; the great singer Antonio Mairena, who was also a musicologist, and a man who took pride in his roots, published &ldquo;La Llave de Oro del Cante Flamenco&rdquo;, a recording of great quality which we heartily recommend. As for American musicologist Alan Lomax, between 1952 and 1958 he travelled in Europe gathering field-recordings of popular expressions in Andalusia. From the third volume of his collected recordings, which was devoted to Jerez and Seville, we have borrowed tracks where the music breathes with the simplicity of everyday life in demonstrating the vivid resonance of flamenco in a population often without the means to own guitars of their own.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Dancing </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Dancing is represented here by Carmen Amaya and field-recordings made by Alan Lomax. Note that intensity remains the fundamental value of the baile flamenco. It is above all individual and abstract, insofar as it does not refer to any narrative argument; a reduced space shared with a guitarist and, if need be, a singer, is enough for the flamenco dancer to improvise the appropriate figures. Unable to espouse the tragic gravity of the Cante Jondo, the flamenco dance only suits the lighter, more flexible rhythms which belong to the so-called Cante Chico categories (fandangos, sevillanas) or those of the Cante Intermedio (bulerias). It was in the opera flamenca period, from 1920 to 1950 that the fandango established itself definitively, an era when artists like Carmen Amaya turned professional and began appearing in theatres: their performances were closer to classical ballet, with planned and rehearsed choreographies, than to the traditional baile flamenco. The sevillanas, close to baile flamenco although not directly related, were the only dances performed by pairs.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>The Artists</span> </p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>The following is a list of the artists included in this anthology; also listed are some historical figures whose names appear in the introduction.</span></p><span class=Texte>  </span><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Perico El Del Lunar (Pedro del Valle)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in 1894 (d. Madrid 1964), this guitarist was an important flamenco figure because he accompanied Manuel Torre, Tomás Pavon, La Ni&ntilde;a De Los Peines, and especially Antonio Chacón, whom he partnered for twelve years. His mastery and knowledge of the traditional style made him the ideal accompanist for the cantaores appearing in the Hispavox anthology.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Pepe El De La Matrona (Jos&eacute; Nunez Melendez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in 1887 (his mother was a midwife or matrona, hence his nickname), Melendez was the most elderly performer on the 1954 Hispavox sessions. He spent his infancy in the gypsy quarter of Triana in Seville, and was a notable figure in the caf&eacute;s cantantes (his mentor was Don Chacón). A sol&eacute;ares specialist and as learned a musician as Antonio Mairena, he passed away in 1980.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Rafael Romero </span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>A gypsy born in Jaen in 1910, he turned professional against his father&rsquo;s wishes. As a specialist of cantes sung without a guitar, like the peteneras or the tientos, he was an unavoidable figure at the Zamba tablao. He sang with his eyes open, holding out a hand where three diamonds sparkled from the silver ring worn on his finger. He was also known by the name El gallina.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Pericon de Cadiz (Juan Martinez Vilches)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in Cadiz in 1901 (he died in 1980), he sold toffees as a child. In 1936 in Madrid he won First Prize for his soleares, and in 1948 he was awarded the prize again, this time for his siguiriyas. </span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Bernardo El De Los Lobitos (Bernardo Alvarez Perez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Alvarez Perez was the other &ldquo;elder&rdquo; featured in the Hispavox anthology; he was born in 1887 in Seville. He had an innovative style and owed his nickname to a buleria he used to sing, &ldquo;Last night I dreamed that little wolves were eating me.&rdquo; [&ldquo;A noche sonaba que los lobitos me comian&rdquo;.] This archivist of old styles died in Madrid in 1969.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ni&ntilde;o de Almaden (Francisco Antolin Gallego)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in Ciudad Real in 1899, he worked in the coalmines like his father. A great admirer of Don Chacón, he was a pure representative of the Levant styles. He died in 1968.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Roque Montoya Heredia (known as &ldquo;Jarrito&rdquo;)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in 1925 in Algeciras in the province of Cadiz (he died in 1995), &ldquo;Jarrito&rdquo; was a barman at the bullfighting museum before Tomás Pavon and his sister La Ni&ntilde;a de Los Peines recognized him as an excellent stylist. </span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Carmen Amaya</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>A dancer (and sometimes a singer), Carmen Amaya was born in Ciudad R&eacute;al in 1913 and died young at 48 in Bar-celona (1963). She was renowned for her non-conformist temperament, and directed a dance-company whose usual guitarist was Sabicas. Amaya appeared all over the world, making films in Hollywood and amassing a fortune. She was generous to a fault and, ensnared by the family, she dilapidated her wealth travelling constantly&hellip; she would catch cold in a train and die of a pulmonary infection.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Don Antonio Chacón</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>This native of Jerez de la Frontera who died in Madrid in 1929 was the most important cantaor in flamenco history, the only singer to carry the title of &ldquo;Don&rdquo;. Renowned for his malague&ntilde;as and the cantes of the Levante province which he performed, he also had the merit of transferring the genre from the caf&eacute;s cantantes to theatres.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>El Fillo</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>This legendary figure was born in Seville in 1878, a disciple of El Nitri and Silverio. He had a hoarse voice (the Spanish word is afilla, meaning raucous or rough). The date of his death is unknown.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Manolo Caracol (Manuel Ortega Juarez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>He came from a great gypsy family and became the most exceptional cantaor of the 20th century. He was merely twelve when he won First Prize in Granada in 1922 at the historic Cante Jondo competition set up by Manuel de Falla and Federico Garcia Lorca. His fame with the public was something he owed to the spectacular concerts &mdash; featuring flamenco dancers &mdash; which he gave with Lola Flores, the great love of his life, and to the four films he made (three of them with Flores). These asides detract nothing from his talents, as you can judge from Volumes 1 &amp; 2 of &ldquo;Una Historia del Cante Flamenco&rdquo;, accompanied by the guitar-genius Melchor de Marchena, who remained loyal to him all his life, so much was he taken by the rough charm of Caracol&rsquo;s voice. After Manolo died in a car-accident in 1973, a statue was raised in Seville, an honour he shared with La Ni&ntilde;a De Los Peines.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Tomás Pavon Cruz</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>The brother of La Ni&ntilde;a De Los Peines, he was born in 1893 and died in 1952. He was a shy, retiring figure and so he made few public appearances; but he remained one of the great Cante Puro creators of the 20th century.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>La Ni&ntilde;a De Los Peines (Pastora Pavon Cruz)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Pastora Pavon, the sister of Tomás Pavon Cruz and the wife of Pepe Pinto, is considered the greatest cantaora of all time, practising all styles to perfection; she was a sublime singer of peteneras and tangos especially. Her sense of rhythm was prodigious, and she was an extraordinarily moving singer. Born in the Triana quarter of Seville on February 10th 1890, she died aged 78 on November 26th 1969. She came from poor gypsy family and could neither read nor write; she began singing in public at the age of nine, at the Taberna de Caferino in Seville, and her nickname was taken from a verse in a tango she used to sing. Her first real steps as a professional came in 1920, the year she began recording (c.f. the Ramon Montoya anthology issued by Fr&eacute;meaux.) Influenced by her other brother Arturo Pavon, her elder by a few years, she was introduced to the world of flamenco by Tomás and became a friend of Federico Garcia Lorca, to whom she paid tribute at a concert held in Madrid on August 19th 1937 &mdash; Madrid was still a Republican capital at the time &mdash;, three weeks after the poet was put before a firing squad of Franco&rsquo;s troops. Lorca said that she had &ldquo;a timbre of pure metal.&rdquo;</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ni&ntilde;o Ricardo (Manuel Sanchez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>A renowned tocaor born in Seville in 1904 (he died in 1974), he was said to have been influenced by Ramon Montoya. Like the latter, Ni&ntilde;o Ricardo succeeded in harmonizing the characteristics of flamenco guitar with those of the classical guitar, and he appeared as a soloist.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Sabicas (Agustin Castellon Campos)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Another peerless flamenco tocaor, Sabicas was born in Pamplona in 1912, and he was Ramon Montoya&rsquo;s nephew. He lived for a long time in Mexico and The United States, and died in New York in 1990. He belonged to Carmen Amaya&rsquo;s dance-company, writing numerous compositions and also opening new horizons for the flamenco guitar and the new generation which sprang up in the Sixties.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Ramon Montoya</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in 1879 in Madrid (where he died in 1948), Montoya was self-taught; he pursued his apprenticeship alongside Don Chacón and also accompanied La Ni&ntilde;a de Los Peines, having developed his playing to include unexpected falsetas. He also gave recitals. His name is engraved in the collective memory as the most famous guitarist in the history of flamenco (c.f. &ldquo;L&rsquo;art de Ramon Montoya&rdquo;, Fr&eacute;meaux FA 5049.)</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Manuel Morao (Juan Moreno Jimenez)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>A native of Jerez de la Frontera, the tocaor Manuel Morao was the brother-in-law of Terremoto and the father of Moraíto. Apart from his gifts as a musician, he was also admired for the support he gave to young artists.</span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Terremoto (Fernando Fernandez Monje)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Terremoto was the art of song in the raw state, the kind of song that contains one&rsquo;s heart and soul and which says everything that cannot be put into words&hellip; And Terremoto could neither read nor write. It&rsquo;s said that at his mother&rsquo;s funeral &mdash; he worshipped her &mdash; he broke his dreadful silence and burst into a full-voiced Por siguiriyas. A Jerez gypsy, he was determined to become a dancer before he joined a tablao in Seville. He was a very irregular singer, relying above all on the inspiration of the moment. His brother-in-law Manuel Morao would say that, &ldquo;I believe it was all instinctive. He carried it inside him; he had it in his blood, he had it in his soul, and he bore it inside his heart. He was a man who didn&rsquo;t know how to do anything except dance.&rdquo; [&laquo;Yo creo que era todo intuitivo. Lo tenia todo dentro, lo tenia en la sangre, lo tenia en el alma, lo tenia en el corazon. Era un hombre que no sirvio mas que para cantar.&raquo;] Born on March 17th 1930 he recorded a first EP in 1956 but didn&rsquo;t return to a studio until 1963. </span></p><span class=Texte>  </span><p class=MsoNormal><strong><span class=Texte>Fosforito (Antonio Fernandez Diaz)</span></strong></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Born in Cordoba on August 3rd 1932, he was the fifth male in a humble family of eight children. One of his uncles was a renowned singer. In 1956, at the age of 23, while still convalescing after surgery &mdash; a serious stomach operation which had forced him to stop singing and take up the guitar &mdash; he was awarded First Prize in each Cante category in competition at Cordoba, a unique achievement in flamenco history. In 1999 he made a magnificent record accompanied by Paco de Lucía.</span></p><span class=Texte>  </span><p align=\right class=MsoNormal><span class=Soustitre>Adapted by Martin Davies <br />from the French text of Philippe Lesage</span></p><span class=Texte> </span><span class=Texte>  </span><p align=\right class=MsoNormal><span class=Texte>&copy; 2014 Fr&eacute;meaux &amp; Associ&eacute;s</span></p><span class=Texte>  </span><p align=\right class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte> </span><span class=Texte>  </span><p align=\right class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Thanks to photographer Ren&eacute; Robert for the loan of the record made by Alan Lomax, and to Alexis Frankel who is also a flamenco guitarist and whose advice was precious.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Glossary </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>A few terms which constantly appear in references to flamenco are:</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bailaor: a male flamenco dancer</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cantaor: a male flamenco singer</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Tocaor: a male flamenco guitarist</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Palmero: a musician providing rhythm by clapping his palms together. According to David Fauquemberg in &ldquo;Manuel El Negro&rdquo;, &ldquo;A good palmero enhances the dish; he helps the singer to bring out what he must, puts him back on track, and steps back when he falls silent.&rdquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cante: a word reserved for flamenco as, in Spanish, the term canto is used for all songs that are not flamenco. To quote David Fauquemberg again in his novel &ldquo;Manuel El Negro&rdquo;: &ldquo;A whole world separates the alegria from the tarento. Each &lsquo;palo&rsquo; expresses a distinct emotion. Take it away, and nothing remains.&rdquo; The great singer Antonio Mairena, who was also a musicologist, said that, &ldquo;We are convinced that defining the cante is impossible. Its inspiration is not aesthetic, nor does it seek facility; and its aim is not to amuse.&rdquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cante Jondo: deep song; force of expression born of the most intimate of emotions. The term is applied to cantes with ancient resonances. Luiz Lopez Ruiz, in his book entitled &ldquo;Guide du Flamenco&rdquo;, points out that, &ldquo;The Cante is the art of the oppressed and minorities. In the &lsquo;Cante Jondo,&rsquo; the expression derives solely from a passion that is personal.&rdquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Compás: a measure of one musical phrase which takes account of the rhythm and the guitar.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Duende: &ldquo;Duende is a power and not an act. It is a struggle, not a thought.&rdquo; (Garcia Lorca). It is an inspirational state close to trance.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Falsetas: flamenco guitar solos.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Jaleo: various manifestations of encouragement given to performers.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Palo: a type of cante .</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Afilla: a hoarse-sounding voice, no doubt the ideal voice for a flamenco singer. It is well-represented here by Manolo Caracol and Terremoto.</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>Bibliography</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Luis Lopez Ruiz: &ldquo;Guide du Flamenco&rdquo;, (L&rsquo;Harmattan)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bernard Leblon: &ldquo;Flamenco&rdquo; (Cit&eacute; de la Musique -Actes Sud)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Cl&eacute;ment L&eacute;pidis: &ldquo;L&rsquo;or du Guadalquivir&rdquo; (novel, Editions du Seuil)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Francis Marmande: &ldquo;Rocío&rdquo; (Verdier)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>David Fauquemberg: &ldquo;Manuel El Negro&rdquo; (novel, Fayard)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Soustitre2>CD1</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>1 - MEDIAS GRANAINAS Y GRANAINAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;o de Almaden&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Antologia del Cante Flamenco / Hispavox, 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>2 - A MI MARE ABANDONE &nbsp;&nbsp; <br />(E. Duran &laquo;&thinsp;El Gitano Poeta&thinsp;&raquo;) (Tangos y Tientos)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;a de los Peines&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>La Voz de su Amo&nbsp;: 7 EPL 13 314&thinsp;; 1950 avec r&eacute;&eacute;dition en 1959</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>3 - MI PUEDEN MANDAR (Popular) (La Cana)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol, guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Historia del Cante Flamenco </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH &ndash; 10-23&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>4 - EL RENIEGO (Popular) (Siguiriyas)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Historia del Cante Flamenco </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH &ndash; 10-23&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>5 - SOY PIEDRA Y PERDI MI CENTRO  <br />(E. Duran &laquo;&thinsp;el Gitano Poeta&thinsp;&raquo;) (Soleares de la Serneta)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;a de los Peines&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>La Voz de su Amo&nbsp;: 7 EPL 13 314&thinsp;; 1950 avec r&eacute;&eacute;dition en 1959</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>6 - SIEMPRE ESTOY SO&Ntilde;ANDO ( Monge) (Siguiriyas)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Terremoto de Jerez&thinsp;; guitare&nbsp;: Manoel Moreno (aka Manuel Morao)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Philips EP 421 213, 1956</span></p><p class=MsoNormal><span class=Texte><br /></span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>7 - SOLEARES (Castillo)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Sabicas&nbsp;: guitare solo</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>LP Fiesta Flamenca, RCA A 130 234, 1961</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>8 - MALAGUE&Ntilde;A (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Collectage &agrave; S&eacute;ville par Alan Lomax</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Westminster W &ndash; 9804, 1952/ 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>9 - EN EL CALABOZO (Popular) (Martinetes)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol&thinsp;; Guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Historia del Cante Flamenco </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH &ndash; 10-23&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>10 - TOITA AGUA DEL MAR &nbsp; <br />(Antonio Fernandez) (Alegrias) </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Fosforito, guitare&nbsp;: Vargas Araceli</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>EP Philips 421 204&thinsp;; 1957</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp; </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>11- BULERIAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Juana Morales et Carbonero and friends</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Collectage &agrave; S&eacute;ville par Alan Lomax</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Westminster W &ndash; 9804, 1952/ 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp; </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>12 - NO QUIERO NA CONTIGO (Popular) (Bulerias)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Una Historia del Cante Flamenco </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH &ndash; 10-24&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>13 - RECUERDO A CARMEN AMAYA &nbsp;&nbsp;&nbsp; <br />(Castillo) (Garrotín)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Sabicas&nbsp;: guitare solo</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Discos Pizarra&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>14 - GARROTÍN (Amaya &ndash; Sabicas)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Carmen Amaya et sa compagnie</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Enregistr&eacute; par Decca &agrave; New York</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Polydor 20976 EP &ndash; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>15 - FANDANGO DE HUELVA (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>R. Montoya aka Jarrito, guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Antologia del Cante Flamenco / Hispavox,1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>16 - ANTES DE LLEGAR A TU PUERTA &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />(Popular) (Fandangos de Huelva) </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol, guitare&nbsp;: Mel-chor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Una historia del cante popular, Hispavox HH &ndash; 10-23, 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>17 - QUE DEL NIO LA COGI (Popular) (Fandangos)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol, guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Historia del Cante Flamenco </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH &ndash; 10-23&thinsp;; 1958I</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>18 - CUANDO TE VAYAS CONMIGO &nbsp;&nbsp;&nbsp;&nbsp; <br />(Popular) (Alegrias)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Una historia del cante popular, Hispavox HH &ndash; 10-23, 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>19 - TONAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Rafael Romero&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Antologia del Cante Flamenco / Hispavox, 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>20 - MARTINETES (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Rafael Romero&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Antologia del Cante Flamenco / Hispavox, 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><p align=center class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p align=center class=MsoNormal><span class=Soustitre2>CD2</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>1 - GYPSY DANCE (Popular) (Sevillanas)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Pastora Amaya and Friends</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Westminster W &ndash; 9804&thinsp;; 1952/ 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>2 - BULERIAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Roque Montoya aka Jarrito&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>3 - EN LA PUERTA CON TU MADRE (Monje) (Bulerias)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Terremoto de Jerez&thinsp;; guitare&nbsp;: Manoel Moreno aka Manuel Morao</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Philips 421 213 EP&thinsp;; 1956</span></p><p class=MsoNormal><span class=Texte><br /></span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>4 - SE LA LLEVO DIOS &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />(Popular) (Malague&ntilde;as de En-ri-que El Mellizo)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Una Historia Del Cante Flamenco&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH 10 &ndash; 24&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>5 - MALAGUE&Ntilde;AS (Popular) Ni&ntilde;o de Almaden</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>6 - AL CIELO QUE ES MI MORADA &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /></span> <span class=Texte>(Callejon, Torres y Molina Moles) (Fandangos de Huelva)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;a de los peines&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>La Voz de Su Amo &ndash; 7 EPL 13.314 &ndash; 1950&thinsp;; &laquo;&thinsp;recons-truccion1959&thinsp;&raquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>7 - A QUE NEGAR EL DELIRIO &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />(Montes Y Torres) (Malague&ntilde;a)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;a de los peines&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>La Voz de Su Amo &ndash; 7 EPL 13.314 &ndash; 1950&thinsp;; &laquo;&thinsp;recons-truccion1959&thinsp;&raquo;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>8 - GITANERIA ARABESCA (Ricardo) (Granainas)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;o Ricardo&nbsp;: guitare solo</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Le Chant du Monde, 1955</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>9 - SAETAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Roque Montoya aka Jarrito (2 et 4) et Lolita Triana (1 et 3) y Banda de cornetas y tambores</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>10 - RIPE GRAPES (Popular) (Street cries)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Collectage d&rsquo;Alan Lomax &agrave; Seville</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Westminster W &ndash; 9804&thinsp;; 1952/1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>11- DEBAJITO DEL PUENTE (Popular) (Tientos)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Manolo Caracol&thinsp;; guitare&nbsp;: Melchor de Marchena</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Una Historia del Cante Flamenco </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox HH 10 &ndash; 24&thinsp;; 1958</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>12 - TIENTOS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Ni&ntilde;o de Almaden&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>13 - VERDIALES (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bernardo el de los Lobitos&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><p class=MsoNormal><span class=Texte><br /></span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>14 - SEVILLANAS CORREALES (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bernardo el de los Lobitos&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>15 - ALEGRIAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Pericon de Cadiz&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>16 - SOLEARES (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Pepe el de la Matrona&thinsp;; guitare&nbsp;:Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>17 - CANTES DE TRILLA (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bernardo el de los Lobitos&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>18 - PETENERAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Rafael Romero&thinsp;; guitare&nbsp;: Perico el de lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>19 - NANAS (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Bernardo el de los Lobitos&thinsp;; guitare&nbsp;: Perico el del lunar</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Hispavox 40 3011 3&thinsp;; 1954I</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>20 - GYPSY LULLABYE (Popular)</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Pastora Amaya</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Collectage &agrave; S&eacute;ville par Alan Lomax</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Westminster W 9804&thinsp;; 1952/1958 </span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>Musique populaire au sens noble du terme, le flamenco est issu du brassage culturel de l&rsquo;Andalousie. Cette anthologie d&eacute;montre qu&rsquo;il est bien l&rsquo;expression d&rsquo;une tradition collective dont l&rsquo;id&eacute;al a &eacute;t&eacute; sublim&eacute; par des chanteurs comme Manolo Caracol, Terremoto de Jerez ou Ni&ntilde;a de los Peines et des guitaristes comme Melchor de Marchena ou Sabicas. L&rsquo;Espagne, dans toute sa richesse arabo-jud&eacute;o-chr&eacute;tienne et gitane, affirme ici son statut de pr&eacute;curseur dans la world music.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><span class=Soustitre>Philippe Lesage</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>As &ldquo;popular music&rdquo; in the noble sense, flamenco was born out of the cultural mix which developed in Andalusia. This anthology shows that flamenco is indeed the expression of a collective tradition whose ideal was sublimated by such singers as Manolo Caracol, Terremoto de Jerez or Ni&ntilde;a de Los Peines, and guitarists like Melchor de Marchena or Sabicas. Here, the full musical richness of Spain &mdash; Arab, Judaeo-Christian and gypsy &mdash; affirms its status as a World Music precursor. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</span><span class=Soustitre> Philippe LESAGE</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>CD 1</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;1. MEDIAS GRANAINAS Y GRANAINAS (Ni&ntilde;o de Almaden)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;13</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;2. A MI MARE ABANDONE (Ni&ntilde;a de los Peines)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;56</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;3. ME PUEDEM MANDAR (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;37</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;4. EL RENIEGO (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&rsquo;03</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;5. SOY PIEDRA Y PERDI MI CENTRO (Ni&ntilde;a de los Peines)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;45</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;6. SIEMPRE ESTOY SO&Ntilde;ANDO (Terremoto de Jerez) 6&rsquo;30</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;7. SOLEARES (Sabicas)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;05</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;8. MALAGUE&Ntilde;A (S&eacute;villans inconnus)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;30</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;9. EN EL CALABOZO (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp; 1&rsquo;44</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>10. TOITA AGUA DEL MAR (Fosforito)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;28</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>11. BULERIAS (Juana Morales)&nbsp; 3&rsquo;04</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>12. NO QUIERO NA CONTIGO (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;47</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>13. RECUERDO A CARMEN AMAYA (Sabicas)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;01</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>14. GARROTIN (Carmen Amaya)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&rsquo;26</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>15. FANDANGOS DE HUELVA (Roque Montoya / Jarrito)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;50</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>16. ANTES DE LLEGAR A TU PUERTA (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;23</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>17. QUE DEL NIO LA COGI (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;15</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>18. CUANDO DE VAYAS CONMIGO (Manolo Caracol)&nbsp; 2&rsquo;20</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>19. TONÁS (Rafael Romero)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 1&rsquo;29</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>20. MARTINETES (Rafael Romero)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;53</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&nbsp;</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Soustitre>CD2</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;1. GYPSY DANCE (Pastora Amaya and friends)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;15</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;2. BULERIAS (Roque Montoya / Jarrito)&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;21</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;3. EN LA PUERTA CON TU MADRE (Terremoto de Jerez)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;57</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;4. SE LA LLEVO DIOS (Manolo Caracol)&nbsp;&nbsp;&nbsp; 3&rsquo;56</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;5. MALAGUE&Ntilde;AS (Ni&ntilde;o de Almaden)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&rsquo;37</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;6. AL CIELO QUE ES MI MORADA (Ni&ntilde;a de los Peines)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;49</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;7. A QUE NEGAR EL DELIRIO (Ni&ntilde;a de los Peines)&nbsp;&nbsp; 2&rsquo;52</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;8. GITANERIA ARABESCA (Ni&ntilde;o Ricardo) 3&rsquo;02</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>&#8199;9. SAETAS (Lolita Triana et Roque Montoya / Jarrito)&nbsp;&nbsp; 9&rsquo;02</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>10. RIPE GRAPES (Street Cries of Seville)&nbsp;&nbsp; 1&rsquo;03</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>11. DEBAJITO DEL PUENTE (Manolo Caracol)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;21</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>12. TIENTOS (Ni&ntilde;o de Almaden) 3&rsquo;57</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>13. VERDIALES (Bernardo el de los Lobitos) 3&rsquo;01</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>14. SEVILLANAS CORREALES (Bernardo el de los Lobitos)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;56</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>15. ALEGRIAS (Pericon de Cadiz)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;54</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>16. SOLEARES (Pepe de la Matrona)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;23</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>17. CANTES DE TRILLA (Bernardo el de los Lobitos)&nbsp;&nbsp;&nbsp; 1&rsquo;37</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>18. PETENERA (Rafael Romero) 3&rsquo;33</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>19. NANAS (Bernardo el de los Lobitos)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;26</span></p><span class=Texte>  </span><p class=MsoNormal><span class=Texte>20. GYPSY LULLABYE (Pastora Amaya)&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;09</span></p><span class=Texte>  </span>"
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      "description" => "<p>“Mi Camino con el Flamenco” is the third Raphaël Faÿs album dedicated to Andalusian music. It includes an astounding typology of flamenco dances and music (bulerias, rumbas, fandangos…). In fact he is the only great flamenco specialist playing with a pick; the expressiveness of his style mixes learned, balanced ornamentation and rare melodic tuning. Raphaël Faÿs brings his signature to this music and once more puts forward his tremendous Gypsy Swing and Classical legacy as well as its four principles, which are: virtuosity, rigor, emotion and generosity. Augustin BONDOUX / Patrick FRÉMEAUX</p><br><br><p></p>"
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      "dwf_livret" => "<h3>FA8570 FAYS - Camino com el Flamenco</h3><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Rapha&euml;l</span></p><p align=justify /><p align=justify><span class=Soustitre2>FAYS</span><br /><span class=Soustitre2>mi camino </span><br /><span class=Soustitre2>con el flamenco</span><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><span class=Texte>Mi Camino Con El Flamenco est, apr&egrave;s Andalucia (2006) et Extremadura (2009), le troisi&egrave;me opus int&eacute;gralement consacr&eacute; par Rapha&euml;l Fa&yuml;s au flamenco. </span><br /><span class=Texte>Rapha&euml;l Fa&yuml;s est homme de passion. Depuis 1987 et sa rencontre avec Paco de Lucia, il se consacre cordes et &acirc;me &agrave; tracer son sillon dans une tradition musicale particuli&egrave;rement exigeante et marqu&eacute;e de l&rsquo;empreinte de personnalit&eacute;s hors du commun. Il ne s&rsquo;en cache pas, outre Paco de Lucia, ses ma&icirc;tres sont Ramon Montoya, Nino de Ricardo et Sabicas. Mais soucieux d&rsquo;apporter humblement sa pierre &agrave; un &eacute;difice en constante mutation et plut&ocirc;t que de jouer les suiveurs ou les imitateurs, il a d&eacute;velopp&eacute; une approche personnelle et originale du sujet. D&rsquo;aucuns diraient un style.</span><br /><span class=Texte>Ce style op&egrave;re le syncr&eacute;tisme de trois caract&eacute;ristiques pr&eacute;dominantes dans la musique de Fa&yuml;s : la richesse m&eacute;lodique des compositions, une technique instrumentale irr&eacute;prochable marqu&eacute;e du sceau de l&rsquo;exp&eacute;rience et h&eacute;rit&eacute;e d&rsquo;une pratique intensive, l&rsquo;expressivit&eacute; d&rsquo;un jeu o&ugrave; rien n&rsquo;est dit qui ne soit primordial et suffisant &agrave; l&rsquo;ornementation du discours. Cette marque de fabrique exigeante qu&rsquo;il d&eacute;veloppe depuis bient&ocirc;t un quart de si&egrave;cle, Rapha&euml;l Fa&yuml;s l&rsquo;aura &eacute;labor&eacute; presque en secret. En 1989, dans la seconde partie de son album Voyages, il exposait le r&eacute;sultat de ses premi&egrave;res incursions dans le domaine de la musique gitane andalouse avec beaucoup de spontan&eacute;it&eacute;, d&rsquo;&eacute;nergie et d&rsquo;autorit&eacute; (Palma de Mallorca, Hispanic, Hommage &agrave; Paco de Lucia/Entre dos Aguas* et Buleria*). Deux ans plus tard il renouvelait l&rsquo;exp&eacute;rience plus discr&egrave;tement dans l&rsquo;album Gypsy Touch (Los Arcos*, Impression Andalouse, Canela).</span><br /><span class=Texte>* Ayant m&ucirc;ris sa pratique et sa r&eacute;flexion, Fa&yuml;s sera amen&eacute; &agrave; proposer de nouvelles versions de certains de ces titres : Hommage &agrave; Paco de Lucia/Entre dos Aguas* dans le pr&eacute;sent album, Los Arcos* dans Andalucia, [Primera]Buleria* dans Extremadura).</span><br /><span class=Texte>&Agrave; la fin des ann&eacute;es 80, Rapha&euml;l Fa&yuml;s est un artiste consacr&eacute;, certes, mais professionnellement sous influence. Encourag&eacute; jusqu&rsquo;&agrave; l&rsquo;exc&egrave;s par son entourage professionnel &agrave; &oelig;uvrer plus syst&eacute;matiquement voire plus exclusivement dans le style qui a fait sa gloire, celui de Django Reinhardt, Rapha&euml;l Fa&yuml;s est pris au pi&egrave;ge de la notori&eacute;t&eacute; et de la g&eacute;n&eacute;rosit&eacute;. Il nourrit pourtant des pr&eacute;occupations bien plus nobles que celles consistant &agrave; g&eacute;rer une image, assurer un fond de commerce, entretenir une carri&egrave;re, engranger troph&eacute;es et satisfecit. Ce costume de premier h&eacute;ros de la cause Reinhardtienne il n&rsquo;en veut plus et l&rsquo;abandonne volontiers et sans regret &agrave; tous ceux qui s&rsquo;estiment z&eacute;lateurs l&eacute;gitimes. Non pas qu&rsquo;il ne r&eacute;ponde plus aux sollicitations dans les grandes occasions comme en 2010 la c&eacute;l&eacute;bration du Centi&egrave;me Anniversaire de la naissance de Django, mais aux conditions d&rsquo;exigences artistiques et morales qui sont les siennes&hellip; comme le professe l&rsquo;adage &laquo; avec parcimonie et &agrave; bon escient &raquo;.</span><br /><span class=Texte>Rapha&euml;l Fa&yuml;s a-t-il le sentiment, &agrave; cette &eacute;poque, de ne pas &ecirc;tre totalement pr&ecirc;t &agrave; se consacrer plus exclusivement au flamenco ? Toujours est-il qu&rsquo;il se passera sept ann&eacute;es avant qu&rsquo;il estime enfin r&eacute;unies toutes les conditions lui permettant de retourner en studio avec ce r&eacute;pertoire. Dans cet intervalle il consacre majoritairement ses s&eacute;ances d&rsquo;enregistrements &agrave; la musique classique (1994, 1998). &nbsp;</span><br /><span class=Texte>Que ce soit, initi&eacute; par son p&egrave;re Louis, dans l&rsquo;aventure Django, puis dans celle de la guitare classique, avec tout ce que cela exige de rigueur et d&rsquo;intransigeance, il y a toujours dans la d&eacute;marche de Rapha&euml;l Fa&yuml;s le souci de repartir &agrave; z&eacute;ro, de tout oublier pour mieux r&eacute;apprendre. Comme une obligation de renaissance, la volont&eacute; de renouer avec une certaine innocence. Cette obsession du travail bien fait, cette modestie quasi-maladive &agrave; se consid&eacute;rer comme un &eacute;ternel apprenti, caract&eacute;risent l&rsquo;homme Rapha&euml;l Fa&yuml;s. Cette philosophie toute personnelle de l&rsquo;exigence et le rapport amoureux qu&rsquo;il entretient avec la guitare acoustique, l&rsquo;ont conduit &agrave; un degr&eacute; de perfection et de pl&eacute;nitude dans tous les domaines musicaux qu&rsquo;il aura abord&eacute;s &agrave; ce jour.</span><br /></p><p align=justify><span class=Soustitre2>Rapha&euml;l</span><span class=Soustitre2> FAYS</span><br /></p><p align=justify><span class=Soustitre2>mi camino con el flamenco</span><br /></p><p align=justify><br /></p><p align=justify><span class=Texte>Coming in the wake of Andalucia (2006) and Extremadura (2009), Mi Camino Con El Flamenco is Raphael Fays&rsquo; third opus entirely devoted to flamenco. </span><br /><span class=Texte>Raphael Fays is a passionate man. Since 1987, the year of his encounter with Paco de Lucia, he has been devoting all his time and energy to carving out a path for himself in a particularly demanding musical tradition marked by the heritage of various unusual personalities. He makes no mystery of his principal influences outside Paco de Lucia &ndash; they are Ramon Montoya, Nino de Ricardo and Sabicas. But he also wants to bring his own modest contribution to an edifice undergoing constant change, and rather than play at being a follower or an imitator, he&rsquo;s developed his own individual approach to the subject. Some would call it his style.</span><br /><span class=Texte>This style reconciles the three main traits of Fays&rsquo; music &ndash; the melodic richness of each composition, his impeccable instrumental technique, the hallmark of his long experience and intensive practice, and the expressive quality of his playing where only the essential comes through, just enough to add a certain flourish to the principal discourse. These are the trademarks of a style Raphael Fays been developing almost secretly for nearly a quarter of a century now. In 1989, in the second part of his album Voyages, he revealed the result of his first incursions into the field of Andalusian gypsy music with a great deal of spontaneity, energy and authority (&lsquo;Palma de Mallorca&rsquo;, &lsquo;Hispanic&rsquo;, &lsquo;Hommage to Paco Lucia&rsquo;/ &lsquo;Entre dos Aguas* and Buleria&rsquo;*). Two years later he renewed the experience, more discreetly this time, in his album Gypsy Touch (&lsquo;Los Arcos&rsquo;*, &lsquo;Impression Andalouse&rsquo;, Canela&rsquo;).</span><br /><span class=Texte>* After much thought and repeated playing of some pieces, Fays decided to propose new versions of certain titles: &lsquo;Hommage &agrave; Paco de Lucia&rsquo;/&rsquo;Entre dos Aguas&rsquo;* in the present album, &lsquo;Los Arcos&rsquo;* in Andalucia, [Primera]&rsquo;Buleria&rsquo;* in Extremadura).</span><br /><span class=Texte>By the end of the 80s, Raphael Fays was a recognised artist but professionally speaking, was still being strongly influenced by fellow musicians and others in the profession urging him to work more systematically or even exclusively in the style that had earned him his reputation, i.e. that of Django Reinhardt; so much so that he found himself caught in a trap, wedged between fame and his generosity of spirit. Yet his own aims were actually much nobler than any that might help to keep his image, ensure a steady income, maintain a career, or bring in the appropriate rewards and awards to satisfy everyone. This &ldquo;heroic&rdquo; role as the first to defend the Reinhardt cause became anathema to him, and he abandoned it easily, without any regrets, leaving it to all those who considered themselves legitimate champions. But this has never prevented him from responding to solicitations for special occasions such as the celebrations for the 100th anniversary of Django&rsquo;s birth in 2010, providing they&rsquo;re on his own demanding artistic and moral terms&hellip; or as the old saying goes: &ldquo;sparingly and advisedly&rdquo;.</span><br /><span class=Texte>Did Raphael Fays feel at this time he just wasn&rsquo;t totally ready to devote himself entirely to the cause of flamenco? Who knows? Seven years went by before he considered all the conditions were there that would enable him to go back into the studio with that repertoire. He used that interval mainly for his recordings of classical music in 1994 and 1998.</span><br /><span class=Texte>Whether it be in the Django adventure begun by his father, Louis, then that of classical guitar with all that implies and requires in terms of intellectual rigour and unwillingness to compromise, Raphael Fays&rsquo; approach always has some element of desire in it to start again from nothing, forget everything in order to learn afresh all the better. Like a compulsory personal renaissance, this would inevitably lead to a return to a state of innocence. Such obsessive desire for properly accomplished work, his almost neurotic modesty whereby he always thinks of himself as an eternal apprentice are both typical of Raphael Fays the man. His highly individual philosophy, his demanding nature and the love-like relationship he entertains with the acoustic guitar have led to a degree of perfection and plenitude in every single musical field he&rsquo;s tackled up till now. &nbsp;</span><br /><span class=Texte>Toutes compositions Rapha&euml;l Fa&yuml;s, sauf 3 &amp; 7 Paco de Lucia</span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Rapha&euml;l Fa&yuml;s&nbsp;&nbsp; &nbsp;guitare solo / guitarra flamenca</strong></span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Tito&nbsp;&nbsp; &nbsp;guitare / guitarra flamenca</strong></span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Claude Mouton&nbsp;&nbsp; &nbsp;contrebasse / contrebajo </strong></span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Laurent Zeller&nbsp;&nbsp; &nbsp;violon / violin </strong></span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Jos&eacute; Palomo&nbsp;&nbsp; &nbsp;percussions / percusiones </strong></span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Manuel Gutierrez&nbsp;&nbsp; &nbsp;danse / baile </strong></span><br /><span class=Texte><strong>&nbsp;&nbsp; &nbsp;Alejandro Gimenez&nbsp;&nbsp; &nbsp;chant / canto</strong></span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;St&eacute;phanie Charmoy&nbsp;&nbsp; &nbsp;violoncelle / violoncelo (10)</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Arrangements&nbsp;&nbsp; &nbsp;Rapha&euml;l Fa&yuml;s</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Arrangements percussions et palmas&nbsp;&nbsp; &nbsp;Jos&eacute; Palomo</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Arrangements cordes&nbsp;&nbsp; &nbsp;Claude Mouton (10)</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Producteur &amp; directeur artistique&nbsp;&nbsp; &nbsp;Rapha&euml;l Fa&yuml;s </span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Photos&nbsp;&nbsp; &nbsp;Francis Vernhet</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Texte&nbsp;&nbsp; &nbsp;Maurice Bernard </span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;Traduction&nbsp;&nbsp; &nbsp;Delia Morris</span><br /><span class=Source>Enregistr&eacute; en septembre 2010 au studio Mesa Charles Frossard &agrave; Soignolles en Brie 77111</span><br /><span class=Source>Rapha&euml;l Fa&yuml;s joue sur une guitare Flamenca Maurice Dupont, luthier &agrave; Cognac 16100 </span><br /><span class=Source>et sur des cordes Savarez</span><br /><span class=Source>Merci &agrave; : Rosario Rivera, danseuse (photo), St&eacute;phanie Charmoy, Patricia</span><br /><span class=Source>C&eacute;line B. C&eacute;line G. &amp; Fr&eacute;d&eacute;rique D. du label Le Chant du Monde </span><br /><span class=Source>&amp; Alain Raemackers pour son aide et sa collaboration </span><br /><span class=Source>Contact sc&egrave;ne : Patricia Bri&egrave;re - t&eacute;l. 06 12 11 96 59 -&nbsp; 06 07 82 65 47</span><br /><span class=Source>mail : patriciascalla@orange.fr</span><br /><span class=Source>Management : Lorelei Production</span><br /><span class=Source>Fabrication et distribution : Fr&eacute;meaux &amp; Associ&eacute;s - info@fremeaux.com P Rapha&euml;l Fa&yuml;s 2011 &copy; Fr&eacute;meaux &amp; Associ&eacute;s sous licence exclusive Rapha&euml;l Fa&yuml;s 2019</span><br /><span class=Source>www.raphaelfays.com - preprod.fremeaux.com - www.lorelei-production.com</span><br /></p><p align=justify><span class=Texte>&laquo;&thinsp;Mi Camino con el Flamenco&thinsp;&raquo; est le troisi&egrave;me album que Rapha&euml;l Fa&yuml;s a consacr&eacute; &agrave; la musique andalouse. Il y dresse une formidable typologie des danses et musiques flamencas (bul&eacute;rias, rumbas, fandangos&hellip;). C&rsquo;est d&rsquo;ailleurs le seul grand sp&eacute;cialiste &agrave; jouer du flamenco au m&eacute;diator&thinsp;; l&rsquo;expressivit&eacute; de son jeu m&ecirc;le savant &eacute;quilibre ornemental et rare justesse m&eacute;lodique. Rapha&euml;l Fa&yuml;s apporte sa signature &agrave; cette musique en mettant une nouvelle fois en exergue son h&eacute;ritage manouche et classique, et ses quatre cr&eacute;dos musicaux : virtuosit&eacute;, rigueur, &eacute;motion et g&eacute;n&eacute;rosit&eacute;. &nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Texte>Augustin Bondoux / Patrick Fr&eacute;meaux</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>&ldquo;Mi Camino con el Flamenco&rdquo; is the third Rapha&euml;l Fa&yuml;s album dedicated to Andalusian music. It includes an astounding typology of flamenco dances and music (bulerias, rumbas, fandangos&hellip;). In fact he is the only great flamenco specialist playing with a pick; the expressiveness of his style mixes learned, balanced ornamentation and rare melodic tuning. Rapha&euml;l Fa&yuml;s brings his signature to this music and once more puts forward his tremendous Gypsy Swing and Classical legacy as well as its four principles, which are: virtuosity, rigor, emotion and generosity. &nbsp;</span></p><p align=justify><span class=Texte>Augustin Bondoux</span><br /><span class=Texte>Patrick Fr&eacute;meaux</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;1&nbsp;&nbsp;&nbsp; MI CAMINO CON EL FLAMENCO (Bul&eacute;rias) 4&rsquo;41</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;2&nbsp;&nbsp; &nbsp;VIEJO PUEBLO (Tanguillos) 3&rsquo;52</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;3&nbsp;&nbsp; &nbsp;A MI PADRE (Grana&iuml;na) 6&rsquo;55</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;4&nbsp;&nbsp; &nbsp;RIO ANCHO (Rumba) 4&rsquo;15</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;5&nbsp;&nbsp;&nbsp; LUNA DE FUEGO Hommage &agrave; Grenade (Zambra) 9&rsquo;24</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;6&nbsp;&nbsp; &nbsp;ACUARELA (Farruca) 4&rsquo;42</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;7&nbsp;&nbsp; &nbsp;ENTRE DOS AGUAS (Rumba) 3&rsquo;40</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;8&nbsp;&nbsp; &nbsp;PARA MI COMPADRES (Fandangos) 4&rsquo;29</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;9&nbsp;&nbsp; &nbsp;MAESTRO PACO (Al&eacute;grias) 7&rsquo;21</span><br /><span class=Texte>&nbsp;&nbsp; &nbsp;10&nbsp;&nbsp; &nbsp;FANTASIA ROMANTICA (Romanza) 7&rsquo;42</span><br /></p>"
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      "description" => "<p>Initially released in 2015, the triple album Circulo de la noche was a fundamental corpus: it took four years for Raphaël Faÿs to study the depths of this music’s soul before he could define the basic currents that flow through the artistic expressions in this recording. Here he would recount all the diversity that lies in this material, and brilliantly add his own artistic touches, which you hear notably in the special way he attacks the strings using a pick, but also in the instrumentation, with a choice that varies in geometry and links solo passages with others that are orchestral. In paying tribute to his friend Paco de Lucia, he became part of the same approach that adds value to a national heritage. Raphaël Faÿs has also explored gypsy swing and classical music, and belongs to the great contemporary guitarists; here he provides the most wonderfully absorbing display of his vocation, which is to convey emotions. Augustin BONDOUX et Patrick FRÉMEAUX</p><br><br><p></p>"
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      "dwf_livret" => "<h3>Circulo de la noche FA8566</h3><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Rapha&euml;l Fa&yuml;s <br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Circulo de la noche<br /></span></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Circulo de la noche &ldquo;&thinsp;Cercle de la nuit&thinsp;&rdquo;<br />D&eacute;di&eacute; &agrave; la m&eacute;moire de Paco de Lucia<br /></span><span class=Texte><br />Apr&egrave;s Andalucia, Extremadura, Mi Camino con el flamenco, voici en trois volumes Circulo de la noche. C&rsquo;est en 2010 et 2011 que je d&eacute;cide de m&rsquo;atteler &agrave; ce projet qui demande une &eacute;norme volont&eacute;. Mais comme ma passion pour le flamenco d&eacute;borde de recherche, je vais gr&acirc;ce &agrave; elle cr&eacute;er ma propre musique, musique ib&eacute;rique, ib&eacute;rique espagnole flamenco, enfin comme vous le voudrez. Il est certain qu&rsquo;un jour &agrave; la t&eacute;l&eacute;vision, quand j&rsquo;ai vu Paco de Lucia jouer, cela a chang&eacute; ma vie. Bien s&ucirc;r l&rsquo;&eacute;tude de la guitare jazz avec mon p&egrave;re me donna une grande connaissance du ma&icirc;tre extraordinaire qu&rsquo;&eacute;tait Django Reinhardt.<br />Mais ce qui a d&eacute;velopp&eacute; chez moi cette v&eacute;ritable passion pour la guitare, c&rsquo;est la d&eacute;couverte de trois styles : Django, les ma&icirc;tres de la guitare classique, puis le flamenco avec Paco. J&rsquo;ai pass&eacute; toute ma vie &agrave; travailler sans rel&acirc;che et aujourd&rsquo;hui, je vous livre ces trois enregistrements qui sont une grande histoire d&rsquo;amour d&rsquo;un homme passionn&eacute; de guitare. J&rsquo;ai aussi cr&eacute;&eacute; ma propre technique au m&eacute;diator, plectre ou &ldquo;poua&rdquo; en espagnol.<br />Étant le seul &agrave; jouer de cette fa&ccedil;on le flamenco, j&rsquo;ai su trouver mes couleurs, mon timbre, mes attaques, etc&hellip; Bref une fa&ccedil;on tr&egrave;s personnelle de le jouer et reconnaissable entre toutes, car bien s&ucirc;r, le plus difficile est de trouver son propre style.<br />J&rsquo;ai aussi beaucoup &eacute;cout&eacute; l&rsquo;ancien flamenco &ldquo;l&rsquo;antigo&rdquo; des guitaristes comme Sabicas, ou encore Nino Ricardo que j&rsquo;admire &eacute;norm&eacute;ment. Puis, &ldquo;le cant&eacute;&rdquo;, le chant Antonio Mairena, Beni de Cadiz, la Nina de Los Pen&egrave;s et bien entendu Camaron de la Isla.<br />Aussi, je ne suis pas l&agrave; pour apprendre cette musique, mais bien pour la partager avec vous. Nous sommes bien dans une histoire de passion, rien d&rsquo;autre.<br />Promenez-vous le soir en Andalousie, si un jour l&rsquo;occasion se pr&eacute;sente &agrave; vous et vous comprendrez certainement&hellip;</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Anecdote</span><span class=Texte><br />J&rsquo;ai fait la connaissance de Paco de Lucia en 1987 &agrave; l&rsquo;&eacute;poque de son album Sirocco. Des amis me l&rsquo;ont pr&eacute;sent&eacute; et m&rsquo;ont demand&eacute; de jouer pour lui. Tr&egrave;s vite nous sommes devenus amis. Paco aimait ma fa&ccedil;on d&rsquo;improviser. Nous avons pass&eacute; de tr&egrave;s bons moments ensemble lors de ses passages au restaurant Casa P&eacute;p&eacute; &agrave; Paris. Je l&rsquo;ai suivi sur plusieurs concerts, j&rsquo;avais beaucoup d&rsquo;admiration et de gratitude pour lui, car il &eacute;tait d&rsquo;une grande gentillesse et toujours tr&egrave;s accueillant. Paco, un homme qui avait de la classe &agrave; la guitare et dans la vie.<br />Mais au cours de l&rsquo;enregistrement du volume 2 en f&eacute;vrier 2014, j&rsquo;apprends son d&eacute;c&egrave;s. Pour moi cette nouvelle est terrifiante et abominable. Je sombre alors comme un navire au fond des ab&icirc;mes, ab&icirc;mes d&rsquo;un oc&eacute;an o&ugrave; je suis seul, oui seul. Pourquoi ? Parce que mon navire n&rsquo;a plus de direction. La tristesse est rude&hellip; Je suis mal.<br />Pourtant je dois continuer cette trilogie. Il y a encore le volume 3 et pour me donner du courage, je d&eacute;cide de lui d&eacute;dier les trois volumes et de terminer sur ce morceau Recuerdos del Maestro, Souvenirs du Ma&icirc;tre, puis pour lui dire Adieu l&rsquo;Adagio du Concerto d&rsquo;Aranjuez avec l&rsquo;Orchestre de Blois.<br />Gracias Paco, gracias Maestro.<br />&ldquo;Il y a des mots que vous &eacute;crivez sur le sable, que le vent emporte, que la nuit transforme en r&ecirc;ve, comme une &eacute;toile dans l&rsquo;&eacute;ternit&eacute;.&rdquo;<br /></span><p align=\right><span class=Texte><strong>Rapha&euml;l Fa&yuml;s</strong>, Capestang, Juin 2014</span><br /></p><span class=Texte><br /></span><span class=Soustitre2><br />Volume 1</span><span class=Texte><br />1&nbsp;&nbsp;&nbsp; EXTREMADURA (tango)&nbsp;&nbsp; &nbsp;5&rsquo;10<br />R. Fa&yuml;s / GT solo J L. Zeller / Violon J Tito / GT flamenca J C. Mouton / Contrebasse J J. Palomo / Percussions et palmas J A. Gimenez / Chant, lettra J D. Regano / Danse.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>2&nbsp;&nbsp;&nbsp; HIJA DE LA ARENA&nbsp;&nbsp; &nbsp; <br />(fandango de Huelva)&nbsp;&nbsp; &nbsp;5&rsquo;35 <br />R. Fa&yuml;s / GT solo J L. Zeller / Violon J Tito / GT flamenca J C. Mouton / Contrebasse J J. Palomo / Percussions et palmas J A. Gimenez / Chant, lettra.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>3&nbsp;&nbsp;&nbsp; PRIMERA BULERIA (bulerías)&nbsp;&nbsp; &nbsp;5&rsquo;29<br />R. Fa&yuml;s / GT solo J L. Zeller / Violon J Tito / GT flamenca J C. Mouton / Contrebasse J J. <br /></span></p><p align=justify><span class=Texte>Palomo / Percussions et palmas J A. Gimenez / Chant, lettra J D. Regano / Danse.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>4&nbsp;&nbsp;&nbsp; VIEJO PUEBLO (tanguillo)&nbsp;&nbsp; &nbsp;4&rsquo;05<br />R. Fa&yuml;s / GT solo J L. Zeller / Violon J Tito / GT flamenca J C. Mouton / Contrebasse J J. Palomo / Percussions et palmas J A. Gimenez / Chant, lettra.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>5&nbsp;&nbsp;&nbsp; LOS ARCOS&nbsp;&nbsp; &nbsp; <br />(fandango de Huelva)&nbsp;&nbsp; &nbsp;2&rsquo;28<br />R. Fa&yuml;s / GT solo J J. Palomo / Percussions et palmas.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>6&nbsp;&nbsp;&nbsp; SOLEA - CON CANTE (por solea)&nbsp;&nbsp; &nbsp;4&rsquo;31<br />R. Fa&yuml;s / GT solo J Tito / GT flamenca J A. Gimenez / Chant.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>7&nbsp;&nbsp;&nbsp; TIENTO - CON CANTE&nbsp;&nbsp; &nbsp; <br />(por tiento)&nbsp;&nbsp; &nbsp;3&rsquo;39<br />R. Fa&yuml;s / GT solo J Tito / GT flamenca J A. Gimenez / Chant.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>8&nbsp;&nbsp;&nbsp; CANCION PARA DIANA&nbsp;&nbsp; &nbsp; <br />(balada)&nbsp;&nbsp; &nbsp;6&rsquo;59<br />R. Fa&yuml;s / GT solo.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>Volume 2</span><span class=Texte><br />1&nbsp;&nbsp; &nbsp;CUATRO CAMINOS (bulerías)&nbsp;&nbsp; &nbsp;5&rsquo;28<br />R. Fa&yuml;s / GT solo J J. Palomo / Palmas et jaleo.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>2&nbsp;&nbsp;&nbsp; CARAMELITA (rumba)&nbsp;&nbsp; &nbsp;3&rsquo;24<br />R. Fa&yuml;s / GT solo 2&egrave; et 3&egrave; guitare J J. Palomo / Percussions, palmas et ch&oelig;urs.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>3&nbsp;&nbsp;&nbsp; VIENTOS DEL SUR&nbsp;&nbsp; &nbsp; <br />(solea por bulerías)&nbsp;&nbsp; &nbsp;6&rsquo;46<br />R. Fa&yuml;s / GT solo J A. Gimenez / Chant, lettra J J. Palomo / Cajon et palmas.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>4&nbsp;&nbsp; &nbsp;DE MIL COLORES (alegrías)&nbsp;&nbsp; &nbsp;5&rsquo;02<br />R. Fa&yuml;s / GT solo J P. Pradal et C. Evrot / Ch&oelig;urs J A. Gimenez / Chant J J. Palomo / Percussions et palmas / paroles, lettra.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>5&nbsp;&nbsp; &nbsp;AZUCAR DE AMOR (taranta)&nbsp;&nbsp; &nbsp;6&rsquo;53<br />&nbsp;&nbsp; &nbsp;R. Fa&yuml;s / GT solo.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>6&nbsp;&nbsp;&nbsp; FIESTA COLOMBIANA&nbsp;&nbsp; &nbsp; <br />(fandango de Huelva)&nbsp;&nbsp; &nbsp;4&rsquo;28<br />R. Fa&yuml;s / GT solo J J. Palomo / Percus-sions et palmas / paroles, lettra) J <br />L. Zeller / Violon J Tito / GT flamenca J C. Mouton / Guitare basse J P. Pradal et C. Evrot / Ch&oelig;urs.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>7&nbsp;&nbsp;&nbsp; FARRUCA DE ANTAN~O&nbsp;&nbsp; &nbsp; <br />(farruca)&nbsp;&nbsp; &nbsp;6&rsquo;10<br />R. Fa&yuml;s / GT solo J Conchi / Chant.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>8&nbsp;&nbsp; &nbsp;MI COLOMBIANA (colombiana)&nbsp;&nbsp; &nbsp;5&rsquo;19<br />R. Fa&yuml;s / GT solo J C. Mouton / Guitare basse J J. Palomo / Percussions et <br />palmas.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Volume 3</span><span class=Texte><br />1&nbsp;&nbsp;&nbsp; CIRCULO DE LA NOCHE&nbsp;&nbsp; &nbsp; <br />(tango)&nbsp;&nbsp; &nbsp;4&rsquo;50<br />R. Fa&yuml;s / GT solo) J J. Palomo / Percussions et palmas / Paroles J L. Zeller / Violon J Tito / GT flamenca J C. Mouton / Guitare basse J P. Pradal / Chant 1 J C. Evrot et P. Pradal / Ch&oelig;urs.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>2&nbsp;&nbsp; &nbsp;BULERIA DE PARIS (bulerías)&nbsp;&nbsp; &nbsp;5&rsquo;42<br />R. Fa&yuml;s / GT solo J J. Palomo / Percussions et palmas J Tito / GT flamenca J C. Mouton / Guitare basse J D. Regano / Danse.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>3&nbsp;&nbsp; COLORINES DE CARNAVAL &nbsp;&nbsp; &nbsp;<br />(zapateado)&nbsp;&nbsp; &nbsp;3&rsquo;01<br />R. Fa&yuml;s / GT solo J J. Palomo / Percussions.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>4&nbsp;&nbsp; &nbsp;EL ZORRO (tanguillo)&nbsp;&nbsp; &nbsp;2&rsquo;42&nbsp;&nbsp;&nbsp; <br />R. Fa&yuml;s / GT solo J J. Palomo / Percussions et palmas J Tito / GT flamenca J C. Mouton / Guitare basse.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>5&nbsp;&nbsp; &nbsp;EL MALAGUEN~O (malague&ntilde;a)&nbsp;&nbsp; &nbsp;7&rsquo;11&nbsp;&nbsp;&nbsp; <br />R. Fa&yuml;s / GT solo J J. Palomo / Castanuelas.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>6&nbsp;&nbsp; &nbsp;JUEGO DE CARTAS (tiento)&nbsp;&nbsp; &nbsp;2&rsquo;53<br />&nbsp;&nbsp; &nbsp;R. Fa&yuml;s / GT solo. <br />7&nbsp;&nbsp;&nbsp; RECUERDOS DEL MAESTRO&nbsp;&nbsp; &nbsp; (solea)&nbsp;&nbsp; &nbsp;5&rsquo;23<br />R. Fa&yuml;s / GT solo.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>8&nbsp;&nbsp;&nbsp; CONCIERTO DE ARANJUEZ &nbsp;&nbsp; &nbsp;<br />(adagio)&nbsp;&nbsp; &nbsp;9&rsquo;32<br />R. Fa&yuml;s / GT solo avec l&rsquo;Orchestre du Conservatoire de Blois.<br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>Rapha&euml;l Fa&yuml;s</span><span class=Texte><br /></span><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>son parcours, ses influences&hellip;</span><span class=Texte><br />Rapha&euml;l Fa&yuml;s est n&eacute; la guitare entre les bras, d&rsquo;un p&egrave;re guitariste de jazz qui a connu un d&eacute;but de carri&egrave;re fulgurant et prometteur. Il revisite le r&eacute;pertoire de son ma&icirc;tre Django Reinhardt et est reconnu comme l&rsquo;h&eacute;ritier surdou&eacute; de la tradition.<br />L&rsquo;univers musical de Rapha&euml;l Fa&yuml;s traverse l&rsquo;Europe. Son jeu est constitu&eacute; d&rsquo;une somme colossale d&rsquo;exp&eacute;riences guitaristiques. La pertinence de cette d&eacute;marche est avant tout la passion que Rapha&euml;l voue &agrave; la guitare acoustique, qu&rsquo;elle soit jazz &agrave; partir de Django, classique ou flamenco.<br /></span><span class=Soustitre><br />&hellip; son attirance pour le flamenco ! </span><span class=Texte><br />Il se passionne pour le flamenco &agrave; partir de 1987 lorsqu&rsquo;il fait la connaissance de Paco de Lucia &agrave; Paris. A cette &eacute;poque, il est d&eacute;j&agrave; reconnu comme un virtuose de la guitare classique autant que de la guitare de jazz. Bien que son aisance technique favorise un apprentissage rapide de la technique flamenco qu&rsquo;il interpr&egrave;te &agrave; la &rdquo;poua&rdquo; appel&eacute;e plectre, il semble que, par modestie sans doute, il ait attendu de longues ann&eacute;es avant d&rsquo;oser centrer son travail sur ce style. Il a d&eacute;j&agrave; compos&eacute; de nombreuses &oelig;uvres d&rsquo;inspiration flamenca : Bul&eacute;rias, Al&eacute;grias, Fandango&hellip; Une r&eacute;ussite parfaite qu&rsquo;il exprime avec brio dans son interpr&eacute;tation extraordinaire et originale. De fait, il propose un nouvel &eacute;clairage de cette musique et d&rsquo;une certaine fa&ccedil;on en &eacute;largit les contours. Rapha&euml;l Fa&yuml;s fait plus que synth&eacute;tiser deux styles gitan et flamenco. Il rend compte de ce qui, au-del&agrave; des fronti&egrave;res de l&rsquo;Espagne et de l&rsquo;Europe de l&rsquo;Est, est commun &agrave; ces deux communaut&eacute;s gitanes que sont les manouches europ&eacute;ens et les hispano-andalous. L&rsquo;Histoire les a &eacute;loign&eacute;s, mais leur histoire est commune. Rares sont les musiciens qui &agrave; la mani&egrave;re de Rapha&euml;l Fa&yuml;s auront su investir des champs musicaux aussi vari&eacute;s qu&rsquo;exigeants avec la m&ecirc;me conviction, la m&ecirc;me probit&eacute; et le m&ecirc;me bonheur. Plus que la performance, c&rsquo;est l&rsquo;humanit&eacute; et la g&eacute;n&eacute;rosit&eacute; de la d&eacute;marche qu&rsquo;il convient de saluer aujourd&rsquo;hui. Le flamenco de Rapha&euml;l Fa&yuml;s est tout simplement sa musique, qu&rsquo;il veut partager avec le public. Il poursuit son chemin et s&rsquo;affirme par son propre style !<br /></span><span class=Soustitre><br />De Belleville &agrave; S&eacute;ville, l&rsquo;itin&eacute;raire d&rsquo;un enfant surdou&eacute;</span><span class=Texte><br />Rapha&euml;l Fa&yuml;s est un musicien rare qui &oelig;uvre depuis plusieurs d&eacute;cennies aux sommets de trois domaines parmi les plus exigeants de la guitare acoustique. Les plus croyants diront qu&rsquo;il fut b&eacute;ni des dieux et les plus romantiques qu&rsquo;une f&eacute;e s&rsquo;est pench&eacute;e sur son berceau. Les plus r&eacute;alistes affirment qu&rsquo;il aura su, avec une maestria aussi opini&acirc;tre qu&rsquo;intransigeante, synth&eacute;tiser Ascendance, G&eacute;nie Personnel et Pratique Rigoureuse.<br />C&ocirc;t&eacute; ascendance il y eu d&rsquo;abord le p&egrave;re, Louis Fa&yuml;s, n&eacute; en 1926, lui-m&ecirc;me guitariste autodidacte qui d&eacute;serte le cirque familial pour courir le cacheton dans les bars et les balloches nantais. Il a quatorze ans, c&rsquo;est l&rsquo;Occupation et il lui faut une certaine dose d&rsquo;inconscience et un sens aigu de la d&eacute;brouillardise pour survivre dans un milieu aux si maigres d&eacute;bouch&eacute;s. Comme tous les musiciens du circuit il r&ecirc;ve de Paris, et comme tous les guitaristes il r&ecirc;ve de rencontrer Django Reinhardt. En 1950, il survit essentiellement de son activit&eacute; de ferrailleur. On le retrouve en 1952 au sein d&rsquo;un petit orchestre qui fait la tourn&eacute;e estivale des plages. Il commence &agrave; se forger un nom, fait &eacute;quipe avec l&rsquo;accord&eacute;oniste Maurice Vittenet, avec lequel il enregistrera plus tard quelques faces pour Decca, devenues aujourd&rsquo;hui de v&eacute;ritables &lsquo;collectors&rsquo;. Au printemps 1953, quand il revient &agrave; Paris, il apprend le d&eacute;c&egrave;s de Django Reinhardt quelques jours avant leur rencontre programm&eacute;e. Louis Fa&yuml;s &eacute;cume tout ce que Paris conna&icirc;t de bal musette et sa r&eacute;putation ne cesse de grandir. En 1954, Andr&eacute; Verchuren fait appel &agrave; lui pour palier au d&eacute;part de Challain Ferr&eacute; qui avait fait ses armes au c&ocirc;t&eacute; notamment de Django ou de Gus Viseur. Louis Fa&yuml;s restera 28 ann&eacute;es dans l&rsquo;orchestre de Verchu. En 1959 na&icirc;t Rapha&euml;l. A peine 5 ann&eacute;es plus tard, Louis Fa&yuml;s lui met sa premi&egrave;re guitare entre les mains et lui enseigne qu&rsquo;il n&rsquo;existe qu&rsquo;un seul Dieu, incarn&eacute; dans la personne de Django Reinhardt. A partir de cet instant on croit l&rsquo;avenir musical de Rapha&euml;l tout trac&eacute;. Tr&egrave;s vite, il assimile le r&eacute;pertoire de son idole, avec une facilit&eacute; si d&eacute;concertante que son p&egrave;re s&rsquo;en alarme. Louis est convaincu qu&rsquo;un musicien accompli doit imp&eacute;rativement lire la musique et s&rsquo;astreindre &agrave; une certaine discipline. Raphap&euml;l, bien que r&eacute;tif &agrave; toute id&eacute;e de contrainte, est donc inscrit &agrave; l&rsquo;acad&eacute;mie de guitare ou un Monsieur Imbart lui dispense ses premi&egrave;res le&ccedil;ons de solf&egrave;ge. Et la magie op&egrave;re. Rapha&euml;l va se prendre de passion pour cette nouvelle discipline et fera sienne la phrase d&rsquo;Alexandre Lagoya qui affirmait que &ldquo;l&rsquo;apprentissage de la guitare n&eacute;cessite une bonne dizaine d&rsquo;ann&eacute;es&hellip; par cordes !!!&rdquo;. Pendant pr&egrave;s d&rsquo;un quart de si&egrave;cle, Rapha&euml;l Fa&yuml;s pratiquera &lsquo;clandestinement&rsquo; la guitare classique en marge de son activit&eacute; de musicien de jazz. Ce n&rsquo;est qu&rsquo;au milieu des ann&eacute;es 90 qu&rsquo;il gravera ses premi&egrave;res pi&egrave;ces classiques. Mais ne br&ucirc;lons pas les &eacute;tapes et revenons en 1974. Rapha&euml;l a quinze ans et ses contemporains, amateurs de guitare, en deuil de Jimi Hendrix, n&rsquo;ont d&rsquo;oreilles que pour le Mahavishnu John Mc Laughlin, Jeff Beck ou Larry Coryell. Les z&eacute;lateurs de Django se sont tous (momentan&eacute;ment) soumis &agrave; la f&eacute;e &eacute;lectricit&eacute;. Tous ? Sauf un : Rapha&euml;l Fa&yuml;s, qui officie souvent le soir au Caveau de la Montagne o&ugrave; il pratique ce qu&rsquo;il refusera toujours de nommer autrement que &ldquo;la musique de Django&rdquo;. Rep&eacute;r&eacute; un soir par Franck T&eacute;not, il est invit&eacute; &agrave; se produire r&eacute;guli&egrave;rement dans l&rsquo;&eacute;mission de radio &ldquo;Studio de Nuit&rdquo; anim&eacute;e par Jean-Louis Foulquier. Son nom commence alors &agrave; circuler dans le m&eacute;tier et Jacques Chancel, qui l&rsquo;entend un soir, d&eacute;cide sur le champ de lui faire une place dans son Grand Echiquier t&eacute;l&eacute;visuel. La notori&eacute;t&eacute; de Rapha&euml;l Fa&yuml;s va alors grimper en fl&egrave;che charriant dans son sillage son lot d&rsquo;admirateurs sinc&egrave;res et d&rsquo;in&eacute;vitables requins&hellip; A seize ans Rapha&euml;l n&rsquo;a qu&rsquo;une id&eacute;e en t&ecirc;te : jouer de la guitare. &Ccedil;a tombe bien, d&rsquo;autres vont se charger pour lui de l&rsquo;intendance avec un z&egrave;le tout particulier, dont les effets destructeurs se mesurent encore aujourd&rsquo;hui. Bref&hellip; ce qu&rsquo;il faut retenir c&rsquo;est qu&rsquo;avec Rapha&euml;l Fa&yuml;s rena&icirc;t l&rsquo;engouement pour la musique de Django et dans son sillage vont venir s&rsquo;engouffrer tous ceux que l&rsquo;&eacute;lectricit&eacute; commence &agrave; lasser. <br />Dans le jardin secret de Rapha&euml;l il existe alors un autre guitariste : Francisco Sanchez Gomez alias Paco de Lucia. Originaire de la province de Cadiz, l&rsquo;homme a d&eacute;j&agrave; une bonne dizaine d&rsquo;albums &agrave; son actif lorsque para&icirc;t en 1978 son hommage &agrave; Manuel de Falla. A cette &eacute;poque Paco est encore, hors d&rsquo;Andalousie, un musicien pour initi&eacute;s. Les ponts qu&rsquo;il &eacute;tablit entre musique classique et flamenco &eacute;blouissent Rapha&euml;l qui jusqu&rsquo;alors, par&nbsp; obligation professionnelle, cloisonnait strictement ses diff&eacute;rentes pratiques de la guitare. Les &lsquo;gens de m&eacute;tier&rsquo;, souvent plus soucieux de commerce et de marketing que de musique, affectionnent les cases et les &eacute;tiquettes qui les exon&egrave;rent de pr&eacute;senter le travail des artistes autrement que par des formules lapidaires et des slogans de basse publicit&eacute;. La voie ouverte par Paco de Lucia va aider Rapha&euml;l &agrave; accomplir sa propre r&eacute;volution. Plus question pour lui de continuer &agrave; jouer le prodige savant, capable, mieux que quiconque, d&rsquo;endosser le costume de fils spirituel de Django, que l&rsquo;on se complait &agrave; lui voir porter. D&rsquo;autant que Paco de Lucia qui l&rsquo;a entendu, lui adresse une lettre d&rsquo;encouragement tr&egrave;s chaleureuse. Comme Louis qui r&ecirc;vait de rencontrer <br />Django, Rapha&euml;l n&rsquo;&eacute;met plus qu&rsquo;un seul v&oelig;u&thinsp;: faire la connaissance de Paco. Ce sera chose faite &agrave; Paris lors d&rsquo;un concert en 1987. <br />A partir de cet instant Rapha&euml;l Fa&yuml;s va enfin sortir de sa r&eacute;serve et montrer &agrave; son auditoire l&rsquo;&eacute;tendue de ses talents. En 1989 dans son album Voyage il propose sa propre version arrang&eacute;e de Entre Dos Aguas de Paco de Lucia ainsi que sa toute premi&egrave;re Buleria. Progressivement son r&eacute;pertoire va s&rsquo;enrichir d&rsquo;autres pi&egrave;ces flamenca et de nouvelles compositions classiques. Toujours tr&egrave;s sollicit&eacute; par le milieu du jazz et par les nostalgiques de Django, il lui sera encore pendant plusieurs ann&eacute;es difficile de donner sa pleine mesure dans ce nouveau style n&eacute; du flamenco qui lui est si personnel. <br />A partir de 2007 devenu enfin producteur ind&eacute;pendant, il se lance dans la r&eacute;alisation d&rsquo;un premier tryptique &lsquo;espagnol&rsquo; constitu&eacute; par les albums Andalucia (2008), Extremadura (2009) et Mi Camino Con El Flamenco (2010). Outre une technique instrumentale singuli&egrave;re (il est le seul &agrave; jouer du flamenco au plectre) il y d&eacute;veloppe un style de composition tr&egrave;s personnel au pouvoir &eacute;vocateur tr&egrave;s imag&eacute; qui rappelle autant l&rsquo;univers d&rsquo;Albeniz que celui de Sabicas. Dans chacun de ses trois albums le m&ecirc;me &eacute;quilibre est pr&eacute;serv&eacute; entre les pi&egrave;ces pour quintet (deux guitares, un violon, une basse et des percussions) et les pi&egrave;ces en solo. Le chant fait son apparition &agrave; trois reprises dans l&rsquo;album Extremadura (Alejandro Gimenez Primera Buleria et La marquesa ; Clara Tuleda Colombiana) et une seule fois dans Mi Camino Con El Flamenco (Alejandro Gimenez Para Mi Compadres).<br />Le pr&eacute;sent recueil affirme un v&eacute;ritable tournant car le chant prend une dimension nettement plus importante (10 titres sur 24). Ce faisant, les compositions de<br />&nbsp;Rapha&euml;l Fa&yuml;s, tout en conservant leur originalit&eacute; propre, s&rsquo;enracinent toujours plus profond&eacute;ment dans la <br />grande tradition flamenca. Les 24 titres qui constituent ce nouveau programme repr&eacute;sentent tant pour son auteur que pour ses auditeurs une sorte de Graal, aboutissement d&rsquo;un long cheminement qui nous conduit aux confins de la f&eacute;licit&eacute; et de la perfection.<br />Le secret de la singularit&eacute; et de la grande richesse des compositions de Rapha&euml;l Fa&yuml;s r&eacute;side dans les deux mots : g&eacute;n&eacute;rosit&eacute; et respect. La g&eacute;n&eacute;rosit&eacute; est celle de l&rsquo;&eacute;coute des autres. Peu de musiciens poss&egrave;dent comme Rapha&euml;l Fa&yuml;s cette connaissance et cette capacit&eacute; d&rsquo;&eacute;coute, qu&rsquo;il s&rsquo;agisse de g&eacute;nies du pass&eacute; ou de cr&eacute;ateurs contemporains. Le respect est celui d&ucirc; &agrave; la fois &agrave; la musique et au public. Ne pas tricher, ne pas copier, ne rien proposer qui ne soit le fruit d&rsquo;une &acirc;me pure et inspir&eacute;e, d&eacute;gag&eacute;e de toute autre pr&eacute;occupation que celle de toucher autant les &acirc;mes que les esprits.<br /></span><span class=Soustitre>Alain Raemakers</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre2>Rapha&euml;l Fa&yuml;s<br />Circulo de la noche &ldquo;&thinsp;Cercle de la nuit&thinsp;&rdquo;<br />Dedicated to the memory of Paco de Lucia<br /></span><span class=Texte><br />After Andalucia, Extremadura and Mi Camino con el flamenco, here in three volumes is Circulo de la noche. It was in 2010 and 2011 that I first decided to harness myself to this project, which proved extremely demanding, but since my passion for flamenco has involved a great deal of work and research, I was able to create my own, Iberian musique or Iberian Spanish flamenco if you prefer. One thing is certain. The day I saw Paco de Lucia playing on television changed my life. Studying the jazz guitar with my father meant, of course, that I was very familiar with the work of that extraordinary master, Django Reinhardt.<br />However, the thing that developed my passion for the guitar was the discovery of three styles; Django, the classical guitar masters, and then flamenco with Paco. I have spent my entire life working ceaselessly and today, I am able to give you these three recordings that represent a great love story, that of a man passionately in love with the guitar. On the other hand, I have also developed my own technique using the plectrum, or poua in Spanish.<br />Since I am the only guitarist to play flamenco in this way, I have been able to create my own colour, timbre and attacks, etc. In short, a highly personal playing style that is instantly recognisable. Finding one&rsquo;s own style is, of course, the greatest challenge.<br />I have also listened to the old, antigo flamenco of guitarists such as Sabicas, and Nino Ricardo, players I admire enormously. Then there is the cante, the singing of Antonio Mairena, Beni de Cadiz, la Nina de Los Pen&egrave;s and, it goes without saying, Camaron de la Isla.<br />So I&rsquo;m not here to teach those who are already familiar with this type of music but to share it with them. It&rsquo;s the story of a passion, nothing less.<br />If you get the chance, just take a walk one evening in Andalusia and then you are sure to understand&hellip;<br /></span><span class=Soustitre>An Anecdote</span><span class=Texte><br />I met Paco de Lucia in 1987 at the time his album Sirocco was released. I was introduced by some friends who asked me to play for him and we quickly became friends. Paco liked the way I improvised. We had some good times together when he came to the Casa P&eacute;p&eacute; restaurant in Paris. I went to several concerts and had a lot of admiration for him as well as gratitude since he was very kind and always very welcoming. Paco had class, both as a guitarist and in everyday life.<br />Whilst I was recording Volume 2 in February 2014, I heard that Paco had died. For me it was an awful, terrifing piece of news and I felt myself sinking like a ship down into the deep, to the bottom of an ocean where I was alone, yes alone, because my ship no longer had a guiding light. My grief was profound&hellip;I was in a bad way.<br />However, I had to continue working on the trilogy since there was still Volume Three to record and to give myself the courage I decided to dedicate the three volumes to Paco and to end with the piece, Recuerdos del Maestro (Memories of the Maestro) then to say goodbye to him, the Adagio from the Concerto by Aranjuez with the Blois Orchestra.<br />Gracias Paco, Gracias Maestro.<br />&ldquo;There are words you write in the sand, that the wind carries away, that the night transforms into dreams like a star into eternity&rdquo;<br /></span><p align=\right><span class=Texte><strong>Rapha&euml;l Fa&yuml;s</strong>, Capestang, June 2014</span><span class=Soustitre><br /></span></p><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>his career and influences&hellip;</span><span class=Texte><br />The son of a jazz guitarist, it might be said that Rapha&euml;l Fa&yuml;s was born with a guitar in his hands, from which promising begining his career took off in meteoric fashion. He revisited the repertoire of his master, Django Reinhardt, and was recognised as an exceptionally gifted heir to the tradition.<br />The musical world of Rapha&euml;l Fa&yuml;s takes in the whole of Europe and his playing is the sum of his vast, wide-ranging experience of the guitar. It is an approach whose guiding star is the passion Rapha&euml;l feels for the acoustic guitar, whether he is playing jazz in the style of Django, classical or Flamenco.<br />&hellip; the attraction of flamenco ! <br />Rapha&euml;l&rsquo;s passion for flamenco began in 1987 when he met Paco de Lucia in Paris. At the time, he was recognised as a virtuoso of both classical and jazz guitar. Although his technical facility favoured the rapid learning of flamenco technique played with a &ldquo;poua&rdquo; or plectrum, it would appear that, doubtless through modesty, he waited many a long year before daring to focus on it. He had already composed many highly successful flamenco-inspired works: Bul&eacute;rias, Al&eacute;grias, Fandangos, etc. that he performed with great brio and originality. He shed new light on this type of music and in a sense, pushed back its boundaries.<br />Rapha&euml;l Fays does more than produce a synthesis of gypsy jazz and flamenco, he gives an account of that which, beyond the frontiers of Spain and Eastern Europe, is common to these two communities of European and Spanish Andalusian gypsies. History has separated them, but they share a common inheritance. <br />Rare are the musicians capable of engaging with such a wide variety of demanding musical genres with the same conviction, probity and joy. Over and above the performance, it is the humanity and generosity of his approach that we should be celebrating today. For Rapha&euml;l Fa&yuml;s, flamenco is quite simply his music, music he wishes to share with the public. He continues his musical journey, making his mark with his own inimitable style!<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>From Belleville to Seville, <br />the journey of an exceptionally gifted child</span><span class=Texte><br />Rapha&euml;l Fa&yuml;s is a remarkable musician who has been working for several decades now at the summit of three of the most demanding genres for acoustic guitar. Believers among us would say he had been blessed by the gods, romantics that a good fairy leant over his cradle. The more realistic of us would say that he managed, with a mastery as persistent as it was intransigent, to combine Ancestry, Personal Talent and Rigorous Practice.<br />On the side of ancestry is firstly his father, Louis Fa&yuml;s, born in 1926, a self-taught guitarist who left the family circus to scrape a living in the bars and dance-halls of Nantes. He was fourteen, it was the Occupation and it needed a good dose of irresponsibility and resourcefulness to survive in a world of such meagre opportunities. Like all the other musicians on the circuit he dreamt of Paris and like all guitarists he dreamt of meeting Django Reinhardt. In 1950, he was surviving mainly on what he earned as a scrap merchant. In 1952 he was playing in a little orchestra that toured the beaches in the summer. He began to make a name for himself and teamed up with accordionist Maurice Vittenet, with whom he was later to record a few sides for Decca, recordings which have now become real collectors&rsquo; items. In the Spring of 1953 on his return to Paris, he learnt of the death of Django Reinhardt just a few days before they were due to meet. Louis Fa&yuml;s played in every bal musette in Paris and his reputation steadily grew. In 1954, Andr&eacute; Verchuren called on him to fill in after the departure of Challain Ferr&eacute; who had honed his skills alongside Django and Gus Viseur. Louis Fa&yuml;s stayed 28 years in Verchuren&rsquo;s orchestra. In 1959 Rapha&euml;l was born. A mere five years later, Louis Fa&yuml;s placed his first guitar in his hands and taught him that there was but one God and his name was Django Reinhardt. From then on, Rapha&euml;l&rsquo;s path seemed to have been already mapped out. He rapidly assimilated his idol&rsquo;s repertoire with such disconcerting ease that his father was alarmed. Louis was convinced that it is imperative for an accomplished musician to be able to read music and submit to a certain discipline. Raphael, although he chafed at any suggestion of obligation, was enrolled at the Guitar Academy where a certain Monsieur Imbart gave him his first theory lessons. And the magic happened. Rapha&euml;l became passionate about this new discipline and adopted Alexandre Lagoya&rsquo;s saying that &ldquo;learning the guitar takes a good ten years&hellip; per string !!&rdquo; For a quarter of a century, Raphael Fa&yuml;s practised the classical guitar &ldquo;secretly&rdquo;, alongside his work as a jazz musician. It was not until the mid-90s that he recorded his first classical pieces.<br />But let&rsquo;s not jump the gun. Back to 1974. Rapha&euml;l was fifteen and his contemporaries, guitar-lovers in mourning for Jimi Hendrix, only had ears for Mahavishnu John McLaughlin, Jeff Beck and Larry Coryell. The partisans of Django were all (momentarily) under the Electric spell. All? All except one: Raphael Fa&yuml;s, who often appeared in the evenings at the Caveau de la Montagne where he played what he always refused to call anything else but &ldquo;Django&rsquo;s music.&rdquo; Spotted one night by Franck T&eacute;not, he was invited to appear regularly on the radio programme Studio de Nuit presented by Jean-Louis Foulquier. His name began to be known in the profession and Jacques Chancel who heard him one evening immediately decided to give him a spot on his television programme, Le Grand Echiquier. Rapha&euml;l Fa&yuml;s&rsquo; fame soared carrying in its wake a group of sincere admirers as well as the inevitable sharks. At sixteen, Rapha&euml;l had only one thing on his mind &ndash; playing the guitar. How fortunate &ndash; it meant others were to take on the task of managing his affairs, with unusual zeal, the destructive effects of which are still being measured today. In short... the thing to remember is that with Raphael Fa&yuml;s enthusiasm for Django&rsquo;s music was reborn and its devotees included all those who were growing tired of electric sounds.<br />In Rapha&euml;l&rsquo;s secret garden there was another guitar player: Francisco Sanchez Gomez alias Paco de Lucia. From the province of Cadiz, he already had ten or more albums to his credit when his homage to Manuel de Falla was issued in 1978. At the time, Paco was still, outside of Andalusia, a musician for connoisseurs. The bridges he built between classical music and flamenco dazzled Raphael who up until then, through professional obligation, had strictly compartmentalised the music he played. The &ldquo;professionals&rdquo;, often more concerned with sales and marketing than music, are in favour of boxes and labels since they spare them the task of presenting the artists&rsquo; work other than by concise formulas and cheap advertising slogans. The door opened by Paco de Lucia helped Rapha&euml;l achieve his own revolution. His days of playing the prodigy more capable than anyone else of wearing the costume of Django&rsquo;s spiritual heir, a role others were complicit in assigning to him, were over. Like Louis, who dreamt of meeting Django, Rapha&euml;l expressed only one wish : to meet Paco and this came to pass at a concert in Paris in 1987.<br />From that moment on, Raphael Fa&yuml;s finally emerged from his shell and showed his audiences the extent of HIS talents. In 1989, on his album Voyage, he gave his own version of Paco de Lucia&rsquo;s Entre Dos Aguas alongside his very first Buleria. Little by little, his repertoire was enriched by other flamenco pieces and classic compositions. Still much in demand in jazz circles and by those nostalgic for Django&rsquo;s music, he found it difficult for many years to come to give his all to this new, highly personal style of flamenco. <br />From 2007, when he had finally become an independent producer, he began making a first &ldquo;Spanish&ldquo; triptych made up of the albums Andalucia (2008), Extremadura (2009) and Mi Camino Con El Flamenco (2010). Besides his unique instrumental technique (he was the only player to use a plectrum for flamenco), he developed a highly individual, evocative, pictural style of composition, reminiscent of both the world of Albeniz and that of Sabicas. In each of his three albums, the same equilibrium is preserved between pieces for quintet (2 guitars, a violin, a bass and percussion) and solo pieces. Vocal music makes an appearance on three tracks of the album Extremadura (Alejandro Gimenez Primera Buleria and La marquesa; Clara Tuleda Colombiana) and on one track of Mi Camino Con El Flamenco (Alejandro Gimenez, Para Mi Compadres)<br />The present collection marks a real turning-point since song takes on a far more important role (10 out of 24 tracks). As such, the compositions by Raphael Fays, whilst retaining their own originality are always more firmly rooted in the great flamenco tradition. The 24 tracks that make up this new programme represent a sort of Holy Grail, both for their composer and for their listeners, the culmination of a long journey leading us to the outer reaches of sheer happiness and perfection.<br />The secret of the uniqueness and great richness of Rapha&euml;l Fa&yuml;s&rsquo; compositions resides in the words &ldquo;generosity&rdquo; and &ldquo;respect&rdquo;. The generosity is that of listening to others. Few musicians possess, like Raphael Fays, the knowledge and the ability to listen, whether to the geniuses of the past or to contemporary creators. The respect is that due both to music and to the public. Not cheating, not copying, offering nothing that is not the fruit of a pure, inspired soul, released from all concerns other than that of reaching out to as many souls and minds as possible.<br /></span><span class=Soustitre>Alain Raemakers</span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><span class=Soustitre2>Rapha&euml;l Fa&yuml;s<br />Circulo de la noche &ldquo;&thinsp;Cercle de la nuit&thinsp;&rdquo;<br />Dedicado a la memoria de Paco de Lucia</span><span class=Texte><br />Despu&eacute;s de Andalucía, Extremadura, Mi Camino Con El Flamenco, ahí está en tres volúmenes Círculo de la Noche. Fue en 2010 y en 2011 cuando decidí dedicarme a este proyecto que pide una voluntad importante. Pero como mi pasión por el flamenco rebosa de investigación, voy a crear gracias a (ella) &eacute;l mi música propia, música ib&eacute;rica, ib&eacute;rica espa&ntilde;ola flamenca, bueno como quieran. Seguro que un día en la tele, cuando vi a Paco de Lucia tocando, esto cambió mi vida. Claro, el estudio de la guitarra de jazz con mi padre me permitió adquirir un gran conocimiento del maestro extraordinario que era Django Reinhardt. Pero lo que permitió desarrollarse en mí aquella verdadera pasión por la guitarra, fue el descubierto de tres estilos, Django, los maestros de la guitarra clásica además del flamenco con Paco.<br />Pas&eacute; toda mi trabajando sin descanso y ahora, les doy estos tres grabados que son una gran historia de amor de un hombre apasionado por la guitarra. Además, tambi&eacute;n cre&eacute; mi t&eacute;cnica propia del pulsador, plectro o &laquo;púa&raquo; en espa&ntilde;ol.<br />Como era yo el único que tocaba el flamenco de esta manera, supe encontrar mis colores, mi timbre, mis ataques... Bueno una manera muy personal de tocarlo y que se reconoce entre mil. Porque claro lo más difícil es encontrar el estilo suyo. Tambi&eacute;n escuch&eacute; mucho el antiguo flamenco &laquo;l&rsquo;antigo&raquo; de los guitarristas como Sabicas o más bien Nino Ricardo a los que yo admiro muchísimo. Luego &laquo;el cante&raquo;, el canto de Antonio Mairena, Beni de Cádiz, la Ni&ntilde;a de Los Peines y claro Camarón de la Isla. Por eso, no estoy aquí para aprender esta música pero más bien para compartirla con ustedes. Bien estamos en una historia de pasión, nada más.<br />Vayan de paseo por la tarde en Andalucía, si surge la oportunidad, seguro que van a comprenderlo...<br /></span><span class=Soustitre><br />Anecdote</span><span class=Texte><br />Encontr&eacute; a Paco de Lucia en 1987 en la &eacute;poca en que salió a luz su disco &laquo;Sirocco&raquo;. Unos amigos me le presentaron y me pidieron que tocara para &eacute;l. Muy pronto, trab&eacute; amistad con &eacute;l. A Paco le gustaba mi manera de improvisar. Disfrutamos momentos muy agradables juntos cuando &eacute;l pasaba por París en el restaurante &laquo;Casa Pepe&raquo;. Le seguí cuando hacía conciertos, tenía mucha admiración y gratitud para &eacute;l, porque era muy amable y siempre muy acogedor. Paco, un hombre de primer orden con su guitarra y tambi&eacute;n en la vida. Pero durante la grabación del segundo volumen en febrero de 2014, me enter&eacute; de su muerte. Para mí, esta noticia fue terrorífica y abominable. Me hundí entonces como un navío en el fondo de los abismos, abismos de un oc&eacute;ano en que estoy solo, sí solo, &iquest;porqu&eacute;? Porque mi navío ya no tiene dirección. La tristeza es penosa... Me duele mucho. Sin embargo, tengo que proseguir esta trilogía, porque sólo queda el tercer volumen y para darme ánimo, decidí dedicarle los tres volúmenes y terminar con este fragmento &laquo;Recuerdos Del Maestro&raquo; y para decirle Adiós &laquo;El Adagio del Concierto de Aranjuez&raquo; con la orquesta de Blois.<br />Gracias Paco, Gracias Maestro.<br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>&ldquo;Hay palabras que uno escribe en la arena, que el viento se lo lleva con &eacute;l, que la noche convierte en sue&ntilde;o, como una estrella en la eternidad&rdquo;<br /></span><p align=\right><span class=Texte><strong>Rapha&euml;l Fa&yuml;s</strong>, Capestang, Junio de 2014</span><br /></p><span class=Texte><br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Su trayectoria sus influencias&hellip;</span><span class=Texte><br />Rapha&euml;l Fa&yuml;s nació con la guitarra en los brazos, de un padre guitarrista de Jazz quien conoció un principio de carrera fulgurante y prometedor. Vuelve a interpretar el repertorio de su maestro Django Reinhardt y se le reconoció como el heredero superdotado de la tradición. El universo musical de Rapha&euml;l Fa&yuml;s cruza Europa. Su manera de tocar se consta de una suma extraordinaria de experiencias de la guitarra. La pertinencia de su trámite está ante todo en la pasión que Rapha&euml;l tenía por la guitarra acústica, bien sea jazz a partir de Django, o bien clásica o Flamenca.<br /></span><span class=Soustitre>&hellip; su atracción por el flamenco ! </span><span class=Texte><br />Va a apasionarse por el Flamenco a partir de 1987 cuando encuentra a Paco de Lucia en París. En esta &eacute;poca, ya se le reconoce como un virtuoso de la guitarra clásica tanto más como de la guitarra de jazz. Aunque su soltura t&eacute;cnica le permita fomentar un aprendizaje rápido de la t&eacute;cnica flamenca que interpreta con la &laquo;púa&raquo;, llamada plectro. Parece que, sin duda alguna, haya esperado largos a&ntilde;os antes de atreverse a centrar su trabajo en este estilo. Ya compuso varias obras de inspiración flamenca: Bulerías, Alegrías, Fandango... Un &eacute;xito perfecto que expresa con brío en su interpretación extraordinaria y original. Por eso, propone una nueva mirada de esta música y de&nbsp; cierto modo amplia los límites de ella. Rapha&euml;l Fa&yuml;s hace más que sintetizar dos estilos, lo gitano y lo flamenco, da cuenta de lo que, más allá de las fronteras de Espa&ntilde;a y de Europa del Este, es común a estas ambas comunidades gitanas de las que forman parte los cíngaros europeos y los hispanoandaluces. La Historia les aisló pero su historia es común. Pocos músicos como Rapha&euml;l Fa&yuml;s supieron instalarse en campos musicales tan diferentes como exigentes con la misma convicción, la misma honradez y la misma alegría. Más que la haza&ntilde;a, son la humanidad y la generosidad del trámite a las que tenemos que rendir homenaje. El flamenco de Rapha&euml;l Fa&yuml;s es sencillamente, su música, que quiere compartir con el público.&iexcl; Sigue andando por su camino y sigue imponi&eacute;ndose por su estilo propio !<br /></span><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Desde Belleville hasta Sevilla.</span></p><p align=justify><span class=Soustitre>El camino de un ni&ntilde;o superdotado</span><span class=Texte><br />Rapha&euml;l Fa&yuml;s es un músico escaso quien actúa desde hace varias d&eacute;cadas en la cumbre de tres dominios por entre los más exigentes de la guitarra acústica. Los más creyentes dirían que los dioses le bendijeran y los más románticos dirían que una hada se asomara a su cuna. Los más realistas afirman que haya sabido, con una maestría tan terca como intransigente, sintetizar Ascendencia, Genio propio y Rigurosa Práctica.<br />Por parte de la ascendencia, primero hubo el padre, Louis Fa&yuml;s, nacido en 1926, &eacute;l mismo guitarrista autodidacta quien abandonó el círculo familiar a fin de ir a buscar trabajo en los bares y en los bailes populares de Nant&eacute;s. A los catorce a&ntilde;os, durante la ocupación, le fue necesario cierta dosis de inconsciencia y ma&ntilde;a desenvoltura para sobrevivir en un medio que tenía tan pobres salidas. Como todos los músicos del círculo, &eacute;l sue&ntilde;a con París y como todos los guitarristas, sue&ntilde;a con encontrar a Django Reinhardt. En 1950, logra sobrevivir exclusivamente gracias a su actividad de chatarrero. En 1952, hace la gira veraniega de las playas en el seno de una peque&ntilde;a orquesta. Empieza a hacerse un nombre, con su compa&ntilde;ero de equipo el acordeonista Maurice Vittenet, grabó más tarde algunos discos para Decca, ahora convertidos en verdaderas &laquo;piezas de colección&raquo;. En 1953, durante la primavera, regresa a París y se entera de la muerte de Django Reinhardt algunos días antes de su previsto encuentro. Louis Fa&yuml;s ronda todos los bailes de candil de París y su fama va creci&eacute;ndose. En 1954, Andr&eacute; Verchuren le llama para remediar a la marcha de Challain Ferr&eacute; quien había hecho sus primeras armas con Django o Gus Viseur en particular. Louis Fa&yuml;s se quedó 28 a&ntilde;os en la orquesta de Verchu. En 1959 nace Rapha&euml;l. Apenas cinco a&ntilde;os más tarde, Louis Fa&yuml;s le pone su primera guitarra entre las manos y le ense&ntilde;a que no existe<br />más que un Dios único, encarnado en la figura de Django Reinhardt. A partir de este momento, uno cree que Rapha&euml;l ya tiene su futuro todo planeado. Muy rápido, el repertorio de su ídolo se lo integra con una facilidad tan asombrosa como que su padre se preocupa mucho por ello. Louis está seguro de que todo un músico tiene que leer la música de manera imperativa y se ha de obligarse a cierta disciplina. Rapha&euml;l, aunque era rebelde a cualquier idea de fastidio, pues se matricula en la academia de guitarra en donde un tal Se&ntilde;or Imbert le da sus primeras clases de solfeo. Fue cuando sucedió la magia. Rapha&euml;l va a dejarse llevar por la pasión por esta nueva disciplina y se hizo suyo la frase de Alexandre Lagoya quien afirmaba que &laquo;el aprendizaje de la guitarra bien necesitara unos diez a&ntilde;os ...&iexcl;por cuerda!&raquo;. Durante casi un cuarto de siglo, Rapha&euml;l Fa&yuml;s tocó la guitarra clásica de manera &laquo;clandestina&raquo; al margen de su actividad de músico de &laquo;jazz&raquo;. Fue sólo en medio de los a&ntilde;os 90 cuando grabara sus primeras obras clásicas. Pero no quememos etapas y regresemos en 1974. Rapha&euml;l tiene quince a&ntilde;os y sus contemporáneos, aficionados a la guitarra, mientras llevan luto a Jimi Hendrix, no dan más oídos que al Mahavishnu John Mc Laughlin, Jeff Beck o a Larry Coryell. Los defensores de Django todos se sometieron en ese momento a la hada electricidad. &iquest; Pues todos ? Salvo uno: Rapha&euml;l Fa&yuml;s, quien a menudo obra por la noche en &laquo;La Bodega de la Monta&ntilde;a&raquo; (Le Caveau de la Montagne) en donde toca lo que siempre se negará a dejar de llamar &laquo;la música de Django&raquo;. Franck T&eacute;not le descubre por una noche y le pide que actúe en un programa especial de radio &laquo;Estudio de Noche&raquo; animado por Jean-Louis Foulquier. Su nombre empieza a circular en la profesión y Jacques Chancel quien le escucha por una noche decide en seguida dejarle sitio en su Gran Damero televisivo. La fama de Rapha&euml;l Fa&yuml;s entonces sigue subiendo como una bala mientras se lo lleva en su evolución a su parte de admiradores sinceros y fatales tiburones... A los diecis&eacute;is a&ntilde;os, Rapha&euml;l no tiene más que una idea en la cabeza: tocar la guitarra, cae bien, demás personas van a encargarse para &eacute;l de la intendencia con un inter&eacute;s muy particular, cuyos efectos destructores quedan reales ahora. Bueno... Lo que tenemos que recordar es que, con Rapha&euml;l Fa&yuml;s, el entusiasmo para la música de Django se vuelve a vivir y van a precipitarse en sus pasos a todos los que la electricidad empieza a molestar. En el jardín secreto de Rapha&euml;l, ya existe otro guitarrista: Francisco Sánchez Gómez alias Paco de Lucia. Oriundo de la provincia de Cádiz, el hombre bien tenía hecha una docena de álbumes en su favor cuando en 1978, salió a luz su homenaje a Manuel de Falla. En esta &eacute;poca, Paco sigue siendo un músico para aficionados, fuera de Andalucía. Los enlaces que vincula entre música clásica y flamenca maravillan a Rapha&euml;l, el que, hasta entonces, por obligación profesional, separaba a lo estricto sus diferentes prácticas de la guitarra. A los especialistas, a menudo más preocupados por negocio y mercadeo que por música, les gustan las casillas y etiquetas. Eso les permite presentar el trabajo de los artistas únicamente por fórmulas lapidarias y eslóganes de publicidad pobre. El camino abierto por Paco de Lucia ayudará a Rapha&euml;l a cumplir con su propia revolución. Basta con seguir desempe&ntilde;ando el papel del portento sabio, como ningún otro capaz de vestirse del traje de hijo espiritual de Django, con que se satisfacen que &eacute;l se lo ponga. Tanto más cuanto que Paco de Lucia quien le oyó, le dio ánimos en una carta muy acogida. Como Louis que so&ntilde;aba con encontrar a Django, Rapha&euml;l no tiene más que un deseo: conocer a Paco. Ocurrió en París durante un concierto en 1987. A partir de este momento, por fin Rapha&euml;l ya no está en guardia y empieza a mostrar a su público la amplitud de sus talentos. En 1989, en su disco &laquo;Viaje&raquo;, propone su versión propia adaptada de Entre Dos Aguas de Paco de Lucia además de su primera &laquo;Bulería&raquo;. Su repertorio va enriqueci&eacute;ndose de otras obras flamencas y nuevas composiciones clásicas. Siempre muy solicitado por el medio del jazz y por los nostálgicos de Django, todavía le fue difícil durante varios a&ntilde;os expresarse plenamente en este nuevo estilo que proviene del flamenco y que le es tan propio. A partir de 2007, ya convertido por fin en productor independiente, se dedica a la realización de un primer tríptico &laquo;espa&ntilde;ol&raquo; que se compone de los álbumes Andalucía (2008), Extremadura (2009) y Mi Camino Con El Flamenco (2010). Además de una t&eacute;cnica instrumental particular ( es el único que toca el flamenco con el plectro ), desarrolla un estilo de composición muy personal al poder evocador lleno de imágenes que hace pensar tanto en el universo de Alb&eacute;niz como en el de Sabicas. En cada de sus tres álbumes, el mismo equilibrio se conserva entre obras para quinteto (dos guitarras, un violín, un bajo y percusiones) y las obras como solista. El canto aparece tres veces en el disco Extremadura (Alejandro Gimenez Primera Bulería y La Marquesa; Clara Tuleda Colombiana) y una sola vez en Mi Camino Con El Flamenco (Alejandro Gimenez Para Mis Compadres). Tal libro atestigua un verdadero hito porque el canto toma una dimensión claramente más importante (10 fragmentos sobre 24). Y así las composiciones de Rapha&euml;l Fa&yuml;s, al conservar su originalidad propia, se arraigan siempre más profundamente en la gran tradición flamenca. Los 24 fragmentos de que se compone este nuevo programa representan tanto para su autor como para sus oyentes una suerte de Santo Grial, resultado de un largo camino que nos dirige hasta los confines de la felicidad y de la perfección. El secreto de la singularidad y de la gran riqueza de las composiciones de Rapha&euml;l Fa&yuml;s está en estas dos palabras, generosidad y respeto. La generosidad es la de saber escuchar a los demás. Pocos músicos tienen como Rapha&euml;l Fa&yuml;s este valor y esta capacidad de escuchar, bien se traten de genios del pasado o bien de creadores contemporáneos. El respeto es el que se debe a la vez a la música y al público. No enga&ntilde;ar, no copiar, no proponer más que sea el fruto de un alma puro e inspirado, fuera de cualquier otra más preocupación que de afectar tanto a los almas como a los espíritus.<br />Arrangements et compositions de Rapha&euml;l Fa&yuml;s sauf Concerto Aranjuez (Rodrigo) et Quator &agrave; cordes sur Fiesta Colombiana arrang&eacute; par Laurent Zeller.<br /></span><span class=Source>Enregistr&eacute; &agrave; Studio Mesa &agrave; Barneau Soignolles en Brie (77) en f&eacute;vrier, mars et avril 2014.<br />Remerciements au Studio Emphase (33) et particuli&egrave;rement &agrave; Bruno M&eacute;nager.<br />Rapha&euml;l Fa&yuml;s joue sur guitare Maurice Dupont Flamenca et sur cordes Savarez.<br />Collaboration et direction artistique Jos&eacute; Palomo &eacute;criture des textes (lettras) volume 2 et 3.<br />Textes et lettras du volume 1 &eacute;crits par Alexandro Gimenez.<br />Remerciements &agrave; Alain Raemakers pour son texte et son aide pr&eacute;cieuse apport&eacute;e dans ma carri&egrave;re par le pass&eacute;, Amiti&eacute;s.</span><span class=Texte><br />Merci &agrave; tous les artistes pour leur patience et leur d&eacute;vouement &agrave; travers ce grand projet qu&rsquo;ont repr&eacute;sent&eacute; ces trois albums. Aussi &agrave; Patricia pour toute son aide apport&eacute;e&hellip; sa discr&eacute;tion et son indispensable soutien &agrave; l&rsquo;artiste.<br /></span><span class=Source><br />Contact sc&egrave;ne Patricia Bri&egrave;re (mail patriciascalla@orange.fr&nbsp; / Tel 06 12 11 96 59 - 06 07 82 65 47)<br />Management : Lorelei Production<br />Photo de couverture retravaill&eacute;e : Danseuse de flamenco <br />par Flavio &copy; Creative Common<br />Conception Graphique originale Laurent Charrier <br />- A4 Éditions 02 41 720 700<br />Fabrication et distribution : Fr&eacute;meaux &amp; Associ&eacute;s<br />info@fremeaux.com <br />P Rapha&euml;l Fa&yuml;s 2014 &copy; Fr&eacute;meaux &amp; Associ&eacute;s <br />sous licence exclusive Rapha&euml;l Fa&yuml;s 2019<br />Contact : <br />www.raphaelfays.com<br />preprod.fremeaux.com<br />www.lorelei-production.com<br /></span><span class=Texte><br /></span><span class=Soustitre>Vol. 1&nbsp;&nbsp; </span><span class=Texte>&nbsp;1. EXTREMADURA (tango)&nbsp;&nbsp; &nbsp;5&rsquo;10<br />&nbsp;&nbsp; &nbsp;2. HIJA DE LA ARENA <br />(fandango de Huelva)&nbsp;&nbsp; &nbsp;5&rsquo;35 <br />&nbsp;&nbsp; &nbsp;3. PRIMERA BULERIA (bulerías) &nbsp;&nbsp; &nbsp;5&rsquo;29<br />&nbsp;&nbsp; &nbsp;4. VIEJO PUEBLO (tanguillo)&nbsp;&nbsp; &nbsp;4&rsquo;05<br />&nbsp;&nbsp; &nbsp;5. LOS ARCOS (fandango de Huelva)&nbsp;&nbsp; &nbsp;2&rsquo;28<br />&nbsp;&nbsp; &nbsp;6. SOLEA - CON CANTE (por solea)&nbsp;&nbsp; &nbsp;4&rsquo;31<br />&nbsp;&nbsp; &nbsp;7. TIENTO - CON CANTE (por tiento)&nbsp;&nbsp; &nbsp;3&rsquo;39<br />&nbsp;&nbsp; &nbsp;8. CANCION PARA DIANA (balada)&nbsp;&nbsp; &nbsp;6&rsquo;59<br /></span><span class=Soustitre>Vol. 2&nbsp;&nbsp;</span><span class=Texte> &nbsp;1. CUATRO CAMINOS (bulerías)&nbsp;&nbsp; &nbsp;5&rsquo;28<br />&nbsp;&nbsp; &nbsp;2. CARAMELITA (rumba)&nbsp;&nbsp; &nbsp;3&rsquo;24<br />&nbsp;&nbsp; &nbsp;3. VIENTOS DEL SUR <br />(solea por bulerías)&nbsp;&nbsp; &nbsp;6&rsquo;46<br />&nbsp;&nbsp; &nbsp;4. DE MIL COLORES (alegrías)&nbsp;&nbsp; &nbsp;5&rsquo;02<br />&nbsp;&nbsp; &nbsp;5. AZUCAR DE AMOR (taranta)&nbsp;&nbsp; &nbsp;6&rsquo;53<br />&nbsp;&nbsp; &nbsp;6. FIESTA COLOMBIANA <br />(fandango de Huelva)&nbsp;&nbsp; &nbsp;4&rsquo;28<br />&nbsp;&nbsp; &nbsp;7. FARRUCA DE ANTAN~O (farruca)&nbsp;&nbsp; &nbsp;6&rsquo;10<br />&nbsp;&nbsp; &nbsp;8. MI COLOMBIANA (colombiana)&nbsp;&nbsp; &nbsp;5&rsquo;19<br /></span><span class=Soustitre>Vol. 3&nbsp;&nbsp; </span><span class=Texte>&nbsp;1. CIRCULO DE LA NOCHE (tango)&nbsp;&nbsp; &nbsp;4&rsquo;50<br />&nbsp;&nbsp; &nbsp;2. BULERIA DE PARIS (bulerías)&nbsp;&nbsp; &nbsp;5&rsquo;42<br />&nbsp;&nbsp; &nbsp;3. COLORINES DE CARNAVAL <br />(zapateado)&nbsp;&nbsp; &nbsp;3&rsquo;01<br />&nbsp;&nbsp; &nbsp;4. EL ZORRO (tanguillo)&nbsp;&nbsp; &nbsp;2&rsquo;42<br />&nbsp;&nbsp; &nbsp;5. EL MALAGUEN~O (malague&ntilde;a)&nbsp;&nbsp; &nbsp;7&rsquo;11<br />&nbsp;&nbsp; &nbsp;6. JUEGO DE CARTAS (tiento)&nbsp;&nbsp; &nbsp;2&rsquo;53<br />&nbsp;&nbsp; &nbsp;7. RECUERDOS DEL MAESTRO (solea)&nbsp;&nbsp; &nbsp;5&rsquo;23<br />&nbsp;&nbsp; &nbsp;8. CONCIERTO DE ARANJUEZ (adagio)&nbsp;&nbsp; &nbsp;9&rsquo;32<br />Paru initialement en 2015, le triple album &laquo;&thinsp;Circulo de la noche&thinsp;&raquo; est un recueil fondamental. Il a d&rsquo;abord fallu &agrave; Rapha&euml;l Fa&yuml;s &eacute;tudier pendant 4 ans le fond de l&rsquo;&acirc;me de cette musique pour d&eacute;finir les courants fondamentaux qui allaient parcourir l&rsquo;expression artistique de cet enregistrement. Il rend compte de toute la diversit&eacute; du r&eacute;pertoire et y apporte brillamment sa touche artistique, notamment avec sa technique particuli&egrave;re d&rsquo;attaque des cordes au m&eacute;diator, mais &eacute;galement en choisissant une instrumentation &agrave; g&eacute;om&eacute;trie variable, enchainant des passages tant&ocirc;t solos, tant&ocirc;t orchestraux. Il rend hommage &agrave; son ami, Paco de Lucia, et s&rsquo;inscrit dans la m&ecirc;me d&eacute;marche de mise en valeur du patrimoine. Enfin, pass&eacute; par le swing manouche et le classique, Rapha&euml;l Fa&yuml;s est parmi les plus grands guitaristes actuels, il montre ici la plus formidable &eacute;bauche de son travail passionn&eacute; et de sa vocation de passeur d&rsquo;&eacute;motions. <br /></span><span class=Soustitre>Augustin Bondoux / Patrick Fr&eacute;meaux<br /></span><span class=Texte><br />Initially released in 2015, the triple album Circulo de la noche was a fundamental corpus: it took four years for Rapha&euml;l Fa&yuml;s to study the depths of this music&rsquo;s soul before he could define the basic currents that flow through the artistic expressions in this recording. Here he would recount all the diversity that lies in this material, and brilliantly add his own artistic touches, which you hear notably in the special way he attacks the strings using a pick, but also in the instrumentation, with a choice that varies in geometry and links solo passages with others that are orchestral. In paying tribute to his friend Paco de Lucia, he became part of the same approach that adds value to a national heritage. Rapha&euml;l Fa&yuml;s has also explored gypsy swing and classical music, and belongs to the great contemporary guitarists; here he provides the most wonderfully absorbing display of his vocation, which is to convey emotions. <br /></span><span class=Soustitre>Augustin Bondoux / Patrick Fr&eacute;meaux</span><span class=Texte><br /></span></p>"
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      "dwf_livret" => "<h3>Ramon Montoya - FA5049</h3><span class=Soustitre2>FLAMENCO<br />L&rsquo;ART DE RAMON MONTOYA<br />1924-1936</span><span class=Texte><br /></span><span class=Soustitre2><br />A la recherche de Herr K.</span><span class=Texte><br />Comme il se doit, cette saga ne pouvait que d&eacute;buter sous un ciel plomb&eacute;. Cadre : les Puces de N&icirc;mes, un dimanche de l&rsquo;an 2000. Il para&icirc;t que c&rsquo;est le printemps. A l&rsquo;entour, portables chourav&eacute;s, illustr&eacute;s moisis et delcos orphelins, mais aussi un cageot maousse de 78 tours, pochettes d&rsquo;origine, nickel chrome. Du mu&shy;sette, l&rsquo;in&eacute;vitable Fred Gouin, une paire de Tino Rossi, mais surtout des Gramo et Polydor espagnols, &ldquo;grabación el&eacute;ctrica&rdquo;. Cabra, la Ni&ntilde;a de los Peines, Ramón Montoya. Allons, cool, un peu de sang froid... J&rsquo;y vais de mon offre :<br />&ndash; Cent balles le lot?<br />Le type &eacute;crase son papier-ma&iuml;s et me reluque avec la morgue indolente d&rsquo;un pacha.<br />&ndash; Deux cent cinquante, dernier prix.<br />&ndash; Deux cents, alors.<br />Allez.<br />Il me rend trois cents sur un billet de cinq, mais une fois &agrave; la voiture, &eacute;vanouis les talbins! Un augure? Sans que je le sache, sous un autre ciel d&rsquo;ardoise, tr&egrave;s loin d&rsquo;ici, un vieux monsieur d&rsquo;origine berlinoise est en train de s&rsquo;&eacute;teindre tout doucement &agrave; Manhattan. Il s&rsquo;agit de Herbert Borchardt, le talentueux jeune producteur de ces m&ecirc;mes Polydor verts, grav&eacute;s &agrave; Madrid au printemps de 1930 par son fid&egrave;le technicien &ldquo;BK&rdquo;, dont le patronyme &agrave; initiale kafka&iuml;enne se retrouve sur chacune de ses matrices. Koenig de son vrai nom, ce roi des ing&eacute;nieurs avait r&eacute;ussi le tour de force d&rsquo;installer son pr&eacute;cieux mat&eacute;riel dans une salle de location madril&egrave;ne, d&rsquo;o&ugrave; jaillit un torrent de documents sonores proprement &eacute;blouissants.<br />Son grand rival a pour nom H.E. Davidson, brillant producteur de la compagnie Gramophone, farfelu et caract&eacute;riel, qui signe ses matrices &ldquo;BJ&rdquo;. Dans les ann&eacute;es vingt, Davidson avait pris l&rsquo;habitude de circuler en camion &agrave; travers l&rsquo;Espagne, en qu&ecirc;te de jotas in&eacute;dites, de chanteurs sans contrats, de gitanos en vadrouille. Angelillo, Marchena, Ramón, tous s&rsquo;inclineront devant son micro. Au grand dam de ses patrons anglais, il dispara&icirc;t dans les sierras pendant des mois, pour r&eacute;appara&icirc;tre mine de rien, muni de cires grav&eacute;es au fil de ses p&eacute;r&eacute;grinations, souvent dans sa propre chambre d&rsquo;h&ocirc;tel. Davidson, qui &agrave; S&eacute;ville ce m&ecirc;me printemps de 1930, a l&rsquo;id&eacute;e loufoque de suspendre un micro du clocher de la cath&eacute;drale &ndash; quel culot! &ndash; pour enregistrer le passage des saetas de P&acirc;ques dans la rue. C&rsquo;est le premier &ldquo;live recording&rdquo; espagnol.<br />Un &acirc;ge d&rsquo;or qui arrivera bient&ocirc;t &agrave; son terme. Entr&eacute;e en sc&egrave;ne des Franquistes : les guitares se taisent et le camion de Davidson est r&eacute;quisitionn&eacute;. Herbert Borchardt, lui, se fait arr&ecirc;ter pas les nazis &agrave; Paris en 1941, parvient &agrave; les semer, puis franchit la fronti&egrave;re espagnole et s&rsquo;embarque pour l&rsquo;Am&eacute;rique &agrave; Cadix en ao&ucirc;t 1942. Une &eacute;poque prend fin.<br /></span><span class=Soustitre>Tony Baldwin</span><span class=Texte><br />N&eacute; en 1879 &agrave; Madrid, Ramón Montoya a d&eacute;but&eacute; sa carri&egrave;re &agrave; quatorze ans dans un caf&eacute; cantante, apr&egrave;s avoir b&eacute;n&eacute;fici&eacute; de l&rsquo;enseignement du Maestro Malague&ntilde;o et de Miguel Borrull. D&eacute;couvert par l&rsquo;impresario du Caf&eacute; Marina, il est l&rsquo;un des piliers de cet &eacute;tablissement prestigieux de 1896 &agrave; 1904, alternant avec les plus grands artistes de l&rsquo;&eacute;poque, comme Juan Breva, Salud Rodríguez, Antonio de Bilbao ou La Macarrona. L&rsquo;ann&eacute;e 1912 est importante puisque c&rsquo;est celle o&ugrave; il commence &agrave; jouer avec le plus grand cantaor de l&rsquo;&eacute;poque, Antonio Chac&ograve;n, dont il sera le fid&egrave;le accompagnateur jusqu&rsquo;en 1926. Il devient alors la coqueluche de la Haute Soci&eacute;t&eacute; madril&egrave;ne et se produit au sein de cuadros flamencos dans de nombreuses f&ecirc;tes priv&eacute;es. Il joue aussi dans des cadres plus informels, pour un public d&rsquo;aficionados, comme dans l&rsquo;atelier du luthier Santos Hernández o&ugrave; il &eacute;blouit les connaisseurs par la richesse de ses falsetas, ces variations virtuoses dont il fut l&rsquo;un des plus grands ma&icirc;tres.<br />Roi du toque flamenco, il multiplie les concerts, seul avec &ldquo;La Leona&rdquo;, guitare fabriqu&eacute;e pour lui par le luthier Santos Hernández, ou comme accompagnateur des plus grandes chanteuses telles La Ni&ntilde;a de los Peines, La Argentinita ou La Joselito.<br />En 1936, une s&eacute;ance d&rsquo;enregistrements en solo est pr&eacute;vue, malgr&eacute; les r&eacute;ticences du principal int&eacute;ress&eacute; qui pensait qu&rsquo;une s&eacute;rie de solos de guitare flamenca &eacute;tait invendable. Marius de Zayas parvient cependant &agrave; le convaincre de venir enregistrer &agrave; Paris.<br />Rodrigo de Zayas, le fils de Marius, devenu lui-m&ecirc;me un musicologue renomm&eacute;, s&rsquo;est rem&eacute;mor&eacute; cette s&eacute;ance d&rsquo;enregistrements : &ldquo;En mars 1936, mes parents quitt&egrave;rent Madrid avec un projet insens&eacute; : graver des disques avec Montoya en solo. Des disques de grand format, des trente centim&egrave;tres comme pour la &ldquo;grande&rdquo; musique, comme pour Wanda Landowska, Pau Casals ou Fritz Kreisler. Ce projet &eacute;tait insens&eacute; parce que cela ne s&rsquo;&eacute;tait jamais fait. Tout ce qui est nouveau est insens&eacute;. Imaginez. De la musique folklorique, un guitariste, comment dites-vous, flamenco? Un Gitan qui sait &agrave; peine lire et &eacute;crire, qui ne sait pas ce que c&rsquo;est qu&rsquo;une partition...&rdquo;<br />Un contrat de six disques est sign&eacute; et un concert organis&eacute; au Casino de Biarritz, pour lancer l&rsquo;artiste. La date pr&eacute;vue est le 29 juillet 1936. Le 21, la fronti&egrave;re est ferm&eacute;e, alors que d&eacute;bute la guerre civile. Le concert est report&eacute; au 7 septembre et Montoya r&eacute;ussit &agrave; quitter Madrid avec sa femme Mariana pour arriver dans un Biarritz o&ugrave; affluent les r&eacute;fugi&eacute;s r&eacute;publicains. Le concert est un triomphe.<br />Ramón Montoya arrive donc &agrave; Paris, aur&eacute;ol&eacute; de prestige. Il s&rsquo;installe avec sa femme &ldquo;dans un h&ocirc;tel qui co&ucirc;tait dix francs par jour, avec le droit de faire la cuisine&rdquo;, se rem&eacute;more cette derni&egrave;re. L&eacute;vy-Alvarez, le directeur de BAM (La Bo&icirc;te &agrave; Musique), pr&eacute;sente les disques dans son catalogue d&rsquo;octobre, entre l&rsquo;Orfeo de Monteverdi et le Clavecin bien temp&eacute;r&eacute; de Jean-S&eacute;bastien Bach. Entre le 21 au matin et le 22 dans la soir&eacute;e, les disques sont grav&eacute;s. &ldquo;Il y a mis jusqu&rsquo;&agrave; la derni&egrave;re goutte de son sang gitan&rdquo;, &eacute;crit Marius de Zaya &agrave; sa femme. Les six 78 tours 30 cm sont r&eacute;unis dans un album appel&eacute; &ldquo;Arte clásico flamenco&rdquo;.<br />Un concert a lieu le 30 octobre &agrave; la salle Pleyel, la salle Chopin initialement pr&eacute;vue s&rsquo;&eacute;tant av&eacute;r&eacute;e trop petite. Dans &ldquo;Le Jour&rdquo; du 3 novembre, Jean-Pierre Leroi parle des &ldquo;sortil&egrave;ges de cette Espagne douloureuse et martyre...&rdquo;. Le 12 novembre, le plus grand critique de musique classique de l&rsquo;&eacute;poque, Émile Vuillermoz (un esprit ouvert qui avait d&eacute;j&agrave; reconnu le g&eacute;nie de Sidney Bechet), &eacute;crit un article enthousiaste dans &ldquo;L&rsquo;Excelsior&rdquo; : &ldquo;Cet album constitue une pi&egrave;ce de collection inestimable&rdquo;. Le monde entier c&eacute;l&egrave;bre dor&eacute;navant Montoya qui retourne en Espagne en 1937, apr&egrave;s une tourn&eacute;e en Argentine.<br />Ramón Montoya accompagne alors de nombreux chanteurs, dont Pepe Mar&shy;chena, jusqu&rsquo;&agrave; sa mort, le 20 juillet 1949.<br />Son exemple sera suivi par des artistes comme Sabicas qui jouera en solo au d&eacute;but des ann&eacute;es cinquante au sein de la troupe de Carmen Amaya, ou par Ni&ntilde;o de Ricardo qui enregistrera &eacute;galement en solo &agrave; Paris dans les ann&eacute;es cinquante. Son cousin, Carlos Montoya, fera une carri&egrave;re am&eacute;ricaine remarqu&eacute;e, sacrifiant cependant le fond &agrave; une forme brillante mais un peu vide.<br />On peut trouver des transcriptions de certains de ses toques : Montoya Ramón, Arte clásico flamenco (transcriptions Alain Faucher), &eacute;d. Alfedis, Paris, 1994.<br /></span><span class=Soustitre2>La guitare flamenca</span><span class=Texte><br />Elle appara&icirc;t vers 1860, gr&acirc;ce &agrave; un luthier d&rsquo;Almeria, Antonio Torres Jurado, qui lui donne une sonorit&eacute; plus forte et plus aggressive que celle de la guitare classique, afin qu&rsquo;elle s&rsquo;harmonise mieux avec la voix. Le chevalet est plus bas et la table d&rsquo;harmonie est prot&eacute;g&eacute;e des coups d&rsquo;ongles par une plaque. Plus petite et plus l&eacute;g&egrave;re, elle convient &eacute;galement mieux &agrave; des artistes itin&eacute;rants. Auparavant, elle &eacute;tait assez rarement employ&eacute;e, le chant &eacute;tant accompagn&eacute; par les palmas (frappes de mains), le zapateado (frappements de pieds) des danseurs, ou par des panderos (tambours sur cadre).<br /></span><span class=Soustitre2>La technique de la guitare flamenca</span><span class=Texte><br />Les pi&egrave;ces pour guitare s&rsquo;appellent des toques. Le th&egrave;me principal est orn&eacute; de variations, les falsetas. La plupart des toques suivent une formule rythmique pr&eacute;cise, le compás.<br />Il existe plusieurs techniques de la main droite. Dans le rasgueado, qui est la technique principale de la guitare flamenca, chaque doigt attaque les cordes l&rsquo;un apr&egrave;s l&rsquo;autre, dans un mouvement continu qui produit un effet de roulement. Il existe plusieurs types qui s&rsquo;allient au jeu du pulgar, le pouce. C&rsquo;est le doigt le plus rapide. Il joue des s&eacute;ries de notes individuelles frapp&eacute;es qui alternent avec des ligados, jou&eacute;s par la main gauche. Il est souvent utilis&eacute; en association avec l&rsquo;index.<br />La alzapúa est un mouvement du pouce en trois temps, un aller du grave vers l&rsquo;aigu sur trois cordes, suivi d&rsquo;un retour (de l&rsquo;aigu vers le grave), suivi d&rsquo;une basse.<br />Le picado est une frappe altern&eacute;e de l&rsquo;index et du majeur, plus rarement de l&rsquo;index et de l&rsquo;annulaire, du majeur et de l&rsquo;annulaire ou plus encore plus rarement de l&rsquo;index et de l&rsquo;auriculaire. Il est souvent effectu&eacute; tr&egrave;s rapidement.<br />Le golpe est un coup port&eacute; par l&rsquo;annulaire pr&egrave;s du chevalet, afin de ponctuer les accents les plus importants.<br />Dans les arpegios, le pouce frappe une corde basse alors que deux ou trois doigts attaquent les aigu&euml;s. Il en existe plusieurs formes.<br />Les tr&eacute;molos sont effectu&eacute;s avec trois ou quatre doigts.<br />La main gauche joue les accords et effectue des ligados au cours desquels le doigt pince la corde et la rel&acirc;che, cr&eacute;ant de rapides passages coul&eacute;s.<br />Tout l&rsquo;art du guitariste consiste &agrave; m&eacute;langer ces effets pour soutenir et relancer la chanteuse ou le chanteur. Ramón Montoya a cr&eacute;&eacute; son style de soliste en adaptant certaines techniques de la guitare classique. Il admirait en effet des guitaristes et compositeurs classiques, notamment Miguel Llobet, disciple de Francisco Tarrega. Sa technique &eacute;blouissante, d&eacute;velopp&eacute;e au cours de soixante ans de carri&egrave;re, a fait de lui un exemple pour tous les guitaristes.<br /></span><span class=Soustitre2>Les formes musicales<br /></span><span class=Texte><br /><strong>Les alegrias</strong><br />C&rsquo;est la forme de cante dominante des canti&ntilde;as d&eacute;velopp&eacute;es &agrave; Cadix, &agrave; partir des anciennes soleares et des jaleos. Elles sont en majeur avec quelques interludes en mineur. Leur compás est analogue &agrave; celui des soleares, mais est plus rapide.<br /><strong>Les bulerías</strong><br />C&rsquo;est une forme majeure, la plus ouverte aux innovations et &agrave; la spontan&eacute;it&eacute;. Elle peut se montrer &eacute;galement tr&egrave;s majestueuse. C&rsquo;est la plus difficile techniquement et ce sont souvent les Gitans (surtout ceux de Jerez) qui la ma&icirc;trisent le mieux. On dit parfois qu&rsquo;elle d&eacute;rive de la soleá.<br /><strong>Les caracoles</strong><br />Ils font partie des canti&ntilde;as de Cadix. Ils sont identiques rythmiquement aux alegrias mais la progression harmonique et le cante sont diff&eacute;rents. On les consid&egrave;re maintenant comme originaires de Madrid o&ugrave; ils ont &eacute;t&eacute; introduits au XIXe si&egrave;cle par des personnalit&eacute;s de la tauromachie comme Curro Cúchares et El Tato. Leur style a tendance &agrave; devenir plus l&eacute;ger. Caracoles signifie &ldquo;escargots&rdquo;. C&rsquo;est une interjection comme &ldquo;caramba.&rdquo;<br /><strong>Les fandangos</strong><br />C&rsquo;est une des formes le plus souvent chant&eacute;es. Il en existe deux sortes, les fandangos grandes et les fandanguillos, folkloriques ou proches de &ldquo;l&rsquo;op&eacute;ra flamenco&rdquo;. Originaires de la province de Huelva, ils &eacute;taient jadis accompagn&eacute;s par des guitares, des castagnettes, des violons et des tambourins. Le fandango de Huelva est proche de la jota, avec son compás en 3/4.<br /><strong>Les farrucas</strong><br />Ces danses galiciennes ont &eacute;t&eacute; fortement influenc&eacute;es par les tangos de Cadix. Leur compás est similaire &agrave; celui des tangos mais la progression des accords et l&rsquo;accentuation sont diff&eacute;rents.<br /><strong>Les granainas</strong><br />Ce sont des adaptations des fandangos grandes. Elles sont plus orn&eacute;es que le cante jondo. Elles ne comportent pas de compás d&eacute;termin&eacute;. Leur nom vient de granadinas (de Grenade). On ne peut les &eacute;couter sans &eacute;voquer le nom d&rsquo;Antonio Chacón, qui en fut le plus grand inter&shy;pr&egrave;te.<br /><strong>Les guajiras</strong><br />C&rsquo;est la version andalouse du rythme cubain du m&ecirc;me nom. Indolentes et sensuelles, elles passent pour avoir &eacute;t&eacute; rapport&eacute;es par les soldats de retour d&rsquo;Am&eacute;rique, au XVIe si&egrave;cle. Le rythme original en 6/8 peut pr&eacute;senter des variations en 4/8 ou, ici, en 3/8.<br /><strong><br />Les malague&ntilde;as</strong><br />Elles proviennent de la province de Málaga qui, peu int&eacute;ress&eacute;e par le style gitan, a cr&eacute;&eacute; ses propres cantes adapt&eacute;s &agrave; chaque sentiment, verdiales ou ronde&ntilde;as pour exprimer la gaiet&eacute;, cante grande ou serranas pour les &eacute;motions plus profondes. Elles n&rsquo;ont pas de cycle rythmique d&eacute;termin&eacute;.<br /><strong>Les milongas</strong><br />D&rsquo;origine sans doute argentine, elles peuvent suivre un compás tr&egrave;s libre (por fandangos) ou bien d&eacute;fini (por rumba). C&rsquo;est un genre l&eacute;ger en 2/4.<br /><strong>Les mineras</strong><br />Elles sont proches des tarantas et des cartageneras. Ces chants de mineurs sont interpr&eacute;t&eacute;s dans le Levant, mais aussi dans la province de Ja&eacute;n. Ils ont une mesure ternaire avec des passages binaires.<br /><strong><br />Les ronde&ntilde;as</strong><br />Il s&rsquo;agit d&rsquo;une forme uniquement instrumentale originaire de Ronda, dans la province de Málaga. Un accord diff&eacute;rent donne un effet de dissonance. On attribue &agrave; Ramón Montoya la complexit&eacute; de son toque actuel, qui se situe entre celui des malague&ntilde;as et celui des granadinas. Elles n&rsquo;ont pas de compás d&eacute;termin&eacute;.<br /><strong>Les siguiriyas</strong><br />C&rsquo;est une des formes les plus profondes du flamenco. Son compás &agrave; douze temps (certains auteurs en comptent cinq) d&eacute;rive de celui de la soleá. Manuel de Falla la consid&eacute;rait comme l&rsquo;arch&eacute;type du chant primitif andalou, d&rsquo;expression purement gitane.<br /><strong><br />Les soleares</strong><br />Soleares vient de soleá, abr&eacute;viation du mot soledad, solitude. C&rsquo;est la m&egrave;re du chant, la forme principale du cante. Ses origines sont incertaines. On trouve au XVIe si&egrave;cle une versification similaire chez Cervantes. Les plus anciennes soleares identifi&eacute;es, originaires de Triana, datent cependant de la premi&egrave;re moiti&eacute; du XIXe si&egrave;cle. Elles se sont ensuite r&eacute;pandues &agrave; S&eacute;ville et &agrave; Cadix. On la joue sur un cycle rythmique de douze temps, en accentuant les troisi&egrave;me, sixi&egrave;me, huiti&egrave;me, dizi&egrave;me et douzi&egrave;me temps. Les th&egrave;mes en sont vari&eacute;s, allant du tragique au l&eacute;ger. Montoya l&rsquo;introduit ici par un polo et une ca&ntilde;a.<br /><strong><br />Les tangos</strong><br />L&rsquo;origine de ces pi&egrave;ces m&eacute;lancoliques est controvers&eacute;e. On les appelle aussi tientos canasteros, les tientos des vanniers, ce qui accr&eacute;diterait leur origine gitane. Ils se jouent sur un rythme binaire, peu fr&eacute;quent dans le flamenco.<br /><strong>Les tarantas</strong><br />Ce sont des chants de mineurs. Originaires d&rsquo;Almería, puis de Ja&eacute;n (Linares) et de Murcie, elles sont proches des cartageneras, tant au niveau de l&rsquo;ethos que de la structure. Certains ont cru d&eacute;celer des traits directement venus des Maures dans ces chants sans compás.<br /></span><span class=Soustitre2>Les chanteuses et chanteurs</span><span class=Texte><br /><strong>Angel Sampesdro Montero</strong><br />N&eacute; &agrave; Madrid en 1908, mort &agrave; Olivos, Argentine, en 1973.<br /><strong>Angelillo</strong><br />Il &eacute;tait connu pour ses fandanguillos et d&rsquo;autres formes influenc&eacute;es par la musique hispano-am&eacute;ricaine. Il a jou&eacute; dans plusieurs films et &eacute;tait l&rsquo;un des repr&eacute;sentants les plus connus de la canci&ograve;n flamenca.<br /><strong>La Ni&ntilde;a de Los Peines</strong><br />Pastora Pavón &eacute;tait la s&oelig;ur de Tomás Pavón et la femme de Pepe Pinto. Elle tient son surnom d&rsquo;une copla qu&rsquo;elle chantait dans sa jeunesse et qui parlait d&rsquo;une &ldquo;jeune fille au peigne&rdquo;. N&eacute;e et morte &agrave; S&eacute;ville (1890-1969), elle a maintenant sa statue sur la place de la Alameda. Amie de Manuel de Falla et de Federico García Lorca, cette sp&eacute;cialiste des tangos, tientos, bulerías, saetas et peteneras, mais qui &eacute;tait capable d&rsquo;interpr&eacute;ter toutes les formes vocales avec duende, est consid&eacute;r&eacute;e par les aficionados comme la plus grande chanteuse du XXe si&egrave;cle.<br /><strong>El Ni&ntilde;o de Cabra</strong><br />Cayetano Muriel est n&eacute; &agrave; Cabra, en 1870 et mort &agrave; Benanejí, Cordoba, en 1947. Cet extraordinaire malague&ntilde;o, grand interpr&egrave;te des styles du Levant et des fandangos de Lucena, dans la lign&eacute;e du grand Antonio Chac&ograve;n, &eacute;tait tr&egrave;s populaire &agrave; son &eacute;poque.<br /><strong>El Ni&ntilde;o de Marchena</strong><br />Ce Payo (non Gitan) n&eacute; &agrave; Marchena en 1903, est mort &agrave; S&eacute;ville en 1976. La voix douce de Pepe, son timbre l&eacute;ger, furent parfois consid&eacute;r&eacute;s comme un symbole de la d&eacute;cadence du flamenco par quelques tenants du cante grande. C&rsquo;est l&rsquo;aspect a&eacute;rien de la musique andalouse, qui fait contraste avec le versant chtonien de l&rsquo;art de nombre de cantaores gitans.<br /><strong><br />Jos&eacute; Rebollo</strong><br />N&eacute; &agrave; Boguer (1895-1938), il &eacute;tait c&eacute;l&egrave;bre pour ses interpr&eacute;tations de fandangos.<br /><strong><br />Juan Varea</strong><br />Ce natif de Valence faisait partie du Tablao Zambra de Madrid. Il a effectu&eacute; de nombreuses tourn&eacute;es en Espagne au sein de troupes folkloriques et &eacute;tait consid&eacute;r&eacute; comme l&rsquo;un des meilleurs sp&eacute;cialistes des malague&ntilde;as.<br /></span><span class=Soustitre>Henri Lecomte</span><span class=Texte><br />&copy; FRÉMEAUX &amp; ASSOCIÉS, GROUPE FRÉMEAUX COLOMBINI SA, 2002.<br /></span><span class=Soustitre2><br />Visite &agrave; la Grande Biblioth&egrave;que</span><span class=Texte><br />Voici le compte-rendu du concert MONTOYA, publi&eacute; en page 6 (colonne 1) du quotidien &ldquo;Le Jour&rdquo; du 3/11/1936 (17&#8200;lignes) sous le titre : Concerts et r&eacute;citals. &ldquo;La salle Chopin s&rsquo;&eacute;tant r&eacute;v&eacute;l&eacute;e trop exigu&euml; pour les admirateurs de Ramón Montoya, c&rsquo;est dans la salle Rameau que celui-ci a offici&eacute;, et il y a r&eacute;ussi cette gageure de retenir &eacute;troitement toute la soir&eacute;e l&rsquo;attention de son public, dans un cadre manifestement trop grand pour un r&eacute;cital de guitare. Il est vrai que cet instrument prend sous ses doigts une grandeur inusit&eacute;e et l&rsquo;on a constat&eacute; avec surprise toute la vari&eacute;t&eacute; et la richesse sonore qu&rsquo;il pouvait en tirer. Ramón Montoya qui n&rsquo;est pas seulement un technicien prestigieux mais un parfait musicien nous fit une d&eacute;monstration pleine d&rsquo;&eacute;rudition de la couleur et du charme captivant des rythmes flamencos.&rdquo;<br /><strong>Commentaires :&nbsp;&nbsp; &nbsp;</strong><br />Ce concert avait &eacute;t&eacute; annonc&eacute; dans le journal de la veille, salle Chopin, 21 heures, Ramón Montoya c&eacute;l&egrave;bre guitariste flamenco.&nbsp;&nbsp; &nbsp;<br />Probablement Montoya est rest&eacute; &agrave; Paris, car nous le retrouvons &agrave; Pleyel le 30/11/1936 dans un festival Flamenco avec La JOSELITO.&nbsp;&nbsp; &nbsp;<br />&ldquo;Le Jour&rdquo; informe : c&rsquo;est une innovation car ils seront assist&eacute;s par de purs gitans et pr&eacute;senteront une r&eacute;trospective des chants et danses de diff&eacute;rentes r&eacute;gions d&rsquo;Andalousie. Mais ce n&rsquo;est pas tout, le 13/12/1936 en matin&eacute;e, toujours &agrave; Pleyel a lieu un 2e festival Flamenco avec les m&ecirc;mes.&nbsp;&nbsp; &nbsp;<br />Il est curieux de noter qu&rsquo;un autre guitariste nomm&eacute; Carlos Montoya se produisait &agrave; la m&ecirc;me &eacute;poque &agrave; la Cabane Cubaine et qu&rsquo;un autre guitariste, Andr&eacute; S&eacute;govia, donnait des r&eacute;citals...<br /></span><span class=Soustitre>G&eacute;rard Roig</span><span class=Texte><br /></span><br /><span class=Texte>Born in 1879 in Madrid, Ramón Montoya began his career at the age of fourteen in a caf&eacute; cantante, having been taught by Maestro Malague&ntilde;o and Miguel Borrull.&nbsp; Discovered by the Caf&eacute; Marina&rsquo;s impresario, he was one of the mainstays of this prestigious venue from 1896 to 1904, along with the greatest artists of the period, such as Juan Breva, Salud Rodríguez, Antonio de Bilbao and La Macarrona.&nbsp; 1912 was a year of great importance as he began to play with the best cantaor of the epoch, Antonio Chac&ograve;n and with whom he remained faithfully as his accompanist until 1926.&nbsp; He then became the darling of Madrid&rsquo;s high society and played with the cuadros flamencos in numerous private parties.&nbsp; He also performed in less formal settings for gatherings of aficionados, such as in the workshop of luthier Santos Hernández where he dazzled the connoisseurs through the richness of his falsetas of which he was one of the greatest&nbsp; masters. <br />As king of the toque flamenco, he gave an increasing number of concerts, alone with &lsquo;La Leona&rsquo;, a guitar specially made for him by Santos Hernández, or accompanying celebrated singers such as La Ni&ntilde;a de los Peines, La Argentinita or La Joselito.<br />A solo recording session was proposed for 1936, though Ramón himself was reticent, believing that a series of flamenco guitar solos would have no marketing success.&nbsp; Marius de Zayas finally convinced him to head up to Paris for the recording.&nbsp; A contract for six discs was signed and a concert was organised in the Casino de Biarritz.&nbsp; The intended date was 29 July 1936, however the frontiers were closed on the 21st due to the civil war so the concert was postponed to 7 September.&nbsp; Montoya managed to leave Madrid with his wife Mariana and arrived in Biarritz which was teeming with Republican refugees. The concert was a tremendous success.<br />Triumphant, Ramón Montoya arrived in Paris and between the morning of the 21st and the evening of the 22nd, the records were cut, &lsquo;putting every drop of his Gypsy blood&rsquo; into his playing, as Marius de Zaya once wrote.&nbsp; The six 78&rsquo;s were reunited in an album called &lsquo;Arte clasico flamenco&rsquo;.<br />A concert was held on 30 October in the Salle Pleyel.&nbsp; The critics highly commended his talent and even the most highly ranked classical critic of the period, Emile Vuillermoz, wrote in &lsquo;L&rsquo;Excelsior&rsquo; : &lsquo;This album is a priceless collector&rsquo;s item&rsquo;.&nbsp; By the time Montoya returned to Spain in 1937 following an Argentinean tour, he was world famous.<br />Ramón Montoya then accompanied numerous singers, including Pepe Marchena, until his death on 20 July 1949.&nbsp; Others were to follow his example such as Sabicas who played solo in the early fifties as a member of the Carmen Amaya troupe and Ni&ntilde;o de Ricardo who also recorded solo in Paris during the fifties.&nbsp; His cousin, Carlos Montoya, chose to pursue his career in America.<br /></span><span class=Soustitre2>The Flamenco Guitar</span><span class=Texte><br />This instrument first appeared around 1860 thanks to a luthier from Almeria, Antonio Torres, who developed a louder and more aggressive sonority compared to the classical guitar.&nbsp; The bridge is lower and the sound box is protected by a plate. As it is smaller and lighter, it is the ideal instrument for wandering musicians.&nbsp; Before, it was rarely used as singing was accompanied by the palmas (hand clapping) and zapateado (foot tapping) of the dancers, or by panderos (drums).<br /></span><span class=Soustitre2>The Technique</span><span class=Texte><br />Compositions for the flamenco guitar are called toques.&nbsp; The main tune contains variations known as falsetas.&nbsp; The majority of toques follow a precise rhythmic formula, the compás.<br />There are many different techniques for the right hand.&nbsp; In the rasgueado, which is the principal technique for the flamenco guitar, each finger plucks the strings one after another in a continuous movement, thus producing a rolling effect.&nbsp; There are several kinds which also include the thumb, the pulgar.&nbsp; This is the most rapid digit and plays series of individual notes which alternate with ligados played by the left hand.&nbsp; It is often used along with the forefinger.<br />The alzapúa is a three-part time thumb movement, going from low to high on three strings, followed by the return from high to low, followed by a bass.<br />The picado is the alternated use of the forefinger and the second finger, of the forefinger and the fourth or, more rarely, the forefinger and the little finger.&nbsp; This technique is often very rapid.<br />The golpe is the term used for when the fourth finger strikes close to the bridge for accentuation purposes.<br />In the arpegios, the thumb strikes a bass string while two or three fingers work on the higher ones.&nbsp; There are several different types.<br />Three or four fingers are used for tr&eacute;molos.<br />The left hand plays chords and does ligados where the finger pinches the string and then releases it.<br />The guitarist&rsquo;s artistry comes from the combination of these techniques to accompany the singer.&nbsp; Ramon Montoya created his style as a soloist by adapting certain classical guitar techniques.&nbsp; Indeed, he admired classical guitarists and composers, particularly Miguel Llobet, a disciple of Francisco Tarrega.&nbsp; His brilliant technique, which he developed during the sixty years of his career, has made him an example for all guitarists.<br /></span><span class=Soustitre2>The Musical Forms</span><span class=Texte><br /><strong>Alegrias</strong><br />These are a form of the cante of the canti&ntilde;as which developed in Cadix, stemming from the old soleares and jaleos.&nbsp; They are in a major key with a few interludes in minor.&nbsp; Their compás is comparable to that of the soleares, but is more rapid.<br /><strong><br />Bulerías</strong><br />In a major key, they are more innovative and spontaneous than the other forms.&nbsp; They can also be majestic.&nbsp; The technique is the most difficult and often Gypsies (especially those from Jerez) master it better than others.&nbsp; It is sometimes said that it derives from the soleá.<br /><strong>Caracoles</strong><br />These are a part of the canti&ntilde;as from Cadix.&nbsp; Their rhythm is identical to that of the alegrias but the harmonic progression and the cante are different.&nbsp; It is now believed that they originate from Madrid where they were introduced in the XIXth century by bull-fighting celebrities such as Curro Cuchares and El Tato.&nbsp; Their style has become lighter.&nbsp; Caracoles means &lsquo;snails&rsquo;.<br /><strong>Fandangos</strong><br />This form is usually sung.&nbsp; Two kinds exist, the fandangos grandes and the fandanguillos, belonging to folklore or similar to flamenco opera.&nbsp; Originally from Huelva, they used to be accompanied by guitars, castanets, violins and tambourines.&nbsp; The fandango de Huelva is similar to the jota, with its 3/4 compás.<br /><strong>Farrucas</strong><br />These Galician dances have been strongly influenced by the tangos from Cadix.&nbsp; Their compás is similar to that of tangos but the progression of chords and the accentuation are different.<br /><strong>Granainas</strong><br />These are adaptations of fandangos grandes.&nbsp; They are more elaborate that the cante jondo.&nbsp; They do not have a fixed compas.&nbsp; Their name is derived from granadinas (from Grenada).&nbsp; They are always associated with Antonio Chacón, who was the greatest interpreter of this style.<br /><strong>Guajiras</strong><br />This is the Andalusian version of the Cuban rhythm bearing the same name.&nbsp; Indolent and sensual, they were brought back by the soldiers returning from America in the XVIth century.&nbsp; The original rhythm is 6/8 but can vary with 4/8, or, as we find here, 3/8.<br /><strong>Malague&ntilde;as</strong><br />They come from the province of Málaga where the gitano style did not truly interest the inhabitants so they created their own cantes adapted to various emotions - verdiales or rondenas to express mirth and cante grande or serranas for deeper sentiments.&nbsp; They do not have a fixed rhythm.<br /><strong>Milongas</strong><br />Undoubtedly of Argentinean origin, they can follow a free compás (por fandangos) or a defined one (por rumba).&nbsp; This is a light genre on a 2/4 time.<br /><strong>Mineras</strong><br />They are similar to tarantas and cartageneras.&nbsp; These songs are sung in the Levant and in the province of Ja&eacute;n.&nbsp; They are interpreted on a triple time with binary pieces.<br /><strong>Ronde&ntilde;as</strong><br />These are purely instrumental pieces originating from Ronda in the province of Málaga.&nbsp; A different chord gives an impression of discord.&nbsp; Ramón Montoya was responsible for the complexity of the present toque, which is between that of malaguenas and grandadinas.&nbsp; They do not have a fixed compás.<br /><strong>Siguiriyas</strong><br />This is one of flamenco&rsquo;s deepest forms.&nbsp; Its 12-time compás derives from that of the soleá.&nbsp; Manuel de Falla believed it to be the epitome of primitive Andalusian singing, pure Gypsy expression.<br /><strong>Soleares</strong><br />The name soleares comes from soleá, an abbreviation of the word soledad, or solitude.&nbsp; This is the principal form of the cante.&nbsp; Its origins are uncertain.&nbsp; The oldest identified soleares, coming from Triana, date back to the first half of the XIXth century.&nbsp; They then spread to Seville and Cadix.&nbsp; It is played on a 12-time rhythm.&nbsp; The themes can vary, going from tragedy to light-heartedness.<br /><strong>Tangos</strong><br />The origins of these melancholic pieces are uncertain.&nbsp; They are also called tientos canasteros, the tientos of basket makers, which could signify that they are of Gypsy origin.<br /><strong>Tarantas</strong><br />These are miners&rsquo; songs.&nbsp; Originally from Almería, then from Ja&eacute;n and Murcia, they resemble the cartageneras.&nbsp; Some believe they contain elements coming from the Moors in their songs without compás.<br /></span><span class=Soustitre2>The Singers</span><span class=Texte><br />&nbsp;<br /><strong>Angelillo</strong><br />Angel Sampedro Montero (1908-1973) was known for his fandanguillos and other forms influenced by Hispanic-American music.&nbsp; He appeared in several films and was one of the best-known representatives of the canci&ograve;n flamenca.<br /><strong>La Ni&ntilde;a de Los Peines</strong><br />Pastora Pavon was the sister of Tomás Pavón and the wife of Pepe Pinto.&nbsp; She was born and passed away in Seville (1890-1969) and her statue can be seen in the Alameda square.&nbsp; A friend of Manuel de Falla and Federico Garcia Lorca, the aficionados of this specialist of tangos, tientos, bulerías, saetas and peteneras rank her as the greatest female singer of the XXth century.<br /><strong>El Ni&ntilde;o de Cabra</strong><br />Cayetano Muriel was born in Cabra in 1870.&nbsp; This extraordinary malagueno, a great interpreter of styles from the Levant and fandangos de Lucena, was a very popular singer.<br /><strong>El Ni&ntilde;o de Marchena</strong><br />This Payo (not a Gypsy) was born in Marchena in 1903 and died in Seville in 1976.&nbsp; His soft voice and light tone were sometimes considered as a symbol of decadence in flamenco music.&nbsp; This ethereal aspect of Andalusian music is in contrast with the chthonic style of many of the Gypsy cantaores.<br /><strong>Jos&eacute; Rebollo</strong><br />Born in Boguer (1895-1938), he was famous for his fandangos.<br /><strong>Juan Varea</strong><br />Born in Valence, Varea belonged to Madrid&rsquo;s Tablao Zambra.&nbsp; He toured Spain many times with folklore troupes and was considered as one of best specialists of malague&ntilde;as.<br /></span><span class=Soustitre><br />Adapted in English by Laure WRIGHT<br />from the French text of Henri Lecomte</span><span class=Texte><br />&copy; FRÉMEAUX &amp; ASSOCIÉS, GROUPE FRÉMEAUX COLOMBINI SA, 2002.<br /></span><span class=Texte><br /></span><span class=Soustitre2><br />DISCOGRAPHIE</span><span class=Texte><br />Les solos de guitare de Ramón Montoya parus chez La Bo&icirc;te &agrave; Musique en 1936 furent tous enregistr&eacute;s aux studios Path&eacute;. A l&rsquo;exception des matrices 803 (Soleá) et 814 (Minera), on ne conserva qu&rsquo;une prise de chacun de ces morceaux. Il nous est parvenu un test tr&egrave;s us&eacute; de la prise refus&eacute;e de Soleá (CD1, plage 15), mais la prise in&eacute;dite de Minera reste introuvable. A la derni&egrave;re s&eacute;ance, o&ugrave; figure le duo de Soleá (864) avec Amalio Cuenca, on grava vraisemblablement deux morceaux suppl&eacute;mentaires (matrices 866 et 867), en l&rsquo;occurence refus&eacute;s tous les deux.<br /></span><span class=Soustitre2>CD 1</span><span class=Texte><br />Paris, les 21 et 22 octobre 1936 :&nbsp;&nbsp; &nbsp;<br /><strong>Ramón Montoya, </strong>guitare seule.<br />01. Soleá (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 101)&nbsp;&nbsp; &nbsp;PART 803-2&nbsp;&nbsp; &nbsp;3&rsquo;52<br />02. La Rosa (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 101)&nbsp;&nbsp; &nbsp;PART 804&nbsp;&nbsp; &nbsp; 3&rsquo;20<br />03. Tango (mayor y menor) (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 105)&nbsp;&nbsp; &nbsp;PART 811&nbsp;&nbsp; &nbsp; 4&rsquo;12<br />04. Farruca (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 106)&nbsp;&nbsp; &nbsp;PART 813&nbsp;&nbsp; &nbsp;1&rsquo;45<br />05. Guajira (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 104)&nbsp;&nbsp; &nbsp;PART 810&nbsp;&nbsp; &nbsp;3&rsquo;46<br />06. Ronde&ntilde;a (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 104)&nbsp;&nbsp; &nbsp;PART 809&nbsp;&nbsp; &nbsp;4&rsquo;04<br />07. Alegría (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 106)&nbsp;&nbsp; &nbsp;PART 813*&nbsp;&nbsp; &nbsp;2&rsquo;06<br />08. Minera (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 106)&nbsp;&nbsp; &nbsp;PART 814-1&nbsp;&nbsp; &nbsp;4&rsquo;12<br />09. Bulería (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 103)&nbsp;&nbsp; &nbsp;PART 808&nbsp;&nbsp; &nbsp;2&rsquo;05<br />10. Siguiriya (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 103)&nbsp;&nbsp; &nbsp;PART 807&nbsp;&nbsp; &nbsp;3&rsquo;52<br />11. Fandango (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 103)&nbsp;&nbsp; &nbsp;PART 808&nbsp;&nbsp; &nbsp;1&rsquo;47<br />12. Malague&ntilde;a (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 105)&nbsp;&nbsp; &nbsp;PART 812&nbsp;&nbsp; &nbsp;4&rsquo;06<br />13. Granadina (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 106)&nbsp;&nbsp; &nbsp;PART 805&nbsp;&nbsp; &nbsp;3&rsquo;54<br />14. Taranta (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 106)&nbsp;&nbsp; &nbsp;PART 806&nbsp;&nbsp; &nbsp;3&rsquo;49<br />15. Soleá (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM test)&nbsp;&nbsp; &nbsp;PART 803-1 (?)&nbsp;&nbsp; &nbsp;3&rsquo;41<br />Paris, le (?) 28 octobre 1936 :&nbsp;&nbsp; &nbsp;<br />16. Siguirya Gitana No. 2 (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 107)&nbsp;&nbsp; &nbsp;PART 865&nbsp;&nbsp; &nbsp;3&rsquo;59<br />Paris, le (?) 28 octobre 1936<br /><strong>Ramón Montoya et Amalio Cuenca,</strong> duo de guitares<br />17. Soleá (arr. Montoya) &nbsp;&nbsp; &nbsp;(BAM 107)&nbsp;&nbsp; &nbsp;PART 864&nbsp;&nbsp; &nbsp;3&rsquo;56<br />Madrid, avril 1930<br /><strong><br />La Ni&ntilde;a de los Peines</strong>, acc. de R.M.<br />18. Caracoles&nbsp;&nbsp; &nbsp;(Polydor 220048)&nbsp;&nbsp; &nbsp;3017 BK&nbsp;&nbsp; &nbsp;2&rsquo;45<br />Madrid, avril 1930<br /><strong>Ni&ntilde;o de Cabra</strong>, acc. de R.M.<br />19. En una noche serena - Guajira&nbsp;&nbsp; &nbsp;(Polydor 220017)&nbsp;&nbsp; &nbsp;2955 BK&nbsp;&nbsp; &nbsp;3&rsquo;05<br />(?) Barcelona, septembre 1929<br /><strong>Ni&ntilde;o de Marchena</strong>, acc. de R.M.<br />20. Si acaso la necesito - Tarantos&nbsp;&nbsp; &nbsp;(Gramophone K-4376)&nbsp;&nbsp; &nbsp;BJ 2496&nbsp;&nbsp; &nbsp;3&rsquo;22<br />Madrid, novembre 1932<br /><strong>Ni&ntilde;o de Marchena</strong>, acc. de R.M.<br />21. La Rosa (de &ldquo;Amores y amorios&rdquo;) &nbsp;&nbsp; &nbsp;(Gramophone DA-4275)&nbsp;&nbsp; &nbsp;OJ 805&nbsp;&nbsp; &nbsp;3&rsquo;28<br />(S. et J. Alvarez Quintero, V. Fornes)<br /></span><span class=Soustitre2>CD 2</span><span class=Texte><br />Madrid, avril 1930<br /><strong>Ni&ntilde;o de Cabra</strong>, acc. de R.M.<br />1. Yo fuí a un nido y la cogí Amapola - Fandangos&nbsp;&nbsp; &nbsp;(Polydor 220014)&nbsp;&nbsp; &nbsp;2948 BK&nbsp;&nbsp; &nbsp;3&rsquo;23<br />Madrid, avril 1930<br /><strong>La Ni&ntilde;a de los Peines</strong>, acc. de R.M.<br />2. Milonga&nbsp;&nbsp; &nbsp;(Polydor 220049)&nbsp;&nbsp; &nbsp;3018 BK&nbsp;&nbsp; &nbsp;2&rsquo;34<br />Madrid, avril 1930<br /><strong>Jos&eacute; Rebollo</strong>, acc. de R.M.<br />3. De pura Bayera negra - Soleares&nbsp;&nbsp; &nbsp;(Polydor 220029)&nbsp;&nbsp; &nbsp;2995 BK&nbsp;&nbsp; &nbsp;3&rsquo;23<br />(?) Barcelona, octobre 1929<br /><strong>Angelillo</strong>, acc. de R.M.<br />4. Limosna cruel (F. Roldan) - Milonga&nbsp;&nbsp; &nbsp;(Gramophone K-4382)&nbsp;&nbsp; &nbsp;BJ 2590&nbsp;&nbsp; &nbsp;2&rsquo;58<br />(?) Barcelona, mai 1929<br /><strong>Ni&ntilde;o de Marchena</strong>, Juan Varea, Ni&ntilde;o de Almaden, acc. de R.M.<br />5. Fandanguilla á tres voces&nbsp;&nbsp; &nbsp;(Gramophone K-4140)&nbsp;&nbsp; &nbsp;BJ 2049&nbsp;&nbsp; &nbsp;2&rsquo;52<br />(?) Barcelona, mai 1929<br /><strong>Ni&ntilde;o de Marchena</strong>, acc. de R.M.<br />6. No me llames por María - Soleares&nbsp;&nbsp; &nbsp;(Gramophone K-4140)&nbsp;&nbsp; &nbsp;BJ2035&nbsp;&nbsp; &nbsp;2&rsquo;53<br />Madrid, avril 1930<br /><strong>La Ni&ntilde;a de los Peines</strong>, acc. de R.M.<br />7. La cruz alta del barrio por no encontrarme contigo&nbsp;&nbsp; &nbsp;(Polydor 220046)&nbsp;&nbsp; &nbsp;3014 BK&nbsp;&nbsp; &nbsp;3&rsquo;08<br />Cante de Granada<br />(?) Barcelona, octobre 1929<br /><strong>Angelillo</strong>, acc. de R.M.<br />8. Ponte Carmen la mantilla (Mourelle) - Fandangos&nbsp;&nbsp; &nbsp;(Gramophone K-4382)&nbsp;&nbsp; &nbsp;BJ 2591&nbsp;&nbsp; &nbsp;3&rsquo;01<br />Madrid, avril 1930<br /><strong>Ni&ntilde;o de Cabra</strong>, acc. de R.M.<br />9. Mal Fin Tenga - Soleares&nbsp;&nbsp; &nbsp;(Polydor 220013)&nbsp;&nbsp; &nbsp;2945 BK&nbsp;&nbsp; &nbsp;3&rsquo;22<br />Madrid, avril 1930<br /><strong>La Ni&ntilde;a de los Peines</strong>, acc. de R.M.<br />10. Se morirá de seguro a mi mare por su alma - Fandangos&nbsp;&nbsp; &nbsp;(Polydor 220048)&nbsp;&nbsp; &nbsp;3012 BK&nbsp;&nbsp; &nbsp;3&rsquo;06<br />Madrid, avril 1930<br /><strong>Jos&eacute; Rebollo</strong>, acc. de R.M.<br />11. Mal fin tenga este sue&ntilde;o - Seguidillas&nbsp;&nbsp; &nbsp;(Polydor 220029)&nbsp;&nbsp; &nbsp;2990 BK&nbsp;&nbsp; &nbsp;3&rsquo;10<br />Madrid, avril 1930<br /><strong>Ni&ntilde;o de Cabra</strong>, acc. de R.M.<br />12. A comerme una manzana con tu novio sola sale - Fandangos&nbsp;&nbsp; &nbsp;(Polydor 220017)&nbsp;&nbsp; &nbsp;2956 BK&nbsp;&nbsp; &nbsp;3&rsquo;29<br />Madrid, avril 1930<br /><strong>La Ni&ntilde;a de los Peines</strong>, acc. de R.M.<br />13. Del convento las campanas - Malague&ntilde;a&nbsp;&nbsp; &nbsp;(Polydor 220046)&nbsp;&nbsp; &nbsp;3015 BK&nbsp;&nbsp; &nbsp;3&rsquo;10<br />Madrid, avril 1930<br /><strong>Ni&ntilde;o de Cabra</strong>, acc. de R.M.<br />14. Siempre por los rincones - Seguidillas&nbsp;&nbsp; &nbsp;(Polydor 220014)&nbsp;&nbsp; &nbsp;2947 BK&nbsp;&nbsp; &nbsp;3&rsquo;15<br />(?) Barcelona, septembre 1929<br /><strong>Ni&ntilde;o de Marchena</strong>, acc. de R.M.<br />15. Un terrible desenga&ntilde;o - Fandangos&nbsp;&nbsp; &nbsp;(Gramophone K-4376)&nbsp;&nbsp; &nbsp;BJ 2497&nbsp;&nbsp; &nbsp;3&rsquo;08<br />Madrid, avril 1930<br /><strong>Ni&ntilde;o de Cabra</strong>, acc. de R.M.<br />16. Que te quise con locura - Malague&ntilde;a&nbsp;&nbsp; &nbsp;(Polydor 220013)&nbsp;&nbsp; &nbsp;2946 BK&nbsp;&nbsp; &nbsp;3&rsquo;13<br />Barcelona, le 16 juin 1924<br /><strong>Ni&ntilde;o de Marchena</strong>, acc. de R.M.<br />17. Tarantas de Linares&nbsp;&nbsp; &nbsp;(Gramophone K-3684)&nbsp;&nbsp; &nbsp;BS 1356&nbsp;&nbsp; &nbsp;2&rsquo;51<br />Barcelona, le 16 juin 1924<br /><strong>Ni&ntilde;o de Marchena</strong>, acc. de R.M.<br />18. Bulerias No. 2&nbsp;&nbsp; &nbsp;(Gramophone K-3684)&nbsp;&nbsp; &nbsp;BS 1354&nbsp;&nbsp; &nbsp;2&rsquo;56<br /><strong>Remerciements </strong>: Anke BALTZER, Christine BOGLE, Manuel CHILLA, Robert CRUMB, Mado &amp; Maurice DESRAMÉ, Claude FIHMAN, Bruno H&auml;upl, Rainer LOTZ, Daniel NEVERS, Alain PAILLER, G&eacute;rard ROIG, Brian RUST, Paul <br />VERNON.<br /><em><br /><strong>Note :</strong> 12 des solos enregistr&eacute;s par R.M. sur B.A.M. ont &eacute;t&eacute; transcrits par Alain Faucher et publi&eacute;s chez AFFEDIS, 28 rue de la Reine Blanche, 75013. C&rsquo;est un formidable travail! On y lira aussi avec int&eacute;r&ecirc;t la pr&eacute;&shy;face de Rodrigo de Zayas.</em><br /></span>"
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      "description" => "<p><h3>RAPHAËL FAYS</h3></p><br><br><p>“Extremadura” is the second album that Raphaël Faÿs, whose background is in gypsy jazz and classical music, has devoted to Andalusia. Raphaël’s guitar technique is faultless and his feeling for melody a rare gift indeed, which serves him well here in this demonstration of his unique flamenco style — he plays the music using a pick. This new album shows all the virtuosity, passion and perfectionism that have made Raphaël Faÿs an unavoidable figure not only on the flamenco scene but also in all music. Augustin BONDOUX / Patrick FRÉMEAUX</p><br><br><p></p>"
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      "dwf_livret" => "<h3>FA8577</h3><p align=justify><br /></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Rapha&euml;l<br />FAYS</span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Extremadura<br /></span><span class=Texte><br /></span></p><p align=justify><br /></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Extremadura est le deuxi&egrave;me album que Raphael Fays, issu du jazz manouche et du classique, consacre &agrave; la noble musique andalouse. Par&eacute; d&rsquo;une technique irr&eacute;prochable et d&rsquo;un sens rare de la m&eacute;lodie, le guitariste parfait ici son style unique de flamenco au m&eacute;diator. On retrouve sur cet album toute la virtuosit&eacute;, la passion et le perfectionnisme qui font de Raphael Fays un acteur incontournable de la sc&egrave;ne flamenca et de la musique en g&eacute;n&eacute;ral.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Texte>Augustin BONDOUX / Patrick FRÉMEAUX<br />&nbsp;&nbsp; &nbsp;<br />&ldquo;Extremadura&rdquo; is the second album that Rapha&euml;l Fa&yuml;s, whose background is in gypsy jazz and classical music, has devoted to Andalusia. Rapha&euml;l&rsquo;s guitar technique is faultless and his feeling for melody a rare gift indeed, which serves him well here in this demonstration of his unique flamenco style &mdash; he plays the music using a pick. This new album shows all the virtuosity, passion and perfectionism that have made Rapha&euml;l Fa&yuml;s an unavoidable figure not only on the flamenco scene but also in all music.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><span class=Texte>Augustin BONDOUX / Patrick FRÉMEAUX<br />Rapha&euml;l Fa&yuml;s guitare flamenca solo / guitarra flamenca<br />Tito guitare flamenca / guitarra flamenca<br />Claude Mouton contrebasse / contrabajo<br />Laurent Zeller violon / violín<br />Jos&eacute; Palomo percussions / percusiones<br />Raquel Gomez danse / baile<br />Alejandro Gimenez chant / cantaor<br />Clara Tuleda chant / cantaora<br />Rapha&euml;l Fa&yuml;s est un artiste singulier non seulement dans la sph&egrave;re du &laquo;&thinsp;jazz manouche1&thinsp;&raquo; (dont il fut, faut-il le rappeler, le premier artisan du &laquo;&thinsp;renouveau&thinsp;&raquo; d&egrave;s le milieu des ann&eacute;es 70) mais aussi dans le monde de la guitare acoustique. Rapha&euml;l Fa&yuml;s a explor&eacute; avec avidit&eacute; trois domaines musicaux tr&egrave;s sp&eacute;cifiques. D&rsquo;abord le style de Django, l&rsquo;incontournable r&eacute;f&eacute;rence. Ensuite, la musique classique et rien en ce domaine concernant les &oelig;uvres pour guitare ne lui est &eacute;tranger. Avec la modernisation de l&rsquo;instrument par Antonio Torres vers la fin du XIXe si&egrave;cle, l&rsquo;Espagne a d&eacute;finitivement supplant&eacute; l&rsquo;Italie et la France dans le domaine de la guitare. Se sont alors succ&eacute;d&eacute;es plusieurs g&eacute;n&eacute;rations d&rsquo;immenses compositeurs et de redoutables interpr&egrave;tes souvent habiles th&eacute;oriciens et auteurs de m&eacute;thodes pr&eacute;cieuses. Dioniso Aguado, Julian Arcas, Francisco Tarrega, Emilio Pujol, Miguel Llobet, Fernando Sor, Andres Segovia, Narciso Yepes. L&rsquo;&eacute;tude avide et la fr&eacute;quentation acharn&eacute;e de ces g&eacute;nies de la guitare, sans oublier les &oelig;uvres transcrites pour guitare de compositeurs comme Isaac Albeniz, Enrique Granados, Joachin Turina, Joaquim Rodrigo, ont men&eacute; Rapha&euml;l Fa&yuml;s tout naturellement en Espagne et bient&ocirc;t en Andalousie. Sa rencontre avec l&rsquo;immense Paco de Lucia qui lui prodigua des encou-ragements fut d&eacute;cisive dans l&rsquo;immersion totale qu&rsquo;op&eacute;ra Rapha&euml;l Fa&yuml;s dans le monde du flamenco pendant ces 22 derni&egrave;res ann&eacute;es. Ce n&rsquo;est qu&rsquo;&agrave; l&rsquo;automne 2005 qu&rsquo;il commen&ccedil;a &agrave; soulever un coin du voile sur quelques aspects de son travail andalou. L&rsquo;album Gypsy &amp; Classic propose alors six de ses premi&egrave;res compositions dans cette esth&eacute;tique&thinsp;: Fandango (Los Arcos) / Primera Bul&eacute;rias / Ma&icirc;tre Paco Al&eacute;grias / Grana&iuml;ma &agrave; Laruel / Bul&eacute;ria Andalouse / Sol&eacute;a &agrave; Manzanas.<br />D&eacute;finitivement adopt&eacute; comme un des grands acteurs de la sc&egrave;ne flamenca, Rapha&euml;l Fa&yuml;s publie en 2007 l&rsquo;album Andalucia, qui marque d&eacute;finitivement de son empreinte le r&eacute;pertoire flamenco. Son approche sensible li&eacute;e &agrave; sa technique particuli&egrave;re au m&eacute;diator donne &agrave; ses compositions un caract&egrave;re g&eacute;n&eacute;reux &agrave; la fois implacable et chaleureux. Rapha&euml;l trace avec d&eacute;termination son sillon quelque part entre ceux de Ramon Montoya et de Sabicas ses deux ma&icirc;tres absolus. Les le&ccedil;ons qu&rsquo;il en tire, de Montoya, la redoutable simplicit&eacute; et de Sabicas, la souplesse et l&rsquo;&eacute;tonnante agilit&eacute;, sont mises au service d&rsquo;une musicalit&eacute; in&eacute;dite et toute personnelle.<br />Rares sont les musiciens qui, &agrave; la mani&egrave;re de Rapha&euml;l Fa&yuml;s, auront su investir des champs musicaux aussi vari&eacute;s qu&rsquo;exigeants avec la m&ecirc;me conviction, la m&ecirc;me probit&eacute; et le m&ecirc;me bonheur. Plus que la performance, c&rsquo;est l&rsquo;humanit&eacute; et la g&eacute;n&eacute;rosit&eacute; de la d&eacute;marche qu&rsquo;il convient de saluer.<br /></span><span class=Soustitre>Alain Raemackers<br /></span><span class=Texte><br />Apr&egrave;s vingt deux ann&eacute;es de travail, motiv&eacute; par une forte passion pour le flamenco et pour faire suite &agrave; l&rsquo;album Andalucia paru en 2008, je propose aujourd&rsquo;hui avec Extremadura, l&rsquo;expression d&rsquo;un flamenco qui m&rsquo;est propre. Je le joue au m&eacute;diator, comme disent les aficionados en Espagne &laquo;&thinsp;&agrave; la Poua&thinsp;&raquo;, ou plectre d&rsquo;origine. Mes origines de guitariste &laquo;&thinsp;Reinhardtien&thinsp;&raquo; m&rsquo;ont particuli&egrave;rement servies.<br />Pour cet album, j&rsquo;ai r&eacute;uni des gens que j&rsquo;aime et qui ont accompli un excellent travail. Chaque fois, notre association s&rsquo;est faite simplement et tout naturellement apr&egrave;s une rencontre. Qu&rsquo;il s&rsquo;agisse du violoniste Laurent Zeller, du guitariste flamenco Tito, du contrebassiste Claude Mouton, du percussionniste Jos&eacute; Palomo, de la danseuse Raquel Gomez, de la chanteuse Clara Tuleda ou du chanteur Alejandro Gimenez, tous ont fait preuve d&rsquo;un sens artistique extraordinaire. Je vous laisse juge du r&eacute;sultat en souhaitant qu&rsquo;en &eacute;coutant cet album, vous preniez le m&ecirc;me plaisir que j&rsquo;ai eu &agrave; le r&eacute;aliser.<br />Encore un grand bravo &agrave; tous&thinsp;!<br />Me he pasado un gran momento con vosotros.<br />Ce disque est d&eacute;di&eacute; &agrave; l&rsquo;Espagne et &agrave; tous mes amis espagnols qui m&rsquo;ont aid&eacute; pendant des ann&eacute;es &agrave; accomplir cette musique.<br />Muchas Gracias&thinsp;!<br /></span><p align=\right><span class=Soustitre>Rapha&euml;l</span><br /></p><span class=Texte><br />Cet album repr&eacute;sente pour Rapha&euml;l Fa&yuml;s une avanc&eacute;e tr&egrave;s importante dans son aventure avec le flamenco, pour ne pas dire avec l&rsquo;Espagne, un pays qu&rsquo;il affectionne particuli&egrave;rement.<br />Son style de jeu au m&eacute;diator le diff&eacute;rencie de tous les autres guitaristes flamencos. C&rsquo;est en compagnie du talentueux guitariste Daniel Manzanas et du chanteur-bassiste Pablo Gilabert, deux flamencos, qu&rsquo;il va d&eacute;velopper sa musique et composer ses propres pi&egrave;ces ou danses, Bul&eacute;rias, Al&eacute;grias, Fandanguos, etc.<br />Dire de Rapha&euml;l qu&rsquo;il se place dans la lign&eacute;e de Paco de Lucia pourrait bien le g&ecirc;ner, il respecte trop ce ma&icirc;tre absolu pour accepter d&rsquo;&ecirc;tre compar&eacute; &agrave; lui. Si Rapha&euml;l est originellement un descendant naturel de Django Reinhardt, son engouement est tout aussi fort pour des guitaristes flamencos comme Sabicas, Manolo Sanlucare, Vicente Amigo, qu&rsquo;il admire sans r&eacute;serve. Rapha&euml;l ne recherche pas la comparaison.<br />Le flamenco est pour Rapha&euml;l Fa&yuml;s une passion qu&rsquo;il veut partager avec le public visiblement combl&eacute; apr&egrave;s chaque pres&shy;tation. Indiff&eacute;rent aux modes et aux &eacute;tiquettes, Rapha&euml;l poursuit son chemin en continuant d&rsquo;affirmer son propre style&thinsp;!<br /></span><p align=\right><span class=Soustitre>Patricia</span><br /></p><span class=Texte><br /></span><span class=Source>1 Pr&eacute;cisons ici le sens de cette appellation &eacute;quivoque&thinsp;: comme le disait Babik Reinhardt et comme Rapha&euml;l Fa&yuml;s ne cesse de le r&eacute;p&eacute;ter&thinsp;: il n&rsquo;y a pas de &laquo;&thinsp;jazz manouche&thinsp;&raquo;, mais un style de jazz cr&eacute;&eacute; par Django Reinhardt, qui a fait de nombreux &eacute;mules dans la sph&egrave;re du jazz. Plusieurs musiciens issus de la communaut&eacute; manouche, mieux que tout autre, s&rsquo;en sont fait une sp&eacute;cialit&eacute; qui vaut aujourd&rsquo;hui &agrave; ce style de jazz son appellation &laquo;&thinsp;manouche&thinsp;&raquo;, Rapha&euml;l parle, lui, sans ambigu&iuml;t&eacute; de &laquo;&thinsp;Style Django&thinsp;&raquo;.<br /></span><span class=Texte><br /></span><span class=Soustitre>Rapha&euml;l Fa&yuml;s</span><span class=Texte> is a distinctive artist not only in the domain of &ldquo;Manouche jazz1&rdquo; (where, in case readers need reminding, he was the instigator of the so-called revival of the genre that began in the mid-seventies), but also in the world of acoustic guitar. Rapha&euml;l Fays has carried out endless explorations in three specific fields of music: first, Django&rsquo;s style, the absolute, quintessential reference; secondly, classical music, where nothing concerning works for guitar holds any secrets for him. With the modernisation of the instrument by Antonio Torres towards the end of the 19th century, Spain overtook Italy and France once and for all in the guitar world. Several generations of immense composers and illustrious performers, often clever theorists and authors of valuable methods as well, then followed one another: Dioniso Aguado, Julian Arcas, Francisco Tarrega, Emilio Pujol, Miguel Llobet, Fernando Sor, Andres Segovia, Narciso Yepes. Rapha&euml;l Fays studied the works of these men of genius avidly, spending as much time as possible with them, as well as poring over others transcribed for guitar by composers such as Isaac Albeniz, Enrique Granados, Joachin Turina, Joaquim Rodrigo, all of which eventually led him first to Spain, then Andalusia in particular. His encounter with the great Paco de Lucia, who gave him generous encouragement, was a turning point &ndash; Rapha&euml;l Fays plunged wholeheartedly into the world of flamenco, where he&rsquo;s remained for the last 22 years. It was only in autumn 2005 that he revealed the first outward signs of his Andalusian work, with the album Gypsy &amp; Classic and six of his earliest pieces composed according to flamenco aesthetics: &lsquo;Fandango&rsquo; (Los Arcos) / &lsquo;Primera Bul&eacute;rias&rsquo; / &lsquo;Ma&icirc;tre Paco Al&eacute;grias&rsquo; / &lsquo;Grana&iuml;ma &agrave; Laruel&rsquo; / &lsquo;Bul&eacute;ria Andalouse&rsquo; / &lsquo;Sol&eacute;a &agrave; Manzanas&rsquo;.<br />Rapha&euml;l Fays now became one of the accepted actors &ndash; indeed, a major one &ndash; on the flamenco scene, then released his next album, Andalucia, that left a real mark on the flamenco repertoire. His sensitive approach linked to his special technique with the plectrum brought warmth, rigour and generosity to his interpretations of his own compositions. Rapha&euml;l made a place for himself somewhere in the wake of Ramon Montoya and Sabicas, both his revered masters. The lessons he learned from them &ndash; tremendous simplicity from Montoya, fluidity and amazing agility from Sabicas &ndash; he now applied to his own style, already highly personal with unusual musicality.<br />Musicians who have tackled such varied and demanding musical domains as Rapha&euml;l Fays has done are few and far between; and even more rare are the passion, probity and sheer happiness such as he&rsquo;s brought to his musicianship. More than his performance, what he shows and what we as listeners should hail is the generous humanity of his approach.<br /></span><span class=Soustitre>Alain Raemackers</span><span class=Texte><br /></span><span class=Source>1 Let&rsquo;s be clear here about what this ambiguous term really means: as Babik Reinhardt used to say, and Rapha&euml;l Fays is constantly repeating &ndash; There&rsquo;s no such thing as &ldquo;Manouche jazz&rdquo;, there&rsquo;s just the jazz style created by Django Reinhardt that has produced so many imitators in the jazz world. Several musicians from the Manouche community have made it their speciality with more success than others, and this is what has earned this style the descriptive term of &ldquo;Manouche&rdquo;, though Rapha&euml;l&rsquo;s name for it is totally unambivalent; it&rsquo;s the Django Style.</span></p><p align=justify><br /></p><p align=justify><br /></p><p align=justify><span class=Texte>&nbsp;&nbsp;&nbsp; 1&nbsp;&nbsp; &nbsp;Extremadura&nbsp; 3&rsquo;30<br />&nbsp;&nbsp; &nbsp;2&nbsp;&nbsp; &nbsp;Primera buleria&nbsp; 3&rsquo;20<br />&nbsp;&nbsp; &nbsp;3&nbsp;&nbsp; &nbsp;La hija de la arena&nbsp; 5&rsquo;05<br />&nbsp;&nbsp; &nbsp;4&nbsp;&nbsp; &nbsp;Raquelita&nbsp; 3&rsquo;45<br />&nbsp;&nbsp; &nbsp;5&nbsp;&nbsp; &nbsp;Ranger Rumba&nbsp; 3&rsquo;09<br />&nbsp;&nbsp; &nbsp;6&nbsp;&nbsp; &nbsp;Cuando baila la luna&nbsp; 2&rsquo;20<br />&nbsp;&nbsp; &nbsp;7&nbsp;&nbsp; &nbsp;La marquesa&nbsp; 4&rsquo;32<br />&nbsp;&nbsp; &nbsp;8&nbsp;&nbsp; &nbsp;Solea para Sabicas&nbsp; 3&rsquo;36<br />&nbsp;&nbsp; &nbsp;9&nbsp;&nbsp; &nbsp;Colombiana&nbsp; 7&rsquo;19<br />&nbsp;&nbsp; &nbsp;10&nbsp;&nbsp; &nbsp;Ballade a Tyanna&nbsp; 4&rsquo;10<br />Le titre 5 est d&eacute;dicac&eacute; &agrave; Ranger Rumba, petite chienne adopt&eacute;e par Rapha&euml;l, devenue sa fid&egrave;le compagne, qui vit des jours heureux avec son ma&icirc;tre et fait avec lui de belles promenades en for&ecirc;t.<br />Toutes compositions&thinsp;: Rapha&euml;l Fa&yuml;s sauf 9, traditionnel<br /></span></p>"
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PELERINAGE ANDALOU : ROCIO...

PELERINAGE ANDALOU : ROCIO GRANDE

FLAMENCO ET SONS NATURELS DANS LES MARISMAS

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FLAMENCO 1952-1961

FLAMENCO 1952-1961

TERREMOTO DE JEREZ - EL NINO DE ALMADEN • NIÑA DE LOS...

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RAPHAEL FAYS - MI CAMINO...

RAPHAEL FAYS - MI CAMINO CON EL FLAMENCO

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RAPHAEL FAYS - CIRCULO DE...

RAPHAEL FAYS - CIRCULO DE LA NOCHE

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RAMON MONTOYA

FLAMENCO L’ART DE RAMÓN MONTOYA 1924 - 1936

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ANDALUCIA - L’ANDALOUSIE DE...

ANDALUCIA - L’ANDALOUSIE DE RAPHAËL FAYS 1996-2006

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IMPRESSIONS D’ESPAGNE...

IMPRESSIONS D’ESPAGNE 1950-1962, CONCIERTO DE ARANJUEZ -...

YEPES • ARGENTA ALICIA DE LARROCHA • NIÑA DE LOS PEINES...

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RAPHAËL FAYS - EXTREMADURA

RAPHAËL FAYS - EXTREMADURA

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