Tuesday, 5 June 2018

Gualberto & Ricardo Miño ‎ “Puente Mágico"1983 Spain, Indian Sitar meets Spanish Flamenco


Gualberto & Ricardo Miño ‎ “Puente Mágico"1983 Spain, Indian Sitar meets Spanish Flamenco
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Wow, what a beautiful and fantastic album! First it sounds a bit strange, a mix of Indian sitar music and Spanish flamenco, but it works! And this is a an absolutely brilliant album, and a mini-label issue ….~


Gualberto  biography
Born in Seville on July 3, 1945. 
He started in music at the choir of the Salesians of Triana at age 10.When he was 17 he left school and formed the group "Los Murcielagos” with which he entered the rock world.In 1967 he formed “Smash”, an emblematic group of Spanish rock and pioneer of Andalusian rock. They record several LPs and give concerts throughout the national territory.After the dissolution of the group Smash travels to the United States where he studies music, he starts as a composer writing a rock opera, “Behind the Stars” which premieres at the Academy of Music in Brooklin, New York. He collaborates as a studio musician in “Good Vibrations studio” thus entering in contact with musicians of Jazz, Rock, Folk, etc.He joined the “Yoga Symphony Orchestra” and formed a group with Diwan Mothihar, famous Indian sitarist, Arthur Volh, violin with whom they give several concerts  In 1974, he returned to Spain with two American musicians (Arthur Volh and Todd Purcell) recording two albums as soloist with his compositions: “A la vida y al dolor”, Movie Play, 1975 and “Vericuetos”, MP, 1976. In 1976 he was invited to the I Festival de Martigues (France) as representative for Spain, he stayed several months giving concerts in France and Holland and he composed the chamber music that he would record on his return, in 1978, with professors of the National Orchestra leading to the disc titled “Other days”. In 1979 he recorded an album that fuses the cante jondo with the sitar (“Gualberto y Agujetas”). In these years he performs multiple orchestral arrangements where he combines flamenco instrumentation (clapping, vocals, guitar, etc.) with classical (string quartets, wind trios, etc). Productions of this style are the album “Casta” by Lole y Manuel where he works with the Orquesta de RTV Española; “Cuaderno de coplas” and “Through oblivion” by Carlos Cano, “Rimas de Becquer” with Benito Moreno, etc. In 1983 he works as a producer, arranger and music consultant at Columbia Records. The same year he recorded the album “Puente mágico”, to sitar and flamenco guitar with Ricardo Miño giving multiple concerts. At the end of that year he spends a season in San Román de Cameros where he dedicates himself exclusively to composition, from this time his “Clarinet Trio” dates. In 1984 he composed, on behalf of the Seville City Council, a string quartet that opens with the name “Biennial Quartet” at the 1st Biennial of Flamenco Art. The same year he composed the music for the play “Cuentos de la Alhambra” of the El Globo Group of Seville. Simultaneously he directs the Rociero de Triana Choir, with which he will record, over more than 10 years of collaboration, several albums. Composed, in 1994, a Mass with four voices. In 1985 he made a tour, sponsored by the Junta de Andalucia, conducting a septet (string quartet, flute, oboe and clarinet) performing a program entirely his own; closing the tour with a concert at the Reales Alcázares de Sevilla. In 1986 he wrote a work at the request of the Municipal Band of Seville that opens in the Maria Luisa Park. From 1987 he entered the world of music informatics creating his own studio, which allows him to record music for film and television. In 1988 he premiered his work “Turruñuelo” with the Bética Symphonic Orchestra “at the inaugural concert of the III Flamenco Art Biennial. In 1989 he began his collaboration with the guitar of Paco del Gastor that is still in place today and that has given rise to innumerable concerts inside and outside of Spain. In 1990 he returned to the stage as an interpreter (sitar, electric guitar) using computer support as an accompaniment. The first concert inaugurates the I New Music Series of the University of Seville. Later this concert is performed repeatedly under the patronage of the Luis Cernuda Foundation and will lead to the recording of the album "Sin comentario.” The same year he directs the OTI orchestra in Miami, USA, representing Spain. In 1991 he participated as a soloist in the International Guitar Festival of Córdoba. He collaborated in the collection of Spanish authors disc published by the magazine Nueva Música. The same year he participated as a soloist in the Inaugural Concert of the Itálica Festival together with the ballet of Nacho Duato. In 1992 he participated in the Meetings of New Music in a concert held in Seville with Wim Mertens. The same year he writes, for the inauguration of the Olympic Games in Barcelona, ​​a piece that joins the end of a jota, played by Plácido Domingo, with sevillanas, danced by Cristina Hoyos and performed by the City of Barcelona Orchestra. In the following years he continues giving solo concerts as well as with Paco del Gastor. In 1995 starts a new cycle of concerts in which the successive interpretation of various instruments (Spanish guitar, sitar, sarod, electric and acoustic guitar, dilruba) on a prerecorded base, allows us to combine many different influences and tea cnicas.en 1996 composes and he performs a play “CRISOL” for the Flamenco Biennial, integrating various musical tendencies within a flamenco base. In 1998 he recorded an album with Ricardo Miño called “CON-TRASTES”. It is a disc where there is a continuous dialogue between the Guitar of Ricardo and the Sitar de Gualberto. This record would win the 1st prize of the music “Andalucía 2.000. In the same year he presented the show "a thousand ways of feeling Triana, in the X Flamenco Biennial of Seville, where he mixes flamenco music with Lyric, and where his daughter Meili Garcia intervenes as a soprano voice and violin, obtaining great public success and criticism. In the 2.000 it presents / displays the work "Constelación flamenca” for Soprano Voice, violin, contrabass flute, percussion, sitar veena and flamenco guitar, obtaining a great success of critic In 2001, he presents a concert organized by the Ceiba Foundation together with Susana Baca. He is currently writing an album to be edited in Italy with the great jazz clarinetist Gabriele Mirabassi, and he continues to give live concerts playing sitar, veena and guitar. In 2002 he premiered at the Biennial a new concert for wind quintet, sitar vina dilruba and percussion obtaining great success coming out highlighted in the press as one of the best concerts of the Biennial. In 2002 he premiered his concert “Caminos del aljarafe” for Wind Quintet (flute, oboe, clarinet horn and bassoon) to sitar, and veena. He continues giving concerts using different formations of musicians and making music for cinema “The everest is already the history of Andalusia”. In the 2.004 he premiered “Mis cuerdas” a piece for piano, Cello, flamenco guitar, electric guitar (tapping) guitar electrical and sitar. In the following years he gives several concerts with Smash, he records a Mass in 4 voices with the choir of the brotherhood of Rocío de Triana, where he mixes the flamenco styles such as the bulería, soleá alegrías with the 4-voice polyphony “Misa solemne”, follows giving concerts both sitar and rock, playing live songs from his first two albums “A la vida y al dolor,” and “Vericuetos” with current themes.He makes a version of the Andalusian Anthem for Veena, Tiorba, Baroque oboe, Quintet of string and voice and acts in several commemorative acts “delivery of medals and recognitions of Andalusia. In 2008 he himself is awarded with the recognition of the Government Delegation of the Junta de Andalucía as "a reward for his contribution to the Andalusian culture. Actalmente continues playing both solo and with various formations of classic rock or flamenco character and making music for documentaries and trying to compose the music of his new album. 
He currently has a page on the internet where he plays his "musical tapitas” daily and is about to release the first “Diario disco” of tapas. ……~ 



Ricardo Miño and Gualberto 
Dialogue with three bands between Ricardo Miño (guitarist), Gualberto (sitar) and Luis Clemente (journalist). 
Ricardo Miño: The day before yesterday my friend Alan Raikovski called me, one of the producers of the music of Titanic, the producer of Ravi Shankar, from Los Angeles. And he says: I’m going to give you a surprise, and a gentleman who in the end turns out to be the beatle who has been stabbed. 
Gualberto: George Harrison? 
Ricaro Miño: Yes, he told me he was interested in coming to the Biennial this year. 
Gualberto: The first time I heard a sitar was him. 
Ricardo Miño: Well, Raikovski and Harrison have just produced a very nice book about Ravi Shankar, with four discs, that have been sent to me and he takes it to the sandalwood he uses for the concerts. 
Gualberto: Well, tell him to call me, he sure knows me. Gonzalo (Garcíapelayo) once gave him a record of mine, and Ravi Shankar gave him personally A la vida, al pain in Barcelona. Well, we’re still with Gualberto interviewing Ricardo. What cantaor, from everyone you’ve worked with, has taught you more? 
Ricardo Miño: Man, an encyclopedia was Antonio Mairena, but so was Pepe Marchena, who drew from cante tarantas and cartageneras; the range of soleares and seguiriyas made by Mairena were great. Pastora was very rhythmic and very commercial, got a ranchera for bulerías and was ahead of the time. And with the guitar, an advance was Don Ramón Montoya, who at the beginning of the century recorded with the Cuban saxophonist Fernando Vilches. 
Gualberto: An American guitarist who learned with Diego del Gastor, Bruce Zern, told me about a great guitarist, Pedrito Sevilla. Have you recorded something, deserves to know each other more? 
Ricardo Miño: Yes, he was a guitarist from the Sevillian school, a disciple of Niño Ricardo. I was lucky to share with him and Paco de Lucía a three-month tour, which came from singers Mairena and Fosforito, and from bailaores El Güito and Enrique el Cojo. Piece of company that the great dancer Manuela Vargas wore. I think he recorded something with El Sevillano. 
Luis Clemente: Gualberto, ask him something about your current repertoire. 
Ricardo Miño: It’s premieres, right? 
Gualberto: Yes, I’m writing a play for viola de gamba and sitar, in contrast to what Ricardo and I are going to play, which will be the most played album, but the sticks will continue to be bulerías, soleá, tangos de Málaga, alegrías … he will play a part alone. The viola will be played by Ventura, a great Sevillian musician. 
Ricardo Miño: I will invite Bobote y Eléctrico in the second part, and Álvaro to the percussion, which is also with Gualberto, and in the end we will meet again. 
Gualberto: In each concert we try to be unique. Even if the cantes are tied and the flamenco rhythm has a very strong structure, we always have the freedom of something arising at that moment. Ricardo’s buzzes are never the same. 
Ricardo Miño: In our solo parts we stick to our instrument, to investigate the sitar and the guitar, so the concert takes more wealth. 
Luis Clemente: That you do not usually do in all the concerts. 
Yes, lately we did it in Madrid, you were there, and in Luxembourg, where the public asked us things that we did not have rehearsed, for example some Sevillanas. 
Luis Clemente: Those who opened your first album? 
Gualberto: Well, more or less they were based on those of ‘Magic Bridge’. 
Luis Clemente: How time passes: I was also in your presentation at the Chilean Pavilion, in 1980. 
Gualberto: Ah, that concert was unforgettable. I heard some oles from Antonio Mairena. 
Ricardo Miño: In that concert Antonio, Curro and Manolo Mairena participated, Antonio el Arenero also sang and danced my wife, Pepa Montes. 
Gualberto: In that concert Paco Ortega signed us to make the record. There was the synthesis, the embryo of everything we have done afterwards, more elaborated but there it was very dense. 
Ricardo Miño: That was organized by the painter Juan Valdés, who taught at the School of Arts and Crafts and prepared a cultural week. 
Luis Clemente: -Ricardo, you played the sitar on a record twelve years ago that you finished off with the bulerías 'Fiesta for John Lennon’. 
Ricardo Miño: Yes I have played it on two of my albums, in front of Gualberto out of respect I do not play it; mine is the guitar and I still have to learn … 
Gualberto: Ricardo has very curious anecdotes because he was a student at the same time as Manolo de Huelva and El Niño Ricardo, and he used to do email. 
Ricardo Miño: I would throw them to fight the two, they would sting. 
Gualberto: Which one did you have left? 
Ricardo Miño: The two had their personality, what happens is that Niño Ricardo was a genius and that’s where his work is. 
Gualberto: You have taken more influences from Niño Ricardo than from anyone. He is the guitarist that I like the most. 

Luis Clemente: -Sabicas told Paco de Lucía, the first time he heard him in a hotel in New York, that he should leave Niño Ricardo and follow his own path. 
Ricardo Miño: Yes, but without yeast no one can make bread. 
Gualberto: Ricardo’s style has formed, in addition to the two great teachers of his, to be with his wife Pepa, because playing for the dance you have to tie a lot and it is very difficult, almost impossible, to be out of step. Not since it crosses: in the bulerías it keeps the cycle of times, and that makes it very few guitarists. 
Ricardo Miño: It is that this is a language, it is as if you start speaking in English and the third word you say in Hebrew. 
Gualberto: Yes, but there are young guitarists, and very good ones, who do not even know that this cycle has to be saved. It is a choice. The art is in having inspiration and compass. And Ricardo over the years has refined a way of playing that takes the structure into account. A guitarist has to have a spark, a sense of pride … and to determine his place too. 
Luis Clemente: -Ricardo, I will not remain without saying that you turn 38 years as a professional guitarist. 
Ricardo Miño: It has already rained. But let’s see if you rejuvenate me a little … 
Luis Clemente: -It’s reality, you played La Niña de los Peines, Pepe Pinto and Pepe Marchena. 
Ricardo Miño: Yes, in the provincial turnings, I got to play at the Teatro Circo Price in Madrid with 'Así canta Andalucía’, led by Pepe Marchena with La Niña de la Puebla … and Emilio el Moro, who played the guitar for the back and formed a string … 
Gualberto: Like Jimi Hendrix with fez, heh, heh. 
Luis Clemente: -Gualberto, and you 30 years ago you recorded the first sitar. 
Gualberto: Yes? 
Luis Clemente: - Yes, in the first singles of Smash. 
Gualberto: Ah, it’s true. 
Byzantine 
In the flamenco East proposes and the West disposes. Gualberto García and Ricardo Miño know it, the best thing is that both of them know about scores and they do not need them. It is a return to the Byzantine, the flamenco music that passes from oriental to western codes and comes back here reborn and its own. He had to wait for the aesthetics of the decomposition of the sound of the East so that the West would discover the harmony in order to build the Byzantine: on Western bases, the oriental, spiritual dome. The sitar has enough chromatism to imitate the voice but the guitar does not to be a Western instrument, with many divisions of semitones. In all that arabesque, the north of India is like the east of Andalusia. 
“The India of the north has Muslim influences, that’s why it has more adornments, it is Indian music arabesque, Industani, the other is older, Carnatic music of the south,” says a Gualberto who is very involved with the vina, an instrument that “It’s the mother of the sitar, bigger, with very tall frets and many ornaments like the melismas of cante jondo.A month ago we’ve been in Luxembourg and there I bought an album in which comes a raga for the vina that, According to scholars, this is where flamenco comes from, it is called bairabi and it has flamenco scales, it has a part that is the same as a seguiriya ”. The bairabi is 2500 years before Christ, Gualberto points while Ricardo cocks his head. What if Cagancho el Viejo raised his head, 13 days transferred from 2000? I would rest calmly…..by…….Luis Clemente…….




Line-up / Musicians 

Gualberto García: Sitar, electric guitar 
Ricardo Miño: flamenco guitar 









Tracklist 
Sevillanas Del Puente -Sevillanas-
¡No Me Voy Pa La Mina! -Taranto-
Raga De Granada -Granaina Verdiales-
Soleá De La Cava -Soleares-
Tangos De La Nueva Delhi -Tangos-
Nana De Los Sueños -Nana-
Sándalo -Tientos-
Candente -Martinete Seguirillas- 

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