Postcard from Teruel

 

One of Teruel's best known monuments is very small statue of a bull on top of a tall column, known as El Torico ("the little bull"). It is located in the main square, Plaza Carlos Castell, more commonly known as the Plaza del Torico in the middle of the town center.

 

Holá zeporro : )

Bandurrias in Kawaguchi

  

Orquesta de Plectro de Córdoba

Concierto Kawaguchi
2003

Tracks:

01. Intro
02. El baile de Luis Alonso
03. Canción bohemia
04. Popourri de Aires Andalucez
05. Sevillanas del siglo XVIII
06. Danza ritual del fuego
07. La boda de Luis Alonso
08. Orgía
09. Sakura
10. Intro II
11. Canción de la playa
12. España cañí

 

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Bandurria

  

The bandurria is a plectrum chordophone from Spain, similar to the cittern and the mandolin, primarily used in Spanish folk music.

Prior to the 18th century, the bandurria had a round back, similar or related to the mandore. It had become a flat-backed instrument by the 18th century, with five double courses of strings, tuned in fourths. The original bandurrias of the Medieval period had three strings. During the Renaissance they gained a fourth string. During the Baroque period the bandurria had 10 strings (5 pairs). The modern bandurria has 12 strings (6 pairs). The strings are tuned in unison pairs, going up in fourths from the low G#. The lowest four strings are a major-third above those of a standard guitar and the highest two strings are a fourth above a standard guitar, ie G♯, c♯, f♯, b, e and a.

 

   

Orquesta de Plectro de Córdoba

 

Orquesta de Plectro de Córdoba is an association of thirty young musicians whose sole purpose is to enjoy making music.

What makes this Orchestra different is that it has successfully fused classical music, popular nationalist and popular music with instruments of their land, resulting in a very special timbre that is attractive to all kind of ears. In their desire to make music it is a priority to rescue the unjustly neglected works and authors that have gone unnoticed in the history of music.

   

   

The Bandurria (mandolin) is the instrument that gives its name to the family, because when we speak Spanish lutes we refer to the entire group of ibises, ie, soprano mandolin, mandola contralto, tenor mandolin, mandola mandolin low bass, but are popularly other names, such as bandurrín, lute, Laudon, on lute, etc.., reserving the term mandolin, soprano exclusively for the instrument.

We find the term "Mandura" Provencal language "mandoire" in French. The two appear to be derived, according to John Joseph King and Antonio Navarro from the Sumerian "pan-tur" through the Greek "pandurion" and the Latin "pandura." However, in "The Book of Good Love" from Arciprestre de Hita (fourteenth century), which first appears in a literary text the word "lute", citing as an instrument instruments that already has some tradition.

Today, after having gone through different shapes and sizes throughout history, we can draw such a small instrument with sounding pear profile, tapas and a mast parallel fretted, through which the cords extend (six distributed in pairs), topped with a peg, needing to execute a plectrum or pick. It is therefore an instrument belonging to the category of compounds stringed instruments.

The mandolin in the s. XX, is becoming an essential tool in the folklore of some Spanish regions, and appears also quite often in the Spanish lyrical genre, the Zarzuela.

translation-thanks-to-google

  

source of the music & the fotos - Gracias! 

  

hoping to have made the orchestra a little bit more known... : )

and one more time:

 

¡Feliz Navidad y Feliz Año Nuevo!

 

~♥ ~

 

Zambomba ...

Así Canta Nuestra Tierra en Navidad

Vol. XVII

Tracks:

01. Coro - Que Suenen con Alegría
02. La Mancanita y Coro - San José dice a la Virgen
03. Coro - La Huida a Egipto
04. Coro - Por la Calle Abajito
05. La Mancanita y Coro - De Oriente Salen Tres Reyes
06. Coro - La Zambomba tiene un Diente
07. La Paquera - Esa Luz que Esperais
08. La Paquera - Blanca es la Plata
09. La Paquera - Callaitos, Callaitos
10. La Paquera y La Mancanita - Por el Camino de Egipto

  

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AUGE DEL VILLANCICO FLAMENCO

The rise of Flamenco Carols

by Rafael Infante (translation google)

The word carol comes from villain (lat. villanus), and originally designated a farmer, a resident of a country house, later designated the song sung by the peasant.

It is a composition characteristic of popular poetry. It included a chorus and several verses (couplets) for solo voice, usually accompanied by one or two instruments. Such compositions are taken up in songs during the fifteenth and sixteenth centuries, stressing "Compilations of Sonnets and Carols" of Extremadura, Juan Vazquez and monumental "Palace Songbook" by composer Juan de la Encina.

In the seventeenth century, when Carol takes on a religious character, the first example is the "Spanish Parnassus of madrigals and carols" of Peter Rimonta. In this period appeared numerous vernacular polyphonic intended to solemnize the festivities.

In the eighteenth century, Carol began its decline. According to some authors, due to the influence of Italian opera.

In the nineteenth century, as has happened with other forms of music based on folk songs, the carols, Andalusia gave him his own label, flamencoises gradually, mainly by a rhythmic pace ballads and lullabies, and other letters adapting referring to Christmas, the singing bulerías, tangos or tanguillos. These letters are based on the Gospels, including the Apocrypha and add on their own events and circumstances of extraordinary poetic power.

In the 20 years of our century, singing in flamenco, flamenco clubs, etc., being the singer nicknamed The Gloria, which was popularized by applying the bulerías a popular Christmas carol. It was so important that his stage name derives from this fact.

From this time many singers, following the example of El Gloria, included in his repertoire this decant, recording label included. The quote in addition to Gloria, her sister Pompi, Pastora Pavón, Tomás Pavón, Manuel Torre, Johnny Mojama, Manuel Vallejo, Canalejas del Puerto, La Niña de la Puebla, Manolo Caracol, Gracia de Triana, etc., which reproduce some of his recordings.

Currently witnessing a boom in Flamenco Carols, perhaps due to the initiative of Caja San Fernando, which began in 1983 and through the Cultural Construction Savings Bank of Jerez, the publication of a series under the generic title "Así Canta Nuestra Tierra en Navidad." In each disc, are shown to be singing traditional carols on the bagpipes, meetings that took place in the backyards of neighbors in Jerez, Arcos and other towns in the provinces of Cadiz and Seville. They also interpreted popular romances and songs interspersed with carols.

This initiative has been a rescue of a nearly forgotten musical heritage as well as an enrichment of it, as can be seen in the courts hearing the first three albums, we've included on this page.

 

source

 

 

source

The villancico was a common poetic and musical form of the Iberian Peninsula and Latin America popular from the late 15th to 18th centuries. With the decline in popularity of the villancicos in the 20th century, the term became reduced to mean merely "Christmas carol".

wiki

  

   

"The serie "así canta nuestra Tierra en Navidad" has Christmas music from my land, Jerez, so I love this serie,.... In my city the people in December  make many reunions  to sing these songs, they are named zambombas because this instrument (a friction drum) is very important. It's a lovely experience stay with the people all the night, singing beside the fire in the street. If you can some day come to Jerez..."  JA.

 

source

 

~ Zambomba ~

  

some more

  

♥

Tambor de cuerdas y flauta de tres agujeros

   

La Tradicion Musical En España Vol. 15
El Tambor De Cuerdas De Los Prineos

1999

Tracks:

BIELLO ARAGÓN:

01. Paloteau de Lanuza
02. Paloteau de Jaca
03. Pedro Gil
04. El ciervo
05. Dance de Sinués
06. Dance de Aragües del Puerto
07. Dance de Embrún

NAVARRA ORIENTAL:

08. Ttun-ttun de Isaba
09. Ttun-ttun de Uztarroz
10. Pasacalles de Burguete

BIGORRA:

11. Danza del Ben-Yar

OSSAU y BEARN:

12. Maudit sia l´amor
13. Bèra Vinagrèra
14. Madamisèla deu Bornau
15. De la mes charmante anesqueta
16. Au verdurèr
17. Branlo Ayrejan
18. Moutchicou

XIBERO:

19. Hegi
20. Bralea
21. Martxa (Godalet Dantza)
22. Ahuntza
23. Barrikada Haustea
24. Buhameak

NAVARRA NOR-OCCIDENTAL:

25. Mando Zaharrarena
26. Mutil-Dantza (Soka Dantza)

Personnel:

Enrique Tello (tambor de cuerdas y flauta de tres agujeros), Javier Lacasta, Marcel Gastellu, Luis Salesa, Faustino Villacampa, Álvaro de la Torre (tambor de cuerdas y flauta de tres agujeros)...

 

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This volume is of particular interest since it scans an instrumental tradition known on both sides of the Pyrenees, that of the three-holed flute played with the drum string. This instrumental ensemble (played by a single musician) has come down to us in the Spanish provinces of Navarre and Aragon and, for our part in Béarn (Ossau valley), Bigorre and Soule. This disc is therefore appealing to musicians from the various regions (including Marcel Gastellu Etchegorri, musician, researcher of long standing, is efficient as discreet), some pretty old and younger but all playing traditional and mostly solo . This gives us an interesting overview of the instrument in which the double flute melody runs while the drum string serves as the basic rhythm and stubborn bumblebee (vibration deliberately created by the curvature of the bridge contribute to in addition to these strings look more stamps to drum string zither). If the instrument is definitely designed for the dance (rich in high harmonics of the flute, the presence of the drone, rhythmic function of the drum), he can also give a haunting aspect to slow airs. Whether to retain something of these recordings is that the Pyrenees constitute an administrative barrier: eyes closed so try to assign each piece to its region unless you are an expert you will give your language quickly cat and if recent exchanges may have taken place, the unit organological and music that emerges here is undeniable.

source (google translation)

  

Tambor de cuerdas

A psalterium /sɒlˈtɪəriəm/, or tambourin à cordes, is a stringed musical instrument, the name of which means the same thing as the one of psaltery. In specific usage, this name denotes a form of long psaltery that is tuned to provide drone chords. Sometimes called a string drum, it is usually used as rhythm accompaniment with a form of tabor pipe. It is also known as tambourin de Béarn in French, ttun-ttun (/cun'cun/, named after the sound emitted) in Basque or chicotén in Aragonese.

Some authors have called into question the inclusion of the Pyrenean stringed drum under the name of psalterium.

Method

It is slung on the arm or over the shoulder of a player who uses the same hand to play the pipe, while striking the strings with a linen covered stick held in the other hand. The 6 strings (3 sets) are most often tuned in octaves that match the keynote of the Tabor pipe, such as Cc Cc Cc or Dd Dd Dd etc. This musical percussion is quite pleasant and can be played pianisimo as well as forte'.
Extent and uses

The instrument is currently widespread in the western Pyrenees, and it bears the hallmark of the territory. Apparently invented in the 15th century, it came into use in the Pyrenees, where it took hold. It is popular in the easternmost Basque province of Soule (Zuberoa), where it provides along with the three hole flute (xirula) the necessary musical background for traditional dance performances and the carnival set of performances called maskarada, which takes place on a yearly basis in different villages of the former viscounty.

After losing ground during the 20th century in western and central Pyrenees, namely Bigorre, Béarn and Soule, the practice of the three hole flute and tambourin came almost to a halt after World War II, except for the Ossau Valley in Béarn. Evidence has been gathered also that with different names (such as salterio) it was played along with the flute early in the 20th century in small areas of High Aragon. From the 1970's on, the instrument has shown renewed vitality.

wiki

  

some more to read - you better learn Spanish :)

  

  

thanks for the music : )

♥

Piano con Duende

Pedro Ricardo Miño
Piano con Duende
2003

Tracks:

1. Río Miño (bulerias) con Diego Carrasco
2. Casa "El Manteca" (tanguillos)
3. Gades Maestro
4. Fiesta en la plazuela
5. Soníos Negros (Seguiriya) con Fernando "Terremoto"
6. Vete y no vuelvas (Tangos)
7. Tío Beni (Alegrias)
8. Barranco (Rumba) con Paco Ortega
9. Ímpetu (Buleria)
10. Me dejaste el corazón (Malagueña) con Fernando "Terremoto"
11. Taberna "Altozano" (Soleá) con Ángela Bautista

Artists:

Pedro Ricardo Miño     Piano
Pepa Montes           Female flamenco dancer
Fernando Terremoto     Male flamenco singer
Paco Ortega           Composer / songwriter
Jorge Malú           Percussionist
Jesús Catalá           Percussionist
Tino di Geraldo     Percussionist
Manuel Nieto           Bass player
Tomasito           Rhythmic hand clapper
Diego Carrasco           Rhythmic hand clapper
Antxo Lorenzo           Gaita artist
Angela Bautista     Chorus

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Name:Pedro Ricardo Miño Bastos
Birth: 1979 Sevilla

Son of dancer Pepa Montes and guitarist Ricardo Miño. He made his stage debut at the age of four. His training and formation took place in the family and at Seville’s conservatory of music. In 1990 he participated in the show "Criaturas" at the Bienal de Sevilla. In ’94 he gave a concert with his own material but has never stopped participating in his parents’ shows, with which he tours numerous cities throughout the world. He also performs live and solo. 

This first album as a soloist is a very personal aproximation to piano flamenco and instrumental music with a wide vision of his own traditions that lets other harmonies and melodies influence a music he has been playing since he was a child.

 

***

  

The first record by this young artist, who is incredibly mature and has a great personality as a pianist and composer. However, this record is more than just a youthful work. The artist, who is the son of the bailaora (female flamenco dancer) Pepa Montes and the guitarist Ricardo Miño, has studied and examined each of his compositions to draw us closer to the flamenco piano and to instrumental music. The album features eleven themes that will draw 'olés' from everyone. From the knowledgeable and demanding public, as well as from listeners who, without knowing much about flamenco, cannot avoid becoming emotional when they hear him, and become infected by the rhythm and simple melodies that characterise his themes, which are both flamenco and universal.

"You have to know flamenco to give feeling, character and verve to a musical score"

  

They're two types of music with two different inclinations, with two different ways of feeling. Maybe I understand flamenco better because I'm from Andalusia, from Seville and from Triana, know what I mean? And here the sunshine is something else, and you spend all day eating tapas, and I think they're factors you need to feel flamenco, just as to feel classical music you have to go to Austria, to Germany, to feel the cold.

  

 ♥

Welcome to Arsèguel ...

  

L'Acordió Un Món De Sons
2001

Tracks:

01. Carles Belda, Helena Casas, Josep Ma. Mayol, Josu Mayol - Bruno
02. Donal Regan, Daire O'Neil - O'Connell's Trip To Parliament
03. Enrique Telleria - La Cumparsita
04. Antonio Barros - Popular (Portugal)
05. Gwenael Kiviger, Axel Breitenreicher - Ar Plac'h Dimel Dimezet Gant
06. Cati Plana - Per Cortesia
07. Hans & Roland Pongratz, Sonja Petersamer - Popular (Bavaria)
08. Francesc Marimon - Acrobaleno
09. Guennady Kakmy Kov - Popular (Russia)
10. Daniel Violant - Sense
11. Schwytzerörgeli Trio Edelweiss - Popular (Swiss)
12. Matias Mazarico I Pere-Pau Jinménez - Un Puntet En El Mapa
13. Artur Blasco - Jota De La Placa D'Arsèguel
14. Ilio Amisano, Stefano Profeta - La Palude
15. Marc Del Pino - Vals Molt
16. Ned Kelly, Úrsula Byrni - Ryan's Polka
17. Laja, Iturbide - Trikirixa (Basque)
18. Alexandre Korotkov - Czardas
19. El Pont D'Acalís - Pasadoble De Muntanya

  

 recorded live in Arsèguel

  

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Welcome to the accordion capital! 

Arsèguel is considered Catalonia’s accordion capital.
Every year, since 1976, it has hosted the Trobada amb els Acordionistes del Pirineu  (Gathering of the Accordion Players of the Pyrenees), the oldest folk music festival celebrated in the Catalan-speaking world. Arsèguel lies in the north-east of the comarca (local district) of L'Alt Urgell, in the very heart of the Pyrenees. It can be found on the lower spurs of the Serra del Cadí (Cadí Ridge), between the river Segre and the slopes of the Puig del Grau. Other points of interest to highlight are the Romanesque-style church of Santa Coloma and the Fàbrica de llanes (wool factory), and of course the marvellous views of the Pyrenees!

 

   

Want to visit:

Accordion Museum

      This museum explains the history of the accordion and its evolution around the world, but with particular reference to its links with the traditional folk culture of the Lleida Pyrenees. The instruments exhibited date from 1840 to the present day and include: melodeons, concertinas, bandoneons, and diatonic, semi-diatonic and chromatic accordions.

 

  

source

♥

Piano

   

Juan Cortés
Jurepén
2003
 
Tracks:

1. Tangos del Puchero
2. Del Mar
3. Asako
4. La Rosa
5. Jurepén
6. Playa del Moro
7. Ojos negros
8. Chaneando
9. Abuelo Juan
10. Una luna en el agua
11. Que sí, está buena
12. 100% Tomás

 

Personnel:
 
Juan Cortés: piano.
Jorge Pardo: flute.
Guillermo McGill: drums, percussion and darbuka.
Salva Cortés: cajón.
Bernardo Parilla: violin
Special guest: Montse Cortés, Tomasito, José Maya...

produced by Guillermo McGill

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A new alliance between flamenco and the piano, among istrumental and vocal songs, Juan Cortés shows his skills to develope a wide complexity of styles with the collaborations of Montse Cortés, El Ciervo (cantaores) Jorge Pardo (saxo)y Bernardo Parrilla (violín).

The young flamenco pianist Juan Cortés who learned to play listening to Paco de Lucía and cut his teeth playing live with jazz artists like Guillermo McGill, Chano Domínguez and Jorge Pardo, has recorded his first record, "Jurepen", based primarily on flamenco but impregnated with the music of those he has worked with throughout his career and who have collaborated on this recording.

Transportar la guitarra flamenca al piano, trasponer la armonía de la guitarra, con los seis tonos distribuidos de forma inconfundible, en el arpa de un piano, recrear en fin las seis voces de la reina del flamenco, la guitarra, sobre el teclado del instrumento rey, es una tarea difícil y arriesgada, y el ideal de un buen número de "pianistas flamencos" que han decidido adentrarse en las veredas de la música española y recorrer los caminos múltiples del flamenco. En el caso de JUAN CORTÉS, partiendo del flamenco, se enriquece pronto con el mejor piano de jazz y latinjazz, para regresar a lo jondo por derecho.
Faustino Núñez (from the booklet)

***

"I had a very clear idea about how I wanted to record the piano, that it had to sound fresh, and it was recorded in eight days. Some things were practically recorded live, top to bottom. Basically it's a live recording, I wanted it to sound as natural as possible, with the musicians that have always surrounded me."

Interview:

JUAN CORTÉS
"Flamenco has always been special for me.."
  
 
   

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Timple & Piano

   

José Antonio Ramos & Polo Orti 

para timple y piano
2003

Tracks:

01. Our Spanish Love Song 2:58
02. La retamilla 4:18
03. Song for Gary 3:40
04. Bem Leve 3:23
05. Englishman in N.Y. 4:21
06. Bebe 6:05
07. Alice in Wonderland 5:44
08. Bossa D'Compra 3:50
09. Nairina 3:28
10. Song for Chick 3:52
11. Lo divino 2:58

  

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 Polo Orti

After graduating from the Valencia, Madrid and Tenerife Classical Music Conservatory in 1990 (Degree with a Major in Classical Piano), Ortí travelled to the USA with a scholarship to study at Berklee College of Music (Boston). It was in this city where he also received composition lessons from the renowned Lyle Mays, keyboardist of the Pat Metheny Group. In the States, Ortí played countless shows in jazz clubs. He also toured the Nordic countries with his band "COCO”. Throughout his musical career, Ortí has received several awards both for his compositions and his performances. In 1991, vibraphonist Gary Burton, together with guitarist Pat Metheny, Mitchel Forman, Will Lee and Peter Eskine, include three compositions by Ortí (Quick and Running, Autumn and Tiempos Felices) in their album "Reunion" (GRP 1990), which reached the top of the U.S. Billboard list. Ortí has continued recording. His first live recording from 1993, “Improvisaciones sobre Piano” was warmly welcomed by critics. In 1998 introduced his album “Polo” produced by Gabino Diego (Actor & Oscar winner for best foreigner movie) In 2000, he also released “Polo Ortí Group Live”, recorded at the International Canary Islands Heineken Jazz Festival. His most recent album is “Suite de la Amistad”, composed by Ortí. A double CD and DVD recorded live in July 2006 at the Tenerife Auditorium with Polo Ortí Quartet, Gary Burton, Tenerife Symphony Orchestra (OST) conducted by Joan Albert Amargos, and Jorge Pardo, world famous Flamenco flute musician (has toured with Chick Corea and Paco de Lucía among others). Orti has done countless performances in cities around the world (Boston, New York, LA, Mexico City, Quito, Berlin, Oslo, Milan, Manchester, etc. ..) and all over Spain, whether at International Jazz Festivals, local venues, theaters and public spaces with different formations: Polo Ortí Jazz Piano, Polo Ortí & Symphony Orchestra, Polo Ortí Trio or Polo Ortí Group. POLO ORTI has shared stage with international artists such as Herbie Hancock, the Yellow Jackets, Tete Montoliú, the New York Voices, Eric Marienthal Band, Michel Camilo Trio, to name a few. He has also worked together with world - acclaimed musicians like Gary Burton, Antonio Sánchez, Scott Colley or Julian Lage. 

 

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José Antonio Ramos

 

José Antonio Ramos is an artist from the Canary Isles who has introduced the timple in a completely new acoustic field. His incursions in several genres (jazz, flamenco, Celtic, symphonic, etc) have caused admiration in everyone that have listen his work and his new proposals.

José Antonio Ramos was born in Las Palmas de Gran Canaria (Canary Isles) in November 10th, 1969. At the age of nine he started his timple studies with Totoyo Millares. Later, he continued his education in the conservatorio superior de música de Las Palmas GC studying classic guitar, but also interested in different folk sources such as jamming, from which, later on,  he took information for use it in his own way of personal expression, which is the timple.

He won the Premio nacional de musica folk para jovenes interpretes in 1998 in Santiago de Compostela. This prize triggered the development of his career, which started with the creation of a group called Trío Timple. He recorded two albums as leader of this group (Más que un suñeo and Tanekra) and travelled around every lost corner in the Canary Isles. In this stage of his work it is worth noticing the performance he gave in the day of the Canary Isles (1996) (Timple. El sonido de Canarias) in which some of the most notable instrumentalists and singer of were invited.

After this stage with the Trío Timple, he started his carrer as a soloist  with an intense activity, giving concerts, seminars, conferences in palces in and out the Canary Isles. In this new period, and for the first time in history of music, he made a name for an electro acoustic timple. It was a new project designed by himself and built up by other luthiers as Jesús Machín and Juan Molina.

This period, up to now, includes four albums. He has also worked with many different artists, both in albums (more than 50) and live performances. Some of them with Carlos Nuñez, Kepa Junkera, Pedro Guerra, Rosana, Orquesta filarmónica de Gran Canaria, Mestisay, los Sabandeños, The Chieftains, Bela Fleck & the Flecktones, Jorge Pardo, Juan Manuel Cañizares, Javier Krahe, Bau, Mari Carmen Mulet, Taburiente, Javier Ruibal, Pancho Amat, Polo Ortí, Jose Manuel Ramos, Camarón de Pitita, Andreas Prittwitz, René Gonzalez, Chago Melián, Charlie Moreno, Luis Pastor, etc.

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♥

Timple two

   

Totoyo Millares

Antologia Del Timple
1999

Tracks:

01. Folia
02. Campanas De Vegueta
03. Arrejalese Pa CA
04. Mazurca
05. Sombra Del Nublo
06. Tanganillo, Santo Domingo Y Tajaraste Lagunero
07. Malaguenas
08. Isa
09. Tajaraste Gomero
10. Adios, Canaria Querida
11. Polca Majorera
12. Baile De La Virgen
13. Arrorro De Los Cantos Canarios

 

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The timple, and Totoyo, are from the Canary Islands. It turns out the timple is the national instrument of the Canary Islands, and Totoyo Millares is the master of the timple.

 

***

Totoyo Millares, hijo del intelectual republicano Juan Millares Carló y hermano de una saga de pintores, músicos, escritores y poetas, entre los que destaca el pintor Manolo Millares, condujo al timple, el instrumento popular por excelencia de Canarias, a un grado de virtuosismo inexistente hasta su aparición en la escena cultural de Canarias desde los años 50.

Fundador del grupo Los Gofiones y de la Orquesta Canaria de Timples, Totoyo Millares, aparte de su extraordinario currículum discográfico y artístico que lo llevó a tocar el instrumento en tres continentes, ejerció también una extensísima labor musical pedagógica. Por su magisterio docente han pasado miles alumnos, algunos de ellos tan destacados en el desarrollo artístico del instrumento como el fallecido José Antonio Ramos. Otros timplistas y músicos canarios se sienten deudores del legado de Totoyo, que abrió un camino de hallazgos estilísticos para un instrumento que, hasta que llegó a sus manos, sólo era usado como acompañante en los grupos instrumentales populares de las Islas.

La trayectoria de Totoyo Millares no deja lugar a dudas; desde su nacimiento en el seno de una familia de poetas y músicos, la creación del primer método de Timple con tan solo diez años y la primera academia de Timple del archipiélago, paseando durante toda su vida su origen isleño y el Timple por todo el mundo y dejando constancia sonora de su quehacer en mas de 80 discos.

En 1942 compone para Timple Mazurca y Polka majorera, inspirada en aires populares, a lo que seguirán casi todos los temas populares punteados, tales como: Folía, Malagueñas, Isas, etc.

Estudia piano y violín. En 1945 (con 10 años de edad) comienza a dar clases de Timple con un método creado por él mismo (el primer método de Timple) y funda la primera academia de Timple del archipiélago (aún no de modo oficial).

A partir de 1950 se dedica plenamente a la enseñanza, convirtiéndose en el mayor pedagogo y maestro de timplistas que han conocido las islas, extendiendo sus clases, también, por los colegios de gran canaria: suma 42 colegios de la isla y, desde 1944 y a lo largo de su vida como pedagogo del Timple, más de 45.000 alumnos.

En 1954 funda, ya oficialmente, su primera academia de timple del archipiélago. Recorre las islas investigando y rescatando el folclore más puro y funda el grupo los gofiones en 1969.

A lo largo de su vida como timplista convierte al instrumento popular de Canarias en instrumento solista, grabando discos y ofreciendo recitales y conciertos. Incluso, llega a fundar la primera orquesta popular de Timple (1983).

Sus enseñanzas han llegado a todos los estratos de la sociedad, desde los más humildes hasta relevantes personajes de las artes y las ciencias.

En el año 2005 recibe un merecido homenaje por parte de la Mancomunidad de Municipios de Medianías de Gran Canaria, encuadrado en el encuentro Medianías del Timple de ese año, entidad que colabora en la edición de la “Antología del Timple”, recuperando así una grabación de 1979 que estaba descatalogada.

 source

some more to read

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Timple

  

Benito Cabrera

Domingo Rodríguez "El Colorao"

Totoyo Millares

  
Antología del Timple

2001

Tracks:

01. Benito Cabrera - El canario   02:52
02. Benito Cabrera - polka de la guagua   03:30
03. Benito Cabrera - Pequeño vals   04:33
04. Benito Cabrera - Amarraditos   03:17
05. Domingo Rodriguez "el colorao" - Isa majorera   04:07
06. Domingo Rodriguez "el colorao" - Seguidillas conejeras   03:15
07. Domingo Rodriguez "el colorao" - Tico-tico   04:05
08. Domingo Rodriguez "el colorao" - Pájaro campana   04:17
09. Totoyo Millares - Isa vieja floreada   02:39
10. Totoyo Millares - Folías de Gran Canaria   02:39

  

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The timple is a traditional Spanish plucked string instrument of the Canary Islands.

Migrating from North Africa in the 16th century to the Canary Islands and then on to Murcia, the timple has become the traditional instrument of the Canaries.

In La Palma island and in the north of the island of Tenerife, many timple players omit the fifth (D) string, in order to play the timple as a four-string ukulele, though this is considered less traditional by players and advocates of the five-string version. The players of the four-string style, in return, say that they are simply playing the timple in the old-fashioned way from before the time when a fifth string was introduced in the late nineteenth or early twentieth century. The common tuning is GCEAD.

see also

Algunos timples de la colección de Totoyo Millares:

TIMPLE DE CONCIERTO (abajo). Constructor: Rafael Morales (Arucas, Gran Canaria).
“EL” TIMPLE (centro). Constructor: Simón Morales Tavío (Teguise, Lanzarote).
TIMPLE TIPLE (arriba). Constructor: Agrícola Álvarez (La Laguna, Tenerife)./

foto YURI MILLARES

 

Tenerife Music: The Timple

One of the most fundamental and representative elements to traditional Canarian folk music is the timple, or the Canarian guitar. Similar to a ukulele, the timple is like a miniature version of the guitar and strumming its four (or five) strings produces light, higher-pitched music.

The timple's origins are more than likely rooted in the Baroque guitar, which was introduced to Tenerife and its fellow islands after the Spanish conquest. While it was long-regarded as an accompanying instrument in traditional Canarian music, contemporary musicians like Totoyo Millares totally revolutionized the instrument and its musical possibilities by converting it into a soloist instrument. Nowadays, the timple is used to play anything from traditional Baroque to jazz and pop music.

source

history

Flute

  

Rão Kyao con Ketama
Delírios Ibéricos
1991

Tracks:

01.Vozes No Deserto 7:40
02.Água De Fogo 5:43
03.Amor Cantado 5:05
04.Lamento Andaluzo 3:38
05.Delirios Ibéricos 7:30
06.Soledades y Saudades 7:18
07.De Copas Con La Dama 5:39
08.Canto Das 1001 Notas 3:30
09.Amor Sentido 3:30
10.No Planalto 5:42
11.Normalmente 6:04

  

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Since his early days João Ramos Jorge loved music. When a child, he was in various choir groups. Then, he started to study bambu flute and saxofone.

In the seventies he made part of two bands, called Status and The Bridge. Then he goes to France, where, during two years, he plays with great names of jazz and ethnical music.

He iniciates his studies in Indian music, which, along the Arabic music, are on the basis of Portuguese traditional music. Those influences would be a strong mark in all his career, creating a unique style in the Portuguese music panorama.

Malpertuis, his first album, was well aclaimed by public which hepled to consider him an important instrumentist and composer. Bambu , released in 1977, confirmed that: critics considered it the best Portuguese music album of that year.

He's invited to play in Yatra International Jazz Music Festival, in India. After that he starts to live in Bombay, to get a better knowledge of bansuri (a flute) playing style. Goa is the result of that learning experience. In 1980 he records a live jazz album, Live at Cascais, at the International Jazz Festival (Cascais Jazz, in Lisbon).

1983 marks a turning point, not only in his career, but in Portuguese music as well. Fado, the traditional urban style of music, a strong influence, leaded him to record Fado Bailado, which turned to be the first Portuguese music album to achieve the Platinum mark.

In 84 he goes to Macau where he's invited to write a work that reflects the presence of Portugal in that territory. The result was Macau, o Amanhecer. In that same year is released Estrada da Luz, which reached, once again, the Platinum mark.

1986 is the time of Oásis, which was Gold. In the end of this year he goes on tour in Brazil, country where he will record Danças de Rua. This album, released in Europe, USA and Japan, reflects a Brazilian percussion style (from "Nordeste" region). It reached Gold.

The Portuguese folk is well represented in his following album, Viagens na Minha Terra (translated: "Voyages in my land"), released in November.

In 1992, along with Ketama, he records a very rich album, "Delírios Ibéricos", in which the bridge of Flamenco and Portuguese music is straight. A record with those characteristics hadn't been made before, ever.

1999 was the last year of Portuguese adminstration over Macau, now part China. Macau - Junção is a record to mark the fact, a dialogue between Kyao flutes and the Macau Chinese Orchestra (conducted by Wong Kyn Wai).

The musician keeps on his approchings to Arabic, Indian, African and Portuguese music. During his large career he was invited to play with many artists, and his name figures in various records of Portuguese musicians...

 

source

wiki

his space

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Miño

  

Baldo Martínez - Proyecto Miño
2007

Tracks:

01. Ribeira
02. Marcha
03. Aire De Tuba
04. Canta Rula
05. De Onte Pra Mañan
06. Suite Del Miño
07. De Norte A Sur
08. Fogar De Breogan

MUSICIANS:

MAITE DONO - Voice
GERMAN DÍAZ - Hurdy-Gurdy
CHIAKI MAWATARI - Tuba & Serpenton
DAVID HERRINGTON - Trumpet y Flugel-horn
ALEJANDRO PEREZ - Tenor and soprano saxes, clarinet
ANTONIO BRAVO - Electric guitar
LUCIA MARTÍNEZ - Vibraphone and  percussion
PEDRO LOPEZ - Drums and electronic percussion
BALDO MARTÍNEZ - Double-bass, composition and musical arrangement

Featuring:

VALENTÍN CLASTRIER - Hurdy-Gurdy

  

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 The Miño project came about through a comission for the Portuguese  Guimaraes International Jazz Festival for Baldo Martinez, Galician double bassist noted for his work in the area of modern tendencies of European jazz.Some of the compositions, all originals, are based on traditional lyrics and music from his homeland. They are interpreted by nine excellent  musicians, each one well known in the jazz and folk circuits, who achieve a rich and varied timbre, combining traditional instruments like hurdy-gurdy together with electric guitar, tuba, vibes, double bass.......developed within a contemporary jazz idiom, this music is inspired by the traditional music from the river Miño area, on the border between Galicia in the north-west of Spain and the north of Portugal. It offers a personal approach within the latest European jazz fields with very strong autoctonas roots.
  

  
The Galician double-bass player Baldo Martínez is one of the most representative musicians within Spanish contemporary jazz and one of those with greater recognition outside of Spain, proof of which is the recent tour of Germany(Trienal Festival of Cologne, European Jazz made in.....in Munich) where he presented the Projecto Miño, one of the most daring and innovative directed by Baldo Martínez.. In 1994 he formed his own group, after previously founding bands like Zyklus or Clunia, and having worked with respected national and international musicians: Paolo Fresu(2003), Louis Sclavis(2006), Joachim Kühn(from 2005), Jorge Pardo, Wade Mattews, Carlo Actis Dato(from 2001), Maria Joao (from 1985), Mike Rabinowitz, Chano Dominguez, Angel Rubio and a long etc... Baldo Martinez's first record, "No Pais dos Enanos" was received with very positive reviews and was considered by the magazine Cuadernos de Jazz as the 2nd best record in 1996. Two years later he presented his 2nd work as leader, "Juego de Niños" in the Matosinhos-Porto International European Jazz Festival (Portugal) where it received great acclaim from the public and very favourable reviews.This record was also considered to be one of the 5 best in 1998. He also presented it in France,where it was very well recieved "standing apart within Spanish Jazz,Baldo Martinez impregnates with elegance and creativity the paths of European Jazz". Featured also in the special cultural supplement Babelia, to celebrate the 25th aniversary of the newspaper El País,he was considered to be one of the most prominent Spanish jazz musicians within the European jazz scene. The past may this group have participate in the EUROJAZZ in Mexico, this festival show the last ways of European Jazz. "The Baldo Martinez quintet has managed to .........the idea of flamenco-jazz and has enriched it with the influence of popular music creating a personal language...a music laced with ethnic tonalities with contemporary touches"(El Heraldo De MEXICO (April 2002) In 1999 he was asked to lead "Miño Project" in the International Jazz Festival in Guimaraes, Portugal, considered to be one of the most important within the new European jazz scene. This project develops a reperetory based on the traditional music of Galicia and the north of Portugal, with a 9 piece band (Maria Joao, Gregg Moore, Carlos Beceiro, etc..).Worthy of mention also is his recent collaboration with the Italian musician Carlo Actis Dato o Paolo Fresu the last Summer It is one of the most stable and solid groups currently existing in Spain, formed with internationally recognized musicians.

    Baldo Martinez have take his music for Spain, Germany, Portugal, Maruecos, Mexico, Luxemburgo, France, etc... The recording by the title "Nai" (2001), mixes a large part of his recent musical experiences, and we can find music inspired in folk, especially Galician, played with vanguard style within current European jazz. The group is formed by leading musicians from the national scene; the guitarrist, also Galician, Antonio Bravo, revelation in recent years; the British trumpet-player David Herrington, very creative with his warm sound, on drums and electronic percussion, Pedro Lopez, one of the most imaginative musicians who also formed part of the group Zyclus with Baldo Martinez, and the most recent member, Eduardo Ortega, a young violinist, virtuoso and great improviser, who lends the group a personality and sonority that fits perfectly within the eschetic planning of Baldo Martinez's music. Recently, 5 years after it's creation, he presented the Projecto Miño in Spainlast January in the Circulo de bellas Artes in Madrid within the Festival Internacional Escena Contemporánea, achieving great recognition from the public and media, who described it as "one of the most emotive, ambitious, exuberant and intelligent projects that has appeared in Spanish jazz in a long time" Pablo Sanz –EL MUNDO- During this year, 2005, he has edited two cd's, one with his quintet, called TUSITALA and another in duo with the Italian saxophone and bass-clarinet player Carlo Actis Dato, titled FOLKLORE IMAGINARIO from the British label, Leo Records. In 2006 he formed TRIEZ with Agustí Fernandez and Ramón López., they presented this grouping “JAZZYCOLRS FESTIVAL” in Paris, November 2006 Also at the present he is member of “Joachim Kühn Iberia Trio”.

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