Juan Manuel Cañizares, guitar concert in Auditorio Nacional. Madrid

“Cañí” guitar

Text: Pablo San Nicasio Ramos
Cover photo: Amancio Guillén

On a local Madrid holiday, flamenco fans in Spain’s capital flocked to hear a Catalonian within the series “Andalucía Flamenca”.  And so it goes, geographical multiculture which has never been more popular.

Juan Manuel Cañizare is a world-wise man because he’s been globe-trotting for some time now, which provides a solid underpinning for the complete guitarist.  And all the more when we’re talking about an open-minded musician.  But even so, Cañizares never fails to surprise.  This gentleman of the guitar continues to be in top form and with six strings is able to travel through a wide range of styles that makes you realize the folly of looking abroad for guitar virtuosos.

With clear jazz and rock influences, although he is always true to his own style, the man from Sabadell had the audience in his pocket at the Auditorio Nactional which is more and more amenable to flamenco.  There were few empty seats, despite the inclement weather.

A repertoire of ten pieces was prepared, all meticulously listed on the program notes, although he started out with a prelude that was not included.  A mystical introduction, with tremolo, which was a sort of a preliminary bonding with the instrument.

The first five pieces were the most dense.  It was difficult to get involved since harmony took precedence over melody, even though it was colombiana, bulería and tangos.  Until the tanguillo, the whole thing didn’t start to rock.  Two cajones was overkill for this highly technical guitarist.  It was all of a high level, but more overwhelming than enlightening.  We were still waiting for things to happen.
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This guitarist is a tireless seeker of special effects.  He uses his guitar to achieve riffs and “clusters” like Jimmy Page.  But he is also an intelligent man, because the concert switched direction starting with the tanguillos and opened the windows of the venue.

Cañizares’ greatest hits were on display in a second half that was full of happy faces and great rapport within the group.  And although we were still seeing glissando and pizzicato, oriental sounds and even romantic passages, the musicality took precedence and a flamenco feeling made its welcome appearance.  Legendary pieces like “Toca Madera” and “Paloma” were insolently precise, with right-hand technique fine enough to have warranted bringing opera-glasses to get a free lesson, and a rumba ending which was the most flamenco moment.  Like pulling rabbits out of a hat.

The concert reached such heights of virtuosity and total guitar, that we forgot what a difficult program it was.  That’s the risk with these musicians.  They make inhuman feats appear ridiculously simple, and from the “ole” triggered in the middle of the program, we moved quickly on to an orgasmic “ahhhh”, to end up hypnotizing the audience that wanted more and more picados and scales, it was as if the guitarist were running on a charged battery.

The group was fully supportive of the cause, with the excellent choice of Ángel Muñoz and Charo Espino (wonderful castanets), the great Juan Carlos Gómez and the lively attraction of Rafa Villalba on percussion.

A flamenco band that gave a twirl through Heavy Metal, Hardcore, Jazz and of course Flamenco.  The guitar of Cañizares, one of the greats.