{"id":33666,"date":"2022-10-29T08:00:03","date_gmt":"2022-10-29T06:00:03","guid":{"rendered":"https:\/\/guitarrasramirez.com\/jose-ramirez-flamenco-guitar-conquered-world\/"},"modified":"2022-10-29T08:00:03","modified_gmt":"2022-10-29T06:00:03","slug":"jose-ramirez-flamenco-guitar-conquered-world","status":"publish","type":"post","link":"https:\/\/guitarrasramirez.com\/en\/jose-ramirez-flamenco-guitar-conquered-world\/","title":{"rendered":"Jos\u00e9 Ram\u00edrez, the flamenco guitar that conquered the world"},"content":{"rendered":"

There is no doubt that it is to <\/strong>Andr\u00e9s Segovia<\/strong><\/a> that we owe the full diffusion of the Spanish guitar throughout the world, a task that he undertook and concluded with a Ram\u00edrez instrument in his hands<\/strong>. Following in his footsteps, a stream of concert guitarists kept the classical guitar in the most select concert halls of the world and, with him, attracted the attention of valuable composers who would endow the instrument with a wider and deeper repertoire of its own.<\/p>\n

For its part, the popular sister of the Spanish guitar (\u201csonanta\u201d), as it was nicknamed, not without a certain contemptuous derision at the beginning, grew in sturdy folk hands. Noble hands, in Andalusia, would devise a peculiar system of techniques, basically thumb and strumming, with which they would create their differential and minimalist repertoire <\/strong>of variations and enchanting falsetas.<\/em> Feeding on its classical kin, its arpeggios, tremolos, capo, harmonics and harmonies, it would grow, improve, and gain in entity and musical concept.<\/p>\n

The so-called flamencos, professional artists of the first rank, have always been performers and creators, solely responsible for shaping and enriching a musical heritage that has been expressed for more than a century with a beginning, middle and end. Already at the end of the 19th century, the eminent Miguel Borrull Castello, T\u00e1rrega’s pupil and creator of the first solo guitar piece that remains in our repertoire, the ronde\u00f1a gitana – apparently composed with a first-generation Ram\u00edrez – which was inherited and improved by Ram\u00f3n Montoya, <\/strong>was struggling to make himself heard as a soloist.<\/p>\n

But before Spain, they wanted to enjoy the nineteenth-century solo basses of Borrull, Paco de Lucena, Montoya or Luis Yance in Paris, Argentina or New York. A sad reality that will force our geniuses to throw themselves into the world in the endeavour to win a favourable audience.<\/strong> It was demonstrated that the flamenco guitar players were \u201cQuijotes\u201d\u00a0 in their land and happy musicians acclaimed abroad.<\/p>\n

Our hidalgos de sonanta en astillero<\/em> these artists who were able to conquer the ears of the planet with their music and put themselves on a par with the eminences of the classical guitar -Segovia first-, performing in the same odeons and on comparable dates, recording for the same record labels and with the same producers, the highest-ranking in each place, were dreamers who launched themselves into infinity with <\/strong>Jos\u00e9 Ram\u00edrez guitars<\/strong><\/a> in their hands<\/strong>. They, like Segovia, did with his, put the sonanta<\/em> into orbit.<\/p>\n

Sabicas’ first solo recital<\/h2>\n

Agust\u00edn Castell\u00f3n Campos, Sabicas<\/a>, the concert who taught us by correspondence from New York, when the Madrid City Council was about to honour him during a recital in a sacred place and on an important date, 15 May 1987, wanted to reciprocate to the guitar maker Ram\u00edrez in this way:<\/p>\n

“In the programme of the Teatro Real don’t forget to put, Guitarras Ram\u00edrez, because I’ve been playing with Ram\u00edrez guitars for twenty or twenty-five years now, and I always announce it in the concerts, ‘guitar Jos\u00e9 Ram\u00edrez’. These are customs from there, from the United States. We’ve never announced guitars, or strings, or anything here, but in the United States, yes. They like it<\/em>.<\/p><\/blockquote>\n

A healthy habit that has not yet been extended to the homeland, as is the case with the taste for stopping to listen to a good guitar. Everything will come and go, hope is never lost, but it is still green.<\/p>\n

It happened on Friday 22 May 1959 at Town Hall in New York. That first solo recital by Sabicas marked a before and after in his career and the history of the concert guitar. Sabicas proved himself to be the true virtuoso compared to don Andr\u00e9s Segovia in classical music. This appearance of Sabicas was due to an eventuality, a family mishap of Mario Escudero which prevented him from taking on the performance destined for him<\/strong>, offering it to his compadre<\/em>. He made the most of it. On a later occasion, Mario Escudero<\/a> would appear at Carnegie Hall.<\/p>\n

Mario Escudero, apart from, in his time, the most intelligent concept of composition, was responsible for the use of ‘black’ guitars in flamenco, the use of classical guitars adapted to the new function. An example is a record produced by Sid Feller, Escudero at El Porche <\/em>(ABC S 492, 1964), recorded with a classical guitar built by Jos\u00e9 Ram\u00edrez<\/strong>. Guitar Magazine <\/em>(No. 18. January-February, 1966) was amazed:<\/p>\n

“For reasons perhaps only known to him, he uses a classical Ram\u00edrez rosewood guitar and not the traditional flamenco cypress guitar.<\/em><\/p><\/blockquote>\n

Sabicas, on the other hand, refused any guitar other than the ‘white’ – cypress. Together in Manhattan produced the best examples of a sonata duo, two sensational albums Sabicas and Escudero. Flamenco styles on two guitars <\/em>(Montilla Instrumental FM-105, 1957).<\/p>\n

From Mario Escudero jr., we learnt about the opening concert of his godfather Sabicas, replacing Escudero: “This was common practice between Sabicas, my father and also Carlos Montoya, when any of them could not fulfil a contract to give a concert<\/em>“.<\/p>\n

Carlos Montoya, standard-bearer of the soloist guitar<\/h2>\n

And here is the name that was missing, Carlos Montoya<\/a>, in many ways the most representative of this story, because, qualities aside, it is to him that we owe the speciality of guitar soloist which he remained the standard-bearer until the end.<\/strong><\/p>\n

In 1945, he tried a small recital at La Meri’s New York studio, and the response was positive, with over a hundred people packing the small room.<\/p>\n

In 1948 he decided definitively for concert performances and it was alone with his Jos\u00e9 Ram\u00edrez guitar, that achieved the greatest audiences and interest in the guitar in the world.<\/strong><\/p>\n

In 1964, he improvised his happiest record, Adventures in flamenco! (<\/em>ABC Paramount ST 90116), with the flamenco Ram\u00edrez that he holds smiling on the cover and, after a decade, with another Ram\u00edrez he recorded his most ambitious work<\/strong>: Suite flamenca with a full symphony orchestra <\/em>(United Artist 89128 I). Carlos Montoya’s renowned American student, Anita Sheer, did not want to be less and gave another Ram\u00edrez left her recording production.<\/p>\n

Long before, when the young Carlitos had to serve as a Spanish soldier in a troubled Morocco at war, instead of shooting, he played the first chords to a legionary who would become a cabinetmaker and father of the great V\u00edctor Monge, Serranito<\/strong><\/a>, who besides learning these postures as a child, invented and imposed, at last, the concert guitar in Spain.<\/strong> Always by the hand of Jos\u00e9 Ram\u00edrez and his family. We will come to him.<\/p>\n

Juanito Serrano<\/h2>\n

For the moment, the refreshment of the guitar solo came from Spain. The names of Carlos Montoya, Sabicas and Mario Escudero were joined by that of Juanito Serrano<\/strong><\/a>, who opened the doors of the American market with another Jos\u00e9 Ram\u00edrez; the one used in the recording<\/strong>\u00a0Ole la mano (<\/em>Elektra EKS-7227, 1962), a record recorded by his friend Theodore Bikel, from the very planetary centre of popular music, the Greenwich Village of the Big Apple.<\/p>\n

On 10 February 64, Serrano and Andr\u00e9s Segovia shared the limelight in the Spanish newspaper ABC, on the occasion of some performances by both of them in Washington:<\/p>\n

“Andr\u00e9s Segovia’s universal, acclaimed guitar and the young, promising guitar of flamenco artist Juan Serrano are at the same time in the capital of the United States. Enthusiastic applause greeted them both”.<\/em><\/p><\/blockquote>\n

The information was accompanied by a picture of the two taken in Bogot\u00e1, Colombia, in 1959, where Juan appears with his Ram\u00edrez flamenca in hand.<\/strong><\/p>\n

Ricardo Baliardo, better known as Manitas de Plata (Silver Hand)<\/h2>\n

The French <\/strong>Manitas de Plata<\/strong><\/a>, who gained the greatest media attention, <\/strong>rounds off the collection of flamenco guitarists who made the genre heard around the world through New York city platform. Such was the impact of the Manitas phenomenon, endorsed by Picasso and Dal\u00ed<\/strong>, that on his American debut even Carnegie Hall gave him an extra day, and Pau Casals chose him in 1965 to represent Europe at the annual UN gala.<\/p>\n

The important thing was that he convinced – and not how – a majority of people of the goodness of the art he represented, selling records in quantities similar to or greater than Bob Dylan, Pink Floyd or Carlos Santana. The first and most important, Manitas de Plata. Flamenco guitar <\/em>(Jos\u00e9 Ram\u00edrez III, 1964), he recorded it, of course with his Jos\u00e9 Ram\u00edrez, for a Village label, Connoisseur Records\/Vanguard.<\/strong><\/p>\n

The vinyl was a best-seller and won the Grand Prix du Disque from the prestigious French Charles Cros Academy.<\/strong>\u00a0Let us say, by the way, that this micro-surco came out in 64 when the first solo recordings by Paco de Luc\u00eda<\/a> and Manolo Sanl\u00facar were released.<\/p>\n

V\u00edctor Monge, “Serranito”, and Manolo Sanl\u00facar<\/h2>\n

By then V\u00edctor Monge, “Serranito”, undoubtedly the greatest flamenco exponent of the Ram\u00edrez guitars – almost a son for Jos\u00e9 Ram\u00edrez III<\/a>, a man with a flamenco heart – had already conceived and shaped his repertoire, flamenco and virtuoso to the highest degree, striving to impose the concert guitar in his homeland<\/strong>. With a Ram\u00edrez guitar sister to the one used by Andr\u00e9s Segovia, but adapted to flamenco1<\/sup><\/strong> , he succeeded, just as, as a traveller, he would open the doors to the world for his companions. In his wake, the aforementioned Paco de Luc\u00eda and Manolo Sanl\u00facar set out to form the triumvirate that has given us the plenitude of the present day.<\/p>\n

Manolo Sanl\u00facar<\/strong><\/a> soon showed his preference for Ram\u00edrez, joining his image to firm and, like Serranito, leaving work <\/strong>for the enjoyment of human beings. Many of them were performed as a duo by Ram\u00edrez with his brother Isidro Mu\u00f1oz.<\/p>\n

Furthermore: If Paco de Luc\u00eda did not use Ram\u00edrez guitars publicly -because he had them-, it was out of respect for his father, who had a small disagreement with <\/strong>Jos\u00e9 Ram\u00edrez II<\/strong><\/a>, although with the later Ram\u00edrez there was peace and harmony.<\/p>\n

Jos\u00e9 Ram\u00edrez and his relationship with flamenco guitarists<\/h2>\n

The list of flamencos who have approached their art thanks to Jos\u00e9 Ram\u00edrez is endless. Among the conquerors established in Manhattan, close to Sabicas and Escudero, we have Paco Juanas<\/a> from Madrid; he boasts about his Ram\u00edrez ’77: “It’s the best one I have<\/em>“. It was unnecessary in those glorious times of flamenco in the USA to go all the way to Madrid to get a Ram\u00edrez. Between 1929 and 1988, the famous Casa Moneo, a micro-hypermarket (sic) of Spanish products where you could get everything from D.O. food to mantillas, records and guitars by Jos\u00e9 Ram\u00edrez, was <\/strong>kept in New York.<\/p>\n

If from America came to a Sabicas who became ‘King of Flamenco’, there another outstanding ambassador of our art, the Sevillian Emilio Prados, called himself ‘Atalaya de Flamenco’ because the reign was awarded to him; an Emilio who always spoke through his Ram\u00edrez. Before crossing the Atlantic, Prados performed and recorded in Barcelona with another excellent guitarist who played Ram\u00edrez and was able to fill Sabicas’ place with Carmen Amaya. <\/strong>We are talking about Andr\u00e9s Batista, a Catalan flamenco artist who has impressive work.<\/p>\n

Equally Catalan is the famous Peret, who as a guitarist accompanied Carmen Amaya and Antonio Gades in the celebrated film Los Tarantos. And on more records he plays the guitar, only as the King of Rumba he is known, setting the rhythm of the ‘fan’ on a splendid Ram\u00edrez<\/strong>; see him there, at the Eurovision, representing the nation with the advice, “Sing and be happy”. Peret was challenged for the rumba throne by another Catalan, Antonio Gonz\u00e1lez, El Pesca\u00edlla<\/strong><\/a>, a guitarist of superior ability and world renown for his marriage to Lola Flores. Well, they too played Ram\u00edrez.<\/strong><\/p>\n

Far and wide, the most outstanding performers play or have played Ram\u00edrez guitars. For example, the much-loved Juan Carmona, Habichuela, and his Granadian companion Juan Maya, Marote, when both revolutionised the guitar scene in the capital at the beginning of the 1960s.<\/strong><\/p>\n

Before that, in 1957, Rom\u00e1n el Grana\u00edno recorded in Paris, with his Ram\u00edrez, the first anthology of flamenco guitar in micro-groove. <\/strong>And I think of that diamond in the rough that was Ni\u00f1o Miguel, with his \u201cRam\u00edrez de palillos\u201d (with pegs) on the cover of his second album, Diferente (<\/em>Philips 63 28 206, 1976); the record company, looking to improve his sonority, solved the problem by turning to Ram\u00edrez.<\/strong><\/p>\n

Many of those who shared the same path with V\u00edctor Monge, when Jos\u00e9 Mar\u00eda \u00cd\u00f1igo announced “Serranito y sus guitarras” on TVE, also took the Ram\u00edrez: Manzanita, Ian Davies, Miguel Rivera, Felipe Maya, Monchi, El Entri…, and others very close to him, such as Jos\u00e9 Antonio Rodr\u00edguez or Jin Oki.<\/strong> In the never-ending list of flamenco cultures on Ram\u00edrez appear Antonio de C\u00f3rdoba, Moreno de Herrera, Pepe Tovar, Fernando Pucherete, Mart\u00edn Perea, Antonio el Mu\u00f1eco, the Extremaduran Miguel Vargas, Ni\u00f1o Jero, Celia Morales, El Mami? The superlative current guitars of Jos\u00e9 Luis Mont\u00f3n<\/a>, Ra\u00fal Mannola, Jos\u00e9 Luis Rodr\u00edguez today Jos\u00e9 Luis de la Paz, Santiago Lara, Paco Vidal, Miguel \u00c1ngel Cort\u00e9s…, and even Ricardo Pach\u00f3n or the family of Federico Garc\u00eda Lorca.<\/p>\n

Where does the guild’s fondness for Ram\u00edrez come from?<\/h2>\n

Easily, this surname is responsible for the flamenco guitar model that was imposed from the end of the 19th century, when the professional guitarist played the caf\u00e9s cantante. <\/strong>At the request of its makers, Jos\u00e9 Ram\u00edrez I conceived the Tablao guitar<\/a>, with a greater volume of sound in accordance with the wider audience to be catered for.<\/p>\n

His brother and disciple Manuel Ram\u00edrez<\/strong><\/a>, developed the template until the pattern of the current flamenco guitar was outlined<\/strong>; in his workshop learnt to make guitars Santos Hern\u00e1ndez, Modesto Borreguero, Domingo Esteso… The continuators of Jos\u00e9 Ram\u00edrez I (Manuel left no descendants), will be his direct family. Now we are in the fifth generation, <\/strong>we had Jos\u00e9 Ram\u00edrez IV and his sister Amalia Ram\u00edrez from the fourth generation and Jos\u00e9\u00b4s sons or Amalia\u00b4s nephews Cristina and Jos\u00e9 Enrique from the fifth generation. They taught <\/strong>successive apprentices who became distinguished masters: Marcelo Barbero, Paulino Bernab\u00e9, Manuel Rodr\u00edguez, Contreras, Arturo Sanzano, Jos\u00e9 Romero, Pedro de Miguel, etc., and, indirectly, Miguel Rodr\u00edguez, Francisco Simplicio, Arc\u00e1ngel Fern\u00e1ndez… Praised world of the guitar.<\/p>\n

Ram\u00edrez is a surname of cache in the world of flamenco, where it sells at a premium.<\/strong><\/p>\n

Not to mention Tina Ram\u00edrez, who in New York was an institution of Spanish dance, we had in Jerez the venerable bailaor Ram\u00edrez, Antonio, a mythical man, and his brother, the cantaor <\/em>Juan Ram\u00edrez<\/strong>, has bequeathed us a style por sole\u00e1<\/em>. The current Juan Ram\u00edrez inherits his art and nickname from both of them, a portentous native of Alicante who, although he occupies a preferential place in dance, began as a cantaor, when he was called Gitanito de Oro<\/em>; however, his facet as an excellent guitarist is unknown.<\/p>\n

And, of course, Ram\u00edrez is the guitar itself. To put it in Sevillian: a ‘arma m\u00eda<\/em>‘ loaded with future.<\/strong><\/p>\n

Author of the article: Jos\u00e9 Manuel Gamboa.<\/em><\/strong><\/p>\n

Author’s notes<\/strong><\/h4>\n

1<\/sup>Today this traditional Serranito model<\/a> is available, which has been taken up by the Ram\u00edrez family as a tribute to the maestro and as a tribute to a friendship.<\/p>\n","protected":false},"excerpt":{"rendered":"

There is no doubt that it is to Andr\u00e9s Segovia that we owe the full diffusion of the Spanish guitar throughout the world, a task that he undertook and concluded […]<\/p>\n","protected":false},"author":0,"featured_media":29863,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_joinchat":[],"footnotes":""},"categories":[89,85],"tags":[],"class_list":["post-33666","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guitar-maker-ramirez","category-our-guitars"],"yoast_head":"\nJos\u00e9 Ram\u00edrez, the flamenco guitar that conquered the world | Guitarras Ram\u00edrez<\/title>\n<meta name=\"description\" content=\"Jos\u00e9 Manuel Gamboa has written a special article talking about the transcendence of the guitar Jos\u00e9 Ram\u00edrez in the flamenco world.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link 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