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So this re-edition is soon to be
found in the shops…
Yes, I think it'll be out for next Christmas. The re-masterizing
of all the tracks is already done. And the re-masterized CD edition of many
of the themes I did with J.A. Amargos for NM, has been launched too a few
days ago, under his name. If my memory serves me well, I think I may well
have released about 7 records under my name, two of them with Amargos. It
is the material of this two collaborations the one that has been launched.
The rest of the material I recorded alone, is in this CD soon to come out
as Carles Benavent.
Does it include any track from
Musica Urbana?
No, no. It includes only material from the recordings I
did alone after 1983 for NM. As I said before, the first one alone, the following
two with Amargos, and the fourth, Agüita que corre, again alone.
Is this collaboration with Amargos
widely known?
Well, I guess it is. In fact, the second record, Colours,
was already launched in CD format. It was my first CD ever! With Didier Lacourt
on violin, Parrita singing in some track… it was a pretty lovely work. In
this two recordings, I shared with Amargos the authorising of all themes.
7. Current work.
What is your last formation?
Well, as you know, the last project is a trio, with Jorge
Pardo on sax & flutes and Tino diGeraldo at percussion. This formation has
been going on for the last 3 - 4 years, and it is the basic team I play now
with.
Have you got new material prepared
for recording?
Yes, we have already a new recording session scheduled with
the trio, with new themes by we all three. This menáge-á-trois is much more
bearable, because you share all the responsibilities, the writing, the arrangements,
the anxiety…Making a record alone is exhausting!
You keep playing only the bass,
I guess.
Well, not at all. When I was in MU, Amargos gave me a mandolin
as a present, and then I started to check it out. Soon later, I discover the
mandola; it is similar to mandolin, but with a longer neck, an octave lower
-like a tenor mandolin, and longer frets, which makes it much more suitable
for me. I feel very comfortable at it, and I always carry it up and down while
touring with de Lucia.
And so has the mandola been introduced
in some flamenco teams in recent years..
So it seems. It is fitting well to this new flamenco paths,
and it's being well received among listeners. I think its sound and timbre
adapts pretty well to this style. It sounds nicely as played by Josemi, from
Ketama. El Tomate [Tomatito, the great flamenco guitarist, who usually accompanied
Camaron] also wears one now. Everyday new people is trying it on, because
of its "sunny" accent, unmistakably Mediterranean. And you can even try to
imitate the Portuguese guitar or the Arab lute on it.
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