AUDIOS EYLON AMIR






Thanks Eylon Amir for sending your audios with your Tradicional Ramírez guitar (2009):http://www.guitarrasramirez.com/index.php?seccion=biblio&lang=es

Muchas gracias Eylon Amir por enviarnos tus audios con tu guitarra Ramírez Tradicional (2009). Ya los hemos colgado en nuestra web:




NUEVO DISCO GABRIEL ESTARELLAS

Publicación del nuevo Cd de Gabriel Estarellas "Concierto 60 Aniversario" por RYCY Productions Inc. en Los Ángeles, USA. La grabación se ha realizado con una guitarra "José Ramírez" (2012) tradicional especialmente construída para Gabriel Estarellas. 



LIBRO Violão Ibérico- CARLOS GALILEA




Nuevo libro Violão Ibérico- Carlos Galilea

"Es probable que la guitarra sea uno de los instrumentos más tocados en el mundo. En Brasil es parte de la samba, del "choro", de la Música Popular Brasileña ... En España destaca en la Música erudita, en las canciones y en el flamenco. Proveniente de la Península Ibérica de instrumentos de cuerdas llevados por los romanos y los árabes, llevó varios siglos hasta que este instrumento se transformara en el que conocemos hoy. 

Violão Ibérico huye de la tentación de ser un libro enciclopédico o exclusivamente para musicólogos y ofrece al lector la información recogida de forma sencilla. Cuenta la increíble historia desde sus orígenes, del instrumento que ha viajado en navíos de Portugal y España hacia Brasil para convertirse en el más popular de nuestro tiempo." 





Noticia en Portugués: http://final.guitarrasramirez.com/controlpanel/control 

11 DE ENERO- TERTULIA "EN TORNO AL CAJÓN FLAMENCO"



11 DE ENERO A LAS 20.15 HORAS 

TERTULIA "EN TORNO AL CAJÓN FLAMENCO
Descubre los secretos de este instrumento de la mano de Edia Percusión"
Construcción. Sistemas de Regulación. Toques. Aprovechamiento del sonido.





www.ediapercusion.com



COLABORACIÓN ESPECIAL DE VICTOR MONGE "JUNIOR"


Aforo limitado. Entrada gratuita. Reserva tu asiento en tiendaramirez@gmail.com

Guitarrería José Ramírez Calle de la Paz n.8 (Metro Sol)- Madrid



EDIA PERCUSIÓN nace en el 2006 para especializarse en la percusión profesional. Sus cajones flamencos han sido fruto de las distintas investigaciones y desarrollo en los materiales: maderas, componentes, sistemas de regulación de tensión, acabados, diseños originales, variedad en modelos y sonidos. Gracias a las pruebas y opiniones de prestigiosos percusionistas del panorama musical español, 
ha seguido evolucionando y desarrollando un instrumento de calidad indiscutible.

Todas las piezas, cortes y medidas han sido probados, haciendo prioritario su solidez y ligereza, siempre en función del sonido. El proceso de creación de sus cajones flamencos finaliza con un estricto control en el proceso de fabricación y montaje.





VICTOR MONGE "JUNIOR"

Victor Monge "Junior" y Victor Monge "Serranito"

Víctor Monge Barrios, nace en Madrid el 19 de Febrero de 1964, y empieza a cursar sus estudios musicales a los 15 años de edad en el Real Conservatorio de Música de Madrid. Al mismo tiempo se forma como baterista y participa como tal en diversos grupos musicales nacionales de diferentes estilo Rock, Soul, Blues, Funk-Jazz, Flamenco, etc, participando con Ramoncín, en “El Club de la Noche”, “Vendeta”, “Espontáneos”, “Crom”, “Dapne”, etc, con algunos de los cuales colabora en diversas grabaciones. También participa como baterista en obras musicales como “Jesucristo Super Star” y el “Rey del Musical” con Paul Collins en 2001 y en la gira de David Civera del 2002.
En el ámbito flamenco se presta como percusionista y baterista junto a Victor Monge "Serranito" en diferentes trabajos nacionales e internacionales, siendo partícipe en las actuaciones de los festivales internacionales de Israel en 1993, el festival internacional de Estambul el año 1994, el festival internacional de Hong-Kong en 1995, el festival de flamenco y “Tango de Montreal” en 1995, el festival internacional de La Guitarra de Córcega en 1994, el festival internacional de Oporto en 1996, y la Bienal de Flamenco en Sevilla en el teatro de la Maestranza varios años consecutivos, haciendo giras en importantes teatros de Norte América, Centroamérica, Europa, Asia y países árabes. Todo esto junto a importantes artistas del flamenco como Beatriz Martín, Javier Barón, Joaquín Ruiz, Miguel Rivera, Carlos Gómez, Juan Carlos Gómez, Óscar Herrero, Eva Durán, Gabriel Moreno, etc., con los cuales también ha participado en diversas grabaciones discográficas

En la actualidad ejerce tambien como profesor de batería y percusión.









TERTULIA JAVIER RIBA



"Y ahora dejemos que hable la guitarra". Así fue como empezó este guitarrista cordobés la presentacoón de su disco "Algibe de Madera- Homenaje a Andrés Segovia" en nuestra tienda. Un viaje a través de una voz de una guitarra única que nos habla de historia, de posibles anécdotas y coincidencias, de luz que desempolva lo oculto, de magia... Una delicia de trabajo tocado con una sensibilidad exquisita que desde Ramírez recomendamos. Gracias una vez más a todos los asistentes a la tertulia es un placer compartir estos momentos con vosotros.

El audio de la tertulia podeis encontrarlo aquí: 









TRAS LA TERTULIA: “DEL HUMANISMO AL ANOCHECER DE AL-ANDALUS”


 


Me enfrento a cierta subjetividad al redactar estas letras, y es que Manuel Casas, durante algunos años fue mi profesor de guitarra y, sintiéndolo mucho, le otorgo la responsabilidad de haberme transmitido las ganas de seguir estudiando música.  

Aquella tarde en la guitarrería sentimos cerrar una puerta y abrir otra al pasado, donde el tiempo corría mucho más despacio. Un viaje a través de la energía que costaba interrumpir con los aplausos. Visitamos Italia y llegamos al Al- Andalús por un trayecto de poesía empezando por Petrarca hasta Garcilaso, acompañada por una música maravillosa desde P. Verdelot, pasando por Da Milano, hasta llegar a Mudarra, Pisador, Fuenllana, Narváez... La energía acababa elevándose y quedaba suspendida en los finales, creando una atmósfera casi sacra.

La compenetración del dúo formado por Floris y Manuel es casi perfecta, la parte mental y la extrema sensibilidad daban forma a un concierto precioso, lleno de matices. Lleno de magia. Podías dejarte llevar por aquellos sonidos, apartando a un lado los pensamientos, con la sola intención de disfrutar.

La interpretación, a veces casi teatral, tuvo su momento álgido con un precioso final con la canción "Passeavase el Rey moro", magistralmente interpretada por la voz de Manuel, y acompañada por la vihuela de Floris.

La respuesta del público, como siempre, cálida, afectuosa, y muy interesada en aquellos instrumentos que algunos habían visto por primera vez fuera de los cuadros.

Fue un verdadero placer y esperamos que repita.
Pronto colgaremos los audios y el vídeo de la tertulia



 

 

DOCUMENTAL GABRIEL ESTARELLAS


NUEVO DISCO "SOLO GUITARRA"// NEW CD "SOLO GUITARRA"




PRESENTA 
José Luis Montón 
SOLO GUITARRA- ECM 
“...En este trabajo he intentado traducir sinceridad y amor por el arte que tanto aprecio cuando los encuentro.”

Al enfrentarme con el reto de hacer este trabajo, en el que como dice el título 
sólo hay guitarra, me pregunté que era lo que mas me emocionaba de cualquier 
artista y llegué a la conclusión de que es la sinceridad, así que he tratado de dar 
a este trabajo toda esa sinceridad y amor al arte que tanto disfruto cuando me 
lo encuentro. 
El Flamenco es muy bello en si mismo y le agradezco profundamente la inspiración que me ha proporcionado en toda mi carrera y en mi lucha personal por 
encontrarme a mi mismo a través de la música. 
Hay también una deuda importante con todos los grandes maestros de la guitarra flamenca que han engrandecido tanto su lenguaje, introduciendo nuevas letras en el alfabeto del Flamenco. 
Quiero dedicar este disco a los amigos que me apoyan siempre, cuando río y 
cuando lloro, a mi mujer por ser mi motor, a mi familia porque son mi sangre, 
y a Manfred y Stephano porque en el estudio de grabación me ayudaron a encontrar “my little potatoes”. 


Jose Luis Montón



PRESENTS 
José Luis Montón 
SOLO GUITARRA- ECM
Catalan guitarist José Luis Montón made a vital contribution to singer Amina Alaoui’s “Arco Iris” and during the session producer Manfred Eicher determined that a Montón solo project would be highly appropriate for ECM. Thus this extraordinary disc, recorded in Lugano last year. It’s a major artistic statement. With its programme of Montón compositions drawing upon the melodic subtleties, rhythmic vitality and emotional power of flamenco, making connections also to classical tradition, it can at once take its place alongside the label’s finest solo guitar albums. 


PROJECT

“As the title says, there is nothing but guitar”, José Luis Montón remarks in a brief and self-effacing liner note. Just an acoustic guitar, and an astonishing guitarist. Over the years at ECM it has often been the case that one record production has opened a door into another, and when Manfred Eicher heard José Luis Montón’s creative and sensitive playing at the session for singer Amina Alaoui’s Pan-Iberian “Arco Iris” project, the potential of a solo disc from Montón was apparent at once. Like “Arco Iris”, “Solo Guitarra” was recorded at the Auditorium RSI Lugano in Switzerland. The session took place in April 2011, exactly one year after the Alaoui date. 

In the solo pieces heard here the resourceful Montón builds upon the template, energy and emotional intensity of flamenco in the creation of his own pieces, rooted in the tradition and at the same time reaching toward new destinations: “Flamenco is very beautiful in itself and I am deeply grateful for the inspiration it has given me throughout my career and my personal struggle to find myself through music. I owe a special debt of gratitude to all the great masters of flamenco guitar that have enriched so much its language, introducing new characters in the alphabet of flamenco.” The flow of ideas in Montón’s pieces can be breathtaking, as melodic lines splinter into flurries of notes or dance elegantly through stacked rhythms, virtuosity always harnessed to thoroughly musical ends. The music also draws from other resources including classical music, Baroque music being specifically acknowledged with the J.S. Bach-inspired “Air”, which references the “Air” from Bach’s Orchestral Suite No. 3 in D Major, BWV 1068. 
Born .


Jose Luis Montón

HISTORICAL HINTS (C.2): MANUEL RAMÍREZ


HISTORICAL HINTS

Madrid, 9 de August 2012

MANUEL RAMÍREZ


Manuel Ramírez was born on May 26th, 1864 at 11pm in Alhama de Aragón, my father describes this village as a beautiful and impressive Aragón’s town; here Manuel’s father, whose name was Domingo, lived with his family for some years apparently due to the construction of a bridge, as he was the building constructor. I don’t know how long it took, but I know for sure that Manuel spent his childhood in that town from Zaragoza. His second surname, Panell, Plannell, also appears as Planet, has invited me to make a pun, so I keep with the version “Planet” as the one I like the most for reasons that will be explained if you continue reading.

As I am an astrologist, I couldn’t help calculating his astral chart; that confirms a lot of the few things that, from my father, I know about him. With Jupiter crowning his midheaven, he must have had an exuberant, optimistic and daring personality, I’m sure that led him to commit not a few mistakes and also take a lot of good decisions, because the truth is that if you don’t dare you won’t do anything great in your life. With his ascendant in Aquarius, with his sun in Gemini, harmoniously with the Moon in Aquarius and with Saturn in Libra – a privileged position for this planet that defined him so much – there cannot be the slightest doubt that he was an original man, with a great personality, and mainly fair, with a marked creativity that led him to be one of the greatest and outstanding guitar constructor of all time. And almost for sure he ‘picked up’ something from the land that saw him to be born and grow up, well known for the nobility of its people. 

 He mustn’t have had an easy life; it was marked by the fight and effort, by strokes of luck and also by misfortunes and disappointments, as if it were led by extreme oscillations from one experience to another. In a chart such as his, it is striking that we can observe that his prestige would spread beyond our borders, consolidating itself as time went by, even after his death, as a lasting memory in the minds and hearts of guitar lovers. 

 My uncle great-grandfather Manuel took his first steps in the job of guitar constructor thanks to his teacher and older brother José; he started to work with him when he was sixteen or eighteen years old. His mates where guitar constructors of the stature of Enrique García, Julián Gómez, Antonio Viudes and Rafael Casana, Manuel was the most outstanding among the group. He was probably conscious of his talent and impatient to develop his own work, he became independent and he settled, at the beginning, in 1887-88 in his own home located in the Cava Baja 24, where apparently he paid thirty pesetas as the monthly rent. On June 20th, 1890 he moved to the Santa Ana Square Number 5, and later this same year to Arlabán Street 11. He kept there his workshop until he went back to the Cava Baja 24 in 1895. When Manuel informed his brother his desire to become independent, José helped him economically, making a great effort. But what at the beginning was thought to be a move to Paris to open his guitar shop, in the end, I don’t know why Manuel stayed in Madrid, but the reason that prevented him from carrying on his original purpose must have been a powerful one, as he was a serious and , for sure, a reliable man. The fact is that this switch of destiny created an irreparable crack between the two brothers, who never spoke each other until the end of their lives. 

 Looking at the position of the stars for Manuel during this period, 1886 should have been a year when he felt optimistic, excited about his professional projects, and seeing that he had every chance to undertake his own way, it is almost for sure that he explained it to his brother and he obtained his approval. Nevertheless, the year 1889 was a hard one for him, during this year things probably started to fall through creating a bad atmosphere within the family, as the changes were not exactly the ones they expected, but there’s not a moment in which you can notice the slightest intention on Manuel to disappoint his brother. The truth is that the next year the planets in transit didn’t show any sign that things would be easier to restore their relationship, generating, if it were possible, more confusion and, probably, if there was any possibility of solving problems it was definitely frustrated.  

 The fact is that each of them followed his own way, and Manuel started to have a reputation as a great guitar constructor, going ahead his brother in his investigations. Among his achievements, it can be found the improvement of the “tablao guitar” designed by José, which Manuel kept on modifying until he reached the model that was considered ideal to play flamenco, and that has remained almost unchanged to the present day.

But actually, the most interesting thing for Manuel was investigating and developing the classic guitar, and his main objective was to exceed the prestigious guitar constructor Torres. The thing is that, I don’t know how, two labels of Torres fell into his hands. A little tired of having his guitars always compared with the ones of Torres, always pushing Manuel’s guitars into the background, he decided to construct two guitars in which he put together all his knowledge, and pasted his own labels on them and after that he covered the labels with Torres’ ones, gluing only the corners. This way he summoned all the guitarists on a date and hour, announcing he had two guitars from Torres unknown until them and he wanted to present them. Below, I quote the words with which my father describes, in his book Things about the Guitar, the much-talked event: “The professional guitarists and faultfinding aficionados went to see him in throngs. The two guitars were thoroughly tested and the unanimous conclusion was reached that they were the best Torres guitars ever known. Manuel insisted on gathering more opinions so that there would be no possible retractions later. The unanimous opinion prevailed, and it was only then that he very solemnly removed the Torres labels, before the gaze of many dumbfounded eyes”.

It can be added in his curriculum the fact that he was appointed Luthier of the Royal Conservatory of Madrid. And that he had the honor of repairing the Stradivarius of the Royal Chapel Quarter.It is quite remarkable the probably best known anecdote about him. One day Manuel was in his Arlabán shop, speaking to José del Hierro – violin professor in the Royal Conservatory – when a young man quite extravagant entered the shop, he was covered with a cloak and leaning on a walking stick to “defend the look”*. He intended to know if Ramírez would rent a guitar for a recital. Manuel, who as far as I know, had a high sense of humor – and he was also bad-tempered when the occasion demanded it, in his opinion, of course – found all this renting stuff quite funny, together with the appearance of the youngster, that’s why he called him “lad” and with a certain grandiloquence to give the fact more pomp, he decide to go on with the joke and he allowed him to test one of the guitars he had by hand.

It was such a wonder what they both Manuel and José del Hierro heard, that Manuel took the guitar out of the young man’s hand saying that it was not for him, and he gave him another one he had made to order for the blind man Manjón, a great guitar player of the moment and a great humanist as far as I know, but Manuel felt uneasy about him because he had tried to bargain the price, assigning flaws that it didn’t have. The young concert guitarist was enthusiastic about that guitar and delighted them with a beautiful recital. It was such that way, that Manuel, who was impressed by the music he had listened, gave the guitar to the young man, who ended up being a still unknown Andrés Segovia. He used this guitar in his concerts for more than twenty years. Just before his death, Segovia gave this guitar to the Metropolitan Museum of Art of New York, with the specific condition that it wouldn’t be played by anyone. I was provided with this information in a visit I made to the Met in 2001, and two years later it was given again to my nephews Enrique and Javier when they visited the aforementioned museum to see the historical instrument. This guitar must have had a high value to Segovia, as he wanted to keep forever his touch and the sound with which it filled the streaks of its wood all over so many years working together.

The ups and downs of Manuel’s life run together with the caprices of the stars, that gave him quite a busy life, and therefore interesting and intense, especially during the period when he moved so much and he went through so many changes in his career, until he went back to the Cava Baja 24, the place where he finally settled.

Manuel Ramírez died on February 25, 1916 and he left no children. It is strange to check, so many years later, that an unexpected planet – Uranus passing over his natal Moon – put an end probably suddenly to his life, which could have been probably avoided, because, using the translated language of the astrologists, he died of a curable disease. But, of course, he taught the craft to highly talented guitar constructors such as Santos Hernández, Modesto Borreguero and Domingo Esteso; and he left behind him a chapter in the history of guitar that has marked us all with his particular print, with great anecdotes, and with an important advance in the development of such a Spanish instrument. 


 *Quoting from Andrés Segovia himself when he recalled, in a really emotive recording, his encounter with Manuel in his Arlabán shop.