Sabicas – notes and anecdotes

Thus goes the story of the convoluted route that led to the nickname of maestro Agustín Castellón Campos (Pamplona, 1912-New York, 1990). As a child, Agustín was fond of eating raw haba beans, habicas, and the name “Sabicas” came into being, circling the world several times to satisfy the growing international appetite for flamenco guitar.

This is not the place for an exhaustive biographical account of one of the greatest concert performers in the history of flamenco guitar. In any case, Sabicas' biography is well covered by investigator José Manuel Gamboa in his 2013 book La correspondencia de Sabicas, nuestro tío en América (The Correspondence of Sabicas, Our Uncle in America). I’ll only offer a few anecdotal details from the 1960s when Mario Escudero was giving me guitar lessons in his studio in downtown New York.

I felt the first twinge of flamenco by way of Sabicas’ music – such beauty from such a simple wooden instrument, with the additional perk that Sabicas, was “ours”, the epicenter of flamenco in the heart of New York City, Manhattan, the Big Apple.

After classes with Mario he’d say “let’s go see what ol’ Sabas and his brother Diego are up to”. We would go to Sabicas’ elegantly appointed apartment in the city where the talk was always of politics, bullfighting and the enormous diamond ring he loved to show off. A large low table took up one side of the living room – Diego explained it was sound equipment his brother used in preparing recordings, which was impressive considering the era and circumstances.

"Paco had specifically requested to meet the great Sabicas whom he had admired for many years, and he was duly impressed with the elder man’s impeccable technique. For his part, Sabicas, after hearing Paco, advised the young man not to play the music of others, in this case, that of Niño Ricardo, and that piece of advice opened the floodgates of creativity of the teenager from Algeciras"

The maestro yearned to return to his beloved country of origin, but was reluctant to fly despite having done so many times previously. In addition, Granada guitarist Marote said one day Sabicas embraced him crying like a child saying he missed his country of Spain but was afraid of possible political reprisal if he were to return. However Marote convinced him there was no longer any danger, and Sabicas returned on several occasions impressing Spanish guitarists of the era with his polished technique, beautiful compositions and advanced concepts.

Sabicas was virtually the first flamenco guitarist to live exclusively from solo recitals. A few years earlier was Carlos Montoya who became famous in the United States with his showy moves and popular arrangements. In 2013 there was an exposition at New York’s Lincoln Center, 100 Años de Flamenco en Nueva York, where Pablo Calatayud’s documentary, El Fabuloso Sabicas was presented and was very well received.

The best-known anecdote without a doubt is in relation to the first encounter of Sabicas with a teenaged Paco de Lucía on the adolescent’s first visit to New York. Paco had specifically requested to meet the great Sabicas whom he had admired for many years, and he was duly impressed with the elder man’s impeccable technique. For his part, Sabicas, after hearing Paco, advised the young man not to play the music of others, in this case, that of Niño Ricardo, and that piece of advice opened the floodgates of creativity of the teenager from Algeciras. Paco took the suggestion seriously, and after a time emerging guitarists began to emit a Paco sound.

For decades the most renowned musician of Pamplona had been Pablo de Sarasate, composer and violinist, leaving scant space for the great Sabicas. Today however, and since 2013, the guitarist has his well-deserved fame, and the sincere admiration of the people of Pamplona thanks to the festival Flamenco on Fire permanently dedicated to Augustín Castellón Campos, Sabicas. ♦