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.
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.
