This is the story about the convoluted route that led to the teacher's nickname. Augustin Castellon Campos (Pamplona, 1912 – New York, 1990). As a child, Agustín liked raw broad beans, the beansAnd that's how the nickname was born. “Sabicas”, which would go around the world several times, opening the international palate to the sound of the flamenco guitar.
This is not the appropriate place for an exhaustive biographical overview of one of the greatest concert performers in the history of flamenco guitar. Furthermore, Sabicas's biography is already well covered by our esteemed colleague. Jose Manuel Gamboa in his 2013 book The correspondence of Sabicas, our uncle in AmericaI only offer a few anecdotal glimpses of the 60s when Mario Escudero He gave me guitar lessons in his downtown New York studio.
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 would say, “Let’s see what Uncle Sabas and Diego are up to.”Diego Castellón(Sabicas's brother). It was an elegantly decorated apartment in the city. They usually talked about politics, bullfighting, and the enormous diamond Sabicas boasted about. A curious, large, flat piece of furniture took up part of the living room. Diego explained to me that it was a sound system his brother used to prepare his recordings. Surprising, considering the time and circumstances.
"Paco specifically asked to meet Sabicas, whom he had admired for years, and was amazed by his impeccable playing. After hearing him play, Sabicas advised him not to play other people's music, in this case Ricardo's, and that advice opened the floodgates of creativity for the young man from Algeciras."
The teacher longed to return to his beloved homeland, but he was afraid of flying, even though he had done so many times in previous years. On the other hand, he recounted Marote One day, Sabicas hugged him, crying like a child, and said he missed his Spain but was afraid of possible reprisals if he returned. Marote, however, convinced him that there was no danger, and Sabicas returned on several visits, astonishing the Spanish guitarists of the time with his polished technique, beautiful compositions, and advanced concepts.
Sabicas was almost the first guitarist flamenco to live exclusively from solo recitals. A few years earlier he was Carlos Montoyawho became famous in the United States for his flashy tricks and popular arrangements. In 2013 there was an exhibition at Lincoln Center, 100 Years of flamenco in New Yorkwhere a documentary was presented Pablo Calatayud, The fabulous Sabicaswhich was very well received.
The most well-known anecdote is undoubtedly that of Sabicas' first meeting with a very young Paco de Lucía On his first visit to New York, Paco specifically requested to meet Sabicas, whom he had admired for years, and was amazed by his impeccable playing. For his part, Sabicas, after hearing him play, advised the young man not to play other people's music, in this case, that of... RicardoAnd that advice opened the floodgates of creativity for the young man from Algeciras. Paco took the advice seriously, and as time went on, the playing of emerging young guitarists began to bear a distinct Paco influence.
For decades the most renowned musician from Pamplona had been Pablo de SarasateThe composer and violinist overshadowed the great Sabicas. Today, however, and since 2013, the guitarist has achieved well-deserved fame and the adoration of the people of Pamplona thanks to the festival. Flamenco on Fire Dedicated permanently to Agustín Castellón Campos, Sabicas. ♦
