José Antonio Carmona Carmona, Pepe HabichuelaHe was born in 1944 in Granada. He grew up as a guitarist in Sacromonte, absorbing the authentic experiences of that era. Grandson of Old Bean, brother of Juan, Luis and Carlos, and father Josemi CarmonaPepe, a member of Ketama along with Juan and Antonio Carmona. In addition to his personal experiences, Pepe draws inspiration from Sabicas, Ricardo, Melchor, Montoya and Mario EscuderoWhile still adding his personal touch. He also passes on his knowledge to future generations. In fact, he's paving new paths for the evolution of flamencoHe is the perfect guitarist for the innovative albums he records with Morente.
It was in 1963 that he arrived in Madrid and accompanied figures such as Pepe Marchena, Juanito Valderrama, La Paquera, Fosforito o CamarónHis brother Juan called him to replace him, because Juan was going to the United States for the New York World's Fair. A close relationship with Enrique Morente in the 70s marked a different path in both their artistic careers. Pepe discovered a harmonic universe that they would seal in their recordings. Taking off y Tribute to Mr. Antonio Chaconwho won the National Discography Award. Separately, and as a solo artist, he left his mark in 1983. To Mandeli and in 1997, where his son Josemi Carmona collaborated, with Beans on the BranchTo those who follow Yerba Güena in 2001, with the Indo-British musician Nitin Sawhney, and Hands in 2010. His guitar accompanies the entire artistic cast flamenco for several generations. Nationally and internationally. His work with [the following stands out]: Mario Maya, El Güito, Carmen Mora, La Cañeta, Jarrito, El Cabrero, Estrella Morente, Marina Heredia or with Jacob Pastorius, Don Cherry and Dave HollanHe has been recognized with the Gold Medal for Merit in Fine Arts, the Golden Castillete of La Unión, and the Grand Cross of Alfonso X the Wise, among numerous tributes and awards. We highlight the recognition from Moments Festival for his revolutionary approach to... jondo and living witness and link to the history of flamenco contemporary.
"Pepe Habichuela has a distinctive, appreciated, orthodox accompaniment style, flavored with inexplicable nuances. But his concert playing is equally impressive. It's alive in a neck where technique serves the transmission of sound. His details, flourishes, speed, and expression combine the true modernity found in tradition."
Pepe Habichuela has a distinctive, appreciated, orthodox, and inexplicably nuanced accompaniment style. But his concert playing is equally impressive. It's alive in a neck where technique serves the transmission of emotion. His details, flourishes, speed, and expression combine the true modernity found in tradition. His words serve as an example... a 2021 interview in Expoflamenco: "In it flamenco ancient is the flamenco really".
But Pepe doesn't shy away from evolution. And it's through his guitar that he incorporates expressive resources from the universal musical language. His flamenco sensibility is evident with the composure and wisdom of the masters. The tradition shines through in the school he draws upon. But his own inquisitive nature crafts a balanced language, both new and timeless, a style very difficult to achieve on the guitar today.
Dynastic heritage implies a responsibility. Although we see in Juan Habichuela's guitar playing an exemplary path to follow, Pepe is bolder. The seguiriya serves as an example. AmanecerAlthough this track incorporates new elements, it stands out for the purity of its touch. jondoIt combines the traditional Granada style of guitar playing with the guitarist's characteristic elegance, rhythmic power, and harmonic sensitivity. Or the soleá por bulerías. Auction, in which there are passages that seem like a succession of endings flamencoThey are linked together. Pepe seeks the perfect pause, the pure rhythm, and the natural, unhurried pulse. He is characterized by measured flourishes, clean power in the thumb, and harmonic resolutions typical of Granada. He represents the perfect transition between the traditional accompaniment style and cante and the solo depth.
The figure of Pepe Habichuela will remain etched in the soul of flamenco history. The same guitar maker Felipe Conde He has a replica of the guitar that was built for him in 1986. It's the model Pepe uses to accompany... cante With chords that were never played before him. His guitar dances and sings. It penetrates the soul and tugs at your very core. His playing doesn't forget the rhythmic force of the caves of Granada without straying from melodic elegance. He opens paths to the new flamenco to blend its sound with jazz. It has a fast-paced, powerful, and pure strumming style.
"Pepe presents a thick, clean bass sound with deep slurs that directly evoke the classical school. He reinvents the tangos of Granada, connecting his guitar with a rhythmic foundation of jazz-fusion heritage. I believe that maestro Pepe Habichuela creates that connection with what is categorized as the new flamenco instrumental"
I cannot ignore that his work Beans on the Branch I'm fascinated. The album title is a declaration of principles: direct, organic, and unpolished music. It showcases Pepe as an accomplished guitarist, a soloist who doesn't need to hide behind grand orchestrations. His guitar sounds bare, clean, with a powerful pulse, its rhythm poised between air and silence, where every nuance and subtlety carries equal weight. The collaboration with his son, Josemi Carmona, reflects the album's overall approach. A father-son duo that reimagines and revitalizes the palos Older sounds with a new look full of subtle and contemporary harmonies. Two guitars that unite an avant-garde sound that emerged in Madrid in the nineties with the purest and truest touch of Sacromonte. This album demonstrates how guitarists who act as skilled accompanists also contribute their own identity to the solo performance. It could be an evolutionary starting point towards a flamenco more modern. And it shows how tradition and modernity can coexist with respect and good musical treatment.
Pepe's guitar playing is where luminosity and flamenco spirit emanate from classical styles. Among solemn seguiriyas, monumental soleares, the distilled air of bulerías, the Cadiz aroma of his alegrías, the lyrical rondeña, the nostalgic taranta, the old-fashioned rhythm of Sacromonte tangos, the sensitivity between thumb and tremolo of his granaínas, or the joyful freshness of his rumbas.
Pepe presents a thick, clean bass sound with deep slurs that directly evoke the classical school. He reinvents the tangos of Granada, connecting his guitar with a rhythmic foundation rooted in jazz-fusion. I believe that maestro Pepe Habichuela creates that connection with what is categorized as the new flamenco Instrumental. His balance is perfect between his heritage and the avant-garde style that emerges at times. A warm, down-to-earth, affable, and empathetic person. flamenco, visionary.
Pepe doesn't alter his music or his playing style. It's always him, his guitar. His dizzying riffs, his unique strumming, his melodic tremolos or harmonic arpeggios. Pepe, his guitar, and his truth. A true master. A philosopher. flamenco who brought his musical mindset to our time. Who knew how to be and be there for the flamenco and for the flamencos. And in reference to what he sang Lola Flores"in the soleá of my moonless nights." Well, for me, a AuctionA song in the form of a soleá por bulerías that made me enjoy so many moments playing Pepe Habichuela's guitar.
Thank you, Eternal Master.
