Dossier SoloJosele ENG

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Niño JOSELE present;


A GUITAR TO GET THROUGH LIFE Juan José Heredia, ”Niño Josele”; is a

legends, especially Paco de Lucia, with

guitar player from Almería who comes from

whom he shared 6 years of touring, and

a long line of “tocaores” and “cantaores”

Enrique Morente, who became a friend while

(flamenco players and singers). He is one of

they recorded and went on tour. His career is

this generation’s flamenco guitar players

flecked with jazz influences; he learnt from

whose name resonates beyond our borders.

Bill Evans a world of harmony and

His career has driven him to play in

progressions, and Chick Corea and other

numerous countries. He thrived among

masters of their art taught him the value of experience over emotion.

The project

Solo in company.

A sincere and valiant return to rediscover a sound: the solo of a flamenco guitar.

Rediscovering the sound is something he’ll do accompanied by José Heredia (Piano), his son.

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He brings the most intimate, heartfelt, and dazzling selection of his extensive list of works.

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Proyecto 18/19

The quest for a sound; a simple emotion The flamenco landscape of Madrid during the first years of the 2000’s was pure life: a sparkle, creation, and Madrid’s streets were the epicenter of flamenco. The years of “Vareta y Canasta”, years of his second solo record, years of the proximity of jazz: first with Fernando Trueba and his “Calle 54”, and later with the music and sound of Jerry González, with whom he shaped “Los piratas del flamenco”. Ingredients and experiences for a concoction that fascinates him.

Step by step flamenco became great within him. To top it all off, a call from Paco de Lucía in 2004 would embark him for 6 years on a tour with him. The best among all modern guitar players took him under his wing as pupil. Now, after years of work and 9 records, it looks like after both storm and calm, the sound that remains is the sound that gives

A trip through a flamenco repertoire full of jazz influences. He brings the most intimate, heartfelt and dazzling selection of his extensive list of works along with new compositions. The concert starts, as he learnt early on, with the utmost respect and solemnity of a “Rondeña”:

“Camino de Lucía”, “Soleá”, “Alcazaba”, and “Bulería with which he wraps up the first part, until his successor in both blood and music makes a quiet entrance on the piano to play “Rumba” by Bill Evans and “bulerías” inspired by Chick Corea’s works.

life to everything else; the resonance of a lone guitar. The trembling and the feeling of harmony lost in time, eternal, languid. Very few artists can pursue this way of playing nowadays, but it was everyone’s “modus vivendi” a few decades ago.

Groups SOLO, but in good COMPANY Guitar & piano. During his most recent musical stage, Josele shares his experience with a young piano player: José Heredia, his son. ACUSTIC QUINTET: Guitar, piano, saxes, bass, drummer/persussion


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Proyecto 18/19

JOSELE FLAMENCO AND JAZZ COMPOSER AND PLAYER. Guitar for “Josele” has been an extension of his very being, and flamenco an extension of his soul. The beginning of his story resembles the story of times gone by; of Paco de Lucía or Pepe Habichuela. He used to play at his home’s doorway, in Alemería’s humble neighbourhood of Pescadería and he learnt what he could from his father with a borrowed guitar — the only guitar in the neighbourhood — and with that legacy, after endless hours of studying, he travelled to Madrid to try his luck.

Matching stories, but in this case, the musician is a bit older than 40 and he has spent most of those years helping legends such as Paco or Morente. He owes them his commitment with tradition and the rigor that comes with playing and composing flamenco. Chick Corea, as an unconditional fan of Josele, says that “he is the natural heir of Paco de Lucía”. He might be right, but Josele will never be Paco, instead he will always be SOLOJOSELE. 3



Proyecto 18/19

Discography evolution. Collaborations and compositions. NIÑO JOSELE; 2003. It was his

second record and it already gave off the intentions of going further than the traditional notions, interspersed with compelling collaborations: Enrique Morente, the National Orchestra of Barbés, or Andrés Calamaro.

PAZ: 2006. It was a composition to dive deep in the study of one of the master opus of jazz: The compositions of piano player Bill Evans. This record walked its first steps in the illustrious Village Vanguard of NYC along with the American Composer’s original musicians. It was a capital process, essential to make Josele who he is today.

LA VENTANA DEL ALMA. 2009. It was a creative explosion for Josele, the distilling of the experience and background acquired during the previous years. Its many collaborations mean this record is a beautiful work: Josele’s polished composition. MILES ESPAÑOL: 2011. Maybe the best experience a flamenco musician could as for regarding the world of jazz is recording in NYC with a producer of that very musical genre. Bob Belden, expert in Miles Davis’ works and the best of both worlds, required Josele’s flamenco guitar. It was an advice from Jorge Pardo and a request from Chick Corea to create this splendid CD.

Complete Discography. colaboraciones y











The new flamenco, exceptionally melodic, of the 21st century. An in-depth knowledge of the pillars and foundation of this fine genre, which has left behind canons and clichés. The result is a rich and elaborate flamenco in the last 30 years that has evolved around personalities such as Jorge Pardo, (with whom we collaborate actively since 2011). Along with other partners such as Paco de Lucía and Camarón de la Isla he fathered what we call the New Flamenco or Flamenco Jazz; an experiment that now bears fruits in the form of a new generation of musicians, such as JOSELE.

Ángel L. Vicente Rodríguez. Manager of the project “SOLOJOSELE” Suerte”

Producción & Booking Ángel L. Vicente Rodríguez Telf; 0034/950 61 74 68 in collaboration with; Soraya Sánchez.

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