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G. E. 2 Flamenco Guitar 78 RPM recordings 1917-1949
This has many of the great guitarists as well as singers. Along side Don Ramon Montoya, Miguel Borrull hijo offers two solos. Juan Breva was born in 1844 in Malaga and his Malagueñas are still sung today. La Niña de Los Peines sings a Peteneras that Anita Sheer sang at Montgomery theatre in San Jose a couple years before Anita died. Her show at the Montgomery was a tribute to La Niña, one of the most distinguished figuras in Flamenco cante. The Solea by Vicente Gomez was transcribed by Eduardo Medina and published in the mid-50s by Ricordi in Buenos Aires. The Granadinas by Vicente is from a rare V-Disc made by the Armed Forces in 1943. The Soleares that accompanies Jose Cepero is to be found in the first method book by Juan Martin.

G. E. 3 Mario Escudero 1955 Vol. 1 Flamenco Guitar Solos
Mario was sixteen years old and playing guitar for the Vicente Escudero troupe in 1944 due to his expertise. He also worked for La Niña de Los Peines and Carmen Amaya. His ability to accompany was equal to that of playing solos. He also teamed up with Sabicas in the '50s for a while. He plays every form from Soleares, Sevillanas, Alegrias & Granadinas to Rondeña.

G. E. 4 Jose Motos 1958 Vol. 1 Flamenco Guitar Solos
Jose was the accompanist to Carmen Amaya the year this was made. He was the main guitarist for Vicente Escudero's and Antonio & Rosario's troupes earlier in the '50s. Jose "Pepe" Motos is considered along with Niño Ricardo one of the progenitors of the modern flamenco school.
Also see: Golden Era 61 Jose Motos Flamenco Arte y Duende1960 Vol. 3

G. E. 5 Carlos Montoya 1946-1953
Carlos was born in Spain but eventually lived almost all his life in New York. Before leaving Spain he accompanied La Argentina, Vicente Escudero, La Malena, La Macarrona and many other singers and dancers. He plays every Flamenco form with astonishing technique and uses a Marcelo Barbero guitar that has such clarity and presence. These songs were recorded before Carlos applied Flamenco technique to American folk, jazz and blues styles for which he was highly criticized and written off by serious aficianados. The Verdiales is much like the transcription by Juan Serrano in Juan's Concert Selections for Flamenco Guitar book.

G. E. 6 Luis Maravilla 1957 Flamenco Guitar Solos
Luis debuted as a guitarist in 1926 at the age of 12. In 1932 he travelled to South America with La Niña de Los Peines & Javier Molina. By the time this was recorded he had accompanied a long list of singers including Gracia de Triana. In 1952 he and his wife Pilar Calvo had appeared in the acclaimed film "Duende y Misterio". The guitar Luis used throughout his career and on this recording was made by Santos Hernandez of Madrid.

G. E. 7 Agustin Barrios / Miguel Llobet 1926-28 These virtuosos recorded the the pieces in Buenos Aires and Barcelona respectively. The guitars used were a Jose Ramirez I by Agustin and a Antonio de Torres by Miguel. They were both the pinnacle of their art in the sphere in which they taught, performed, recorded & lived. These recordings, including the test pressing copy of "Studio Brillante" by Miguel Llobet on the cover were released in Buenos Aires, where from before the turn of the century until long after there was a large guitar community. According to Ricardo Muñoz, author of "La Historia de la Guitarra", by 1930 there were not less than 10 Academias and over 100 conservatories with some 5,000 students of the guitar in Buenos Aires.

G. E. 8 José Rey De La Torre 1955 Vol. 1 Classical guitar
Miguel Llobet's illustrious student from Cuba, who is said to have had the highest degree of musicanship above all other classical guitarists. José did everything that the composer suggested and then was expressive beyond that.

G. E. 9 Jose Motos 1963 Vol. 2 Flamenco Guitar Solos
The bulerias that starts this off is as if played yesterday or even this afternoon. The Tarantas has a lot of ligados like the Carlos Montoya version from the '40s. At the time this was recorded Jose had his own troupe, having already worked for Vicente Escudero and Carmen Amaya in the '50s. His Rondeña is exceptional. The Marcelo Barbero guitar is an incredible sounding instrument. The Seguidilla really cries all the way through. The Granadinas is very majestic and intriguing.
Also see: Golden Era 61 Jose Motos Flamenco Arte y Duende1960 Vol. 3

G. E. 10 Latin American Guitar Virtuosos 1924-1955
This starts with a very rare recording recently located. It is the Habanera by Agustin Barrios from 1924 which makes it a premier issue on CD. Also is the reverse which is the 1st recorded version of Romanza (Imitation of a Violoncello). Two more takes were recorded in 1928. Rico Stover, the author of
"Six Silver Moonbeams" The Life and Times of Agustin Barrios Mangore says there are still 10 other Barrios discs not yet found. Next we have Andres Chazarreta who was Atahualpa Yupanqui's teacher. Andres was the precursor to all the Argentine folkloric guitarists we know today. His Chacareras are very spicy. That is followed by Eduardo Falu who is to Andres Chazarreta as is Christopher Parkening to Andres Segovia. The Falu recordings were recorded live on Buenos Aires Radio Splendid between 1953-55. We have the return of Julio Martinez Oyanguren who plays several pieces by Julio Sagreras, Antonio Sinopoli and Francisco Tarrega. Anibal Ladru's Orchestra of 20 guitars was well known for over 20 years before the selections here were recorded. We finish this with two pieces by Atahualpa Yupanqui.

G. E.11 Maria Luisa Anido 1963 Classical Guitar
"Mimita" as she was known recorded duets with Miguel Llobet in 1925 when she was just 18 years old. Here she presents all the maturity an artist can offer.

G. E. 12 José Rey De La Torre 1946 Vol. 2
This is the first of José's recordings. The songs are the building blocks of technique, the Fernando Sor studies and pieces by the father of modern classical guitar Francisco Tarrega. The guitar used is the very last Francisco Simplicio built, José's teacher Miguel Llobet took him to the Simplicio shop only to find out Francisco had died weeks before. The frets, gears and bridge were added by Franciscoís son Miguel. The songs presented here represent the fabric of all B.A.'s & M.A.'s earned around the world by today's guitar community.

G. E. 13 Presti & Lagoya 1956 Solos Classical Guitar
Known as the best classical guitar duet ever expected to exist. Here they play solos, in some cases songs written for each other. They play pieces from the Baroque era to 20th century.

G. E. 14 José Rey De La Torre 1958 Vol.3 Classical Guitar
This consists of over-dubbed duets of Granados & Albeniz, as well as solos of Villa-Lobos, Mauro Giuliani, Fernando Sor & De Falla.

G. E. 15 César Bo 11 string Guitar 1955
César Antonio Bo Puente was born in Villa Maria, in the province of Cordoba, Argentina on August 16, 1916. He began to play the violin and later guitar as a child, studying with his father, Emilio Bo. Emilio- a concert guitarist, was a student of Antonio Jiménez Manjon, the blind virtuoso from Spain, who played an 11 string guitar. César, was a child prodigy, who at 11 years of age performed in the Salon "La Argentina", on the same stage, as Miguel Llobet & Regino Sainz de la Maza would perform for their Buenos Aires audiences. The works he performed were by Fernando Sor, Fréderic Chopin, Julian Arcas, Antonio Jiménez Manjon, Gottschalk, Francisco Tarrega, Julio Sagreras & Juan Alais.

G. E. 16 Gut String Virtuosos 1925-1943
Rosita Rodes who was a Miguel Llobet student does the well known Jota by Llobet's teacher Maestro Francisco Tarrega, with the introduction written by Llobet. This is followed by Estudio de Alard & Chopin's Nocturne Op. #2 by Lalyta Almiron, a child prodigy whose father Bautista was one of Agustin Barrios's teachers. Regino Sainz De La Maza plays a Bach Bouree. Juan Parras Del Morral plays the first recorded version of Asturias. Federico Galimberti plays a Luigi Mozanni Lyre-Guitar. The Paganini of Paraguay, Augustin Barrios plays Capricho Arabe by Tarrega. Julio Martinez Oyanguren plays the spicy La Cumparsita. Miguel Llobet plays Dos Canciones Mejicanas by Ponce with remarkable artistic ability. Vicente Gomez appears with a piece by Sor and Tarrega's Adelita from a rare V-Disc made by the Armed Forces in 1943.

G. E. 17 Vicente Gomez Flamenco Guitar Virtuoso 1938-1943
The first half dozen pieces are done with a quintet that includes a laud and bandurria, and at times vocals. Vicente's guitar is made by Maestro Santos Hernandez of Madrid, who was the most widely recorded guitarmaker before WWII. His clients played both Flamenco as well as Classical. Vicente plays every form of Flamenco from Alegrias to Granadinas. The Solea was transcribed by Eduardo Medina and published in Buenos Aires by Ricordi in the 1950's without any credit as to where the music came from. I used to play that 7 page transcription memorized well over 15 years ago. Also there are falsetas in the Farruca that are found today in the method books by Juan Serrano.

G. E. 18 Guitar Virtuosos of the Old & New World 1928-43 CD $17.00 This CD has virtuosos who grew and flourished in different environments, those of Europe and those of the burgeoning immigrant metropoliton areas of the New World. Agustin Barrios was from Paraguay and traveled extensively all over Central & South America for decades, and in Europe as well in 1935. The Duo Spina-Baudino, led by Vicente Spina, is documented in Domingo Prat's "Diccionario de Guitarristas", 1934,
( I consider this as "Prat Certified" ) as having great popularity in the theatre, on radio and on records. I think the first impression one would have of their works is that they present a very aggressive style of South American folk music. Andres Chazarreta played solos on G.E. 10 Latin American Guitar Virtuosos, whereas here, he is presented with his folk orchestra, including violins and accordion, which I can only describe as "muy sabroso", or translated from Spanish as "very spicy". Angel Iglesias, studied with the same teacher as Vicente Gomez-Quintin Esquembre-a student of the immortal Francisco Tarrega. Guillermo Gomez saw Francisco Tarrega play in Sevilla in 1897, and moved to Mexico City in 1900, where he was a major influence for 5 decades, being maestro to the first professors of the Conservatory of Music in Mexico City. Abel Fleury, known as "the poet of the guitar", played not only South American folk music, presented here, but also challenging pieces such as Paganini's "Moto Perpetuo". Maestro Andres Segovia, had a tone like no other, with a career and an ability to inspire to match. At least three artists presented here use a guitar constructed by Santos Hernandez / Madrid: Angel Iglesias, one from 1933, Guillermo Gomez, and Andres Segovia, one from 1912.

G. E. 19 The Epoch of Paco Amaya 1943-1956 CD $17.00 These very rare six pieces by Paco Amaya were recorded after the sessions for Decca, with Carmen Amaya. The raw Gypsy Flamenco toque of Paco Amaya is sparkling to the ear. The cover photo is from the 1937 short subject film made in Cuba-"Embrujo del Fandango". Seated to his left is his immortal sister Carmen Amaya. Also during this same epoch are recordings of Sabicas, Niño Ricardo, Melchor de Marchena, Pepe Hurtado, Vicente Gomez, Juan Garcia de la Mata, Alberto Velez & Jose Motos. Tracks 7-20 are from the collection of A. P. Sharpe, who was editor of the B.M.G. magazine in London from c. 1940-1960, now in the FFSI archives.

G. E. 20 Elias Barreiro 1966-1967
The Maestro from Cuba who has been teaching at Tulane University in New Orleans since the '60s, and is currently Head of the Guitar Department. His separation of voices, appropriate use of vibrato and dynamics offer all one could wish for from a concert guitarist. With repertoire that spans from J.S. Bach, Fernando Sor, Francisco Tarrega & Enrique Granados, to that of Ernesto Lecuona, Manuel Ponce, Heitor Villa-Lobos and Leo Brouwer.

G. E. 21 Classical Mandolin Orchestras & Solos 1904-1938 Vol. 1
There are seven cuts by Mandolin Orchestras from Spain & Italy, with as many as 65 performers involved. Of great note is a version of Francisco Tarrega's Capricho Arabe. Professor Cav. Raffaele Calace plays one of his original compositions with the flavor of Naples. Professor Angelo Alfieri offers the oldest piece presented here. He was the director of the Milan Mandolin Band from 1895 and started recording 100 years ago in 1899 on shellac cylinders before one sided and later two sided disc existed. American virtuosos Samuel Siegel, William Place Jr. and Valentine Abt offer solo pieces accompanied by Harp-Guitar and Piano. Giovanni Giovale from New York, who is one of my favorites plays improvised scales at 10 1/2 notes a second in his "Dimmi che mi vuoi bene ". Bernardo De Pace who was a child prodigy (when you play for Kaisers, Czars & Sultans before you're 18 years old that's the name you earn) pulls out every stop in his tour de force renditions.

For Volume 2 see: G. E. 26 Classical Mandolin Orchestras and Solos 1915-1940 Vol. 2

For Volume 3 see: G. E. 37 Classical Mandolin Orchestras and Solos 1930-50 Vol. 3

For Volume 4 see: G. E. 50 Classical Mandolin Orchestras and Solos 1935-55 Vol. 4

G. E. 22 The Child Prodigies of Buenos Aires 1932-1958

In the first two decades of the 20th century, Buenos Aires became host to the students of Francisco Tarrega. First Domingo Prat in 1908, followed by Miguel Llobet in 1910, Josefina Robledo in 1914 & Emilio Pujol in 1919. Their ability to teach & inspire was met with an intense desire on the part of the children of the middle and upper classes to become virtuosos. The most common situations would be a six year old playing Sor, Aguado & Tarrega in a hotel & 15 to 18 year olds performing on radio. The artists are: Maria Angelica Funes, Maria Luisa Anido, Lalyta Almiron, Blanca Prat, Atahualpa Yupanqui, Eduardo Bensadon, Jose Torchia & Mario Pardo.

G. E. 23 Niño Posadas 1956 Flamenco Guitar Solos
Born in 1917 in Linares, Spain, the birthplace of Andres Segovia. This Flamenco child prodigy guitarist was an accompanist for Angelillo and Niño de Utrera and many dancers before he traveled to Buenos Aires where this was recorded. He is also represented on G. E. 25 accompanying the above mentioned singers.

G. E. 24 Flamenco Guitar 78 RPM Recordings 1912-1945 Vol. 2
Here we present Canalejas de Puerto Real with Niño Ricardo in a Bulerias & Fandango. After that we have Jose Lavao with Niño Ricardo in a Media Granadina. Next we have Angelillo with several different acommpanists: Patena (Hijo), Esteban Sanlucar and Habichuela. Miguel Borrull offers a Guitar Solo "Danza Gitana" with La Argentinita using castanets and heel work. La Niña de Los Peines returns with Niño Ricardo for two Soleares. Niño de Utrera sings a Fandango accompanied by Pepe Monreal. Carlos Montoya in his prime plays two Guitar Solos-a Farruca & an Alegrias. The last two selections are the oldest. El Mochuelo born in 1868 sings a Peteneras. He was one of the first to record, beginning on shellac cylinders then on one and later two sided discs.

G. E. 25 Flamenco Guitar 78 RPM Recordings 1943-1957 Vol. 3
The guitarist Niño Posadas accompanies Niño de Utrera on several pieces. Then El Niño de la Huerta is accompanied by the legendary guitarist Niño Ricardo for two selections. Manolo Caracol who shared the prize in the 1922 Concurso de Cante Jondo in Granada with El Tenazas sings two songs with an orchestra. This is followed by Jeronimo Villarino who plays the first of two very incredible Granadinas selections. Paco Amaya (Carmen's older brother) backs up Niño de Utrera in a comedic piece. Angelillo returns to be accompanied by Niño Posadas. Jeronimo Villarino offers his second Granadinas as well as an intense Bulerias. Antonio of Triana says Jeronimo had worked also with Paco Amaya according to Donn Pohren.

G. E. 26 Classical Mandolin Orchestras & Solos Vol. 2 CD $17.00

There are 16 Mandolin Orchestra cuts on this CD. Most of the 7 orchestras are from Germany, and some have 30 orchestra members mentioned. Groffes Mandolin Orchestra,"Con Brio" Mandolin Orchestra, Vereinigte Finkesche Mandolin Orchestra, Berlin Mandolin & Lauten Orchestra, an unnamed German Mandolin Orchestra, Napoli Mandolin Club & Toskana Mandolin Orchestra. The dynamics and depth are incredible. At the end of the CD are some duets by Derla & Ponti, Lopez & Martinez-from Montevideo, Uruguay; to finish this CD is a beautiful song by Giuseppe (Juan) Vicari, who played mandolin in the wedding scene in "The Godfather".Also see:

For Volume 1 see: G. E. 21 Classical Mandolin Orchestras & Solos 1904-1938 Vol. 1

For Volume 3 see: G. E. 37 Classical Mandolin Orchestras and Solos 1930-50 Vol. 3

For Volume 4 see: G. E. 50 Classical Mandolin Orchestras and Solos 1935-55 Vol. 4

G. E. 27 Flamenco Guitar Gems 1939-1954 w/ Vicente Gomez & Luis Maravilla CD $17.00

These two great Flamenco guitarists are presented here using guitars made by the legendary luthier Santos Hernandez (1873-1943) of Madrid. The tone is exquisite as is their playing. On certain songs there is the fine dancing of the great José Greco as well as Pilar Calvo, the wife of Luis Maravilla.
These rare 78 RPM discs are from the collection of A. P. Sharpe, editor of the B. M. G. magazine in London c. 1940-1960.

G. E. 28 Flamenco Guitar 78 RPM Recordings 1912-1949 Vol. 4
Roman Montoya returns to accompany Niño del Museo as well as Niño de Marchena. Rafael Nogales accompanies one song with Niño de Marchena.Rafael was San Francisco Bay areas flamenco virtuoso Mariano Cordoba's teacher. El Mochuelo returns for a couple of Jotas. Angelillo along with guitarist Habichuela
offers a few Fandanguillos. Vicente Gomez plays two guitar solos. Canalejas de Puerto Real sings a little bit in Danza Mora which is almost a guitar solo by Pepe Hurtado. Pepe said in the 1920's he was "the possessor of the Modern school of Flamenco guitar". Niño de Utrera sings with two different accompanists-Jose Vidal & Pepe Monreal. Rosario & Antonio provide singing & dancing on three songs. To wrap up this Vol. 4 we include Carmen & Paco Amaya in a Fandango & Bulerias.

G. E. 29 José Rey De La Torre Voice & Guitar 1949 w/ Earl Rogers

   Early in the recording career of José Rey De La Torre, he made this recording with Earl Rogers, vocalist who was a graduate of the Cleveland Institute of Music. The pieces they perform are German songs from the 15-17th Centuries.

G. E. 30 Bunyan Webb 1970 Bunyan Webb was born in Memphis in 1936. He received his Bachelor of Arts degree from South Western University in pre-medicine. He then changed his course by following a music career, and went on to graduate from California State University at Fresno. Next Bunyan went to study at the Conservatory in Valencia, Spain. He was later involved in master classes with Andres Segovia, Julian Bream, Ida Presti & Alexandre Lagoya. After establishing himself as a teacher and guitar authority his concert activities lead him to tour Europe, United States and Japan. As a member of the Affiliated Artists in the U.S. he promoted the classical guitar. He performed as a soloist, & in duos with string instruments, voice and keyboard. He held professorships at Blair Academy at Peabody Conservatory in Nashville, Tennessee, at North Carolina State University at Raleigh, & at the Inter-American University in Puerto Rico.
He had the honor of playing for President & Mrs. Lyndon B. Johnson in ceremonies marking the 200th anniversary of the birth of Andrew Jackson at Jackson's home, The Hermitage.
Bunyan Webb was killed in a scuba diving accident in 1978 at Point Reyes in California. Bunyan plays: Mudarra, Chilesotti's Six Lute pieces, Bach, Villa-Lobos, Poulenc & de Falla.
Bunyan Webb had students such as Chet Atkins, and it was Bunyan Webb who brought Ako Ito to the U.S. after his tour of Japan.

G. E. 31 Vess L. Ossman 5 String Banjo 1900-1916 CD $17.00

A century ago at the dawn of the recording age, Ragtime Piano & 5 String Banjo were the rage, preceeding the Blues, Jazz, Hillbilly & Bluegrass (the music of "Oh Brother, Where Art Thou?") boom of the 1920's. The advent of radio in 1920 allowed all these forms to be transmitted to a public eagarly awaiting this art. Vess L. Ossman was rightly called The Banjo King-he would play theaters in New York for 20 weeks straight. See link for the list of 20 pieces & biography:

G. E. 32 Vol. 1 Fred Van Eps 5 String Banjo 1909-1917 CD $17.00

Fred Van Eps was the most widely recorded banjoist in the early part of the 20th century. Fred Van Eps was born in 1878 and died in 1960. In the first decade of the 20th century, Fred Van Eps began to make records for Victor & Columbia. Many of these were solos, and others had saxophone, piano & drums for accompaniment. Later he went on to record for the Par-a-ket, The Phono-Cut Record Co, Silvertone and Banner labels. He was the most widely recorded banjoist in his time, having been born a decade later and living almost thirty years longer than his contemporary Vess L. Ossman.

G. E. 33 Vol. 2 Fred Van Eps 5 String Banjo 1896-1920 CD $17.00

Here's more of the great works by the most widely recorded 5 String Banjoist of the early 20th century, Fred Van Eps. The earliest recording on this CD is by Shephe Clements from 1896 made for Emil Berliner's Gramophone records.

G. E. 34 Regino Sainz de la Maza 1955 CD $17.00

   Regino was born to Serafin Sainz De La Maza & Felisa Ruiz de Sainz De La Maza in Burgos, Spain on September 7, 1896 and died in Madrid on November 26, 1981. He first began to study piano and changed to the guitar after meeting Daniel Fortea in Madrid. He gave his first recital in 1914. In 1922 he ventured to South America achieving success in Argentina and Brazil. He returned to Europe and performed in the salon Pleyel in Paris along with Miguel Llobet and other great musical figures in 1925. He returned to Argentina in 1929 to thrill audiences with repertoire that included his own compositions "el Vito" & "Zambra". On November 9, 1940 he debuted Rodrigo's "Concierto de Aranjuez" which had been dedicated to him. Regino taught at the Conservatory of Madrid at different times in his life.

G. E. 35 Masters of Tenor & Plectrum Banjo 1923-1940 CD $17.00

   At the dawn of the radio & recording age, the 5 String Banjo of ragtime fame gave way to the Dixieland 4 String Tenor Banjo, tuned like the violin / mandolin and a Plectrum variation of the 5 String Banjo, that some played in a guitar tuning. The popular figures of the day opted for the Banjo, in many cases to have more volume in the rhythm sections of Jazz ensembles. The legendary players developed solos and in some cases had sufficient fame to make film shorts in the early days of talkies (motion pictures with sound). Harry Reser, Eddie Peabody, Mario de Pietro, Len Fillis & Giuseppe (Juan) Vicari are among the virtuosos represented in this collection.

G.E. 36 Rio de la Plata Guitar Virtuosos 1941-1955 CD $17.00   
   The Rio de la Plata (river of Silver) runs between Argentina & Uruguay up to it's source. This area of South America is overflowing with guitar virtuosos. Here we present two of them : Maria Luisa Anido & Julio Martinez Oyanguren.The recordings of Maria Luisa Anido are the most effervescent I've ever heard her make, with an incredible dynamic range. The tone of Julio Martinez Oyanguren's playing is very thick in nature. He began recording in the early 1930's-and that fact is included in Domingo Prat's "Diccionario de Guitarristas"-published by Romero y Fernandez in 1934.The Guarani Dance by Agustin Barrios and arranged by Oyanguren is probably the first recording of a Barrios composition other than by the artist himself. Julio & Agustin were great friends, and performed duets in intimate settings.

G. E. 37 Classical Mandolin Orchestras & Solos 1930-50 Vol. 3 CD $17.00

   The crescendos and depth of the ensemble aspects of the pieces on this CD are extraordinary. 19 of the 20 cuts included in this production are orchestras. The cover photo is the Lyric Mandolin Orchestra of Montreal, Canada from an August 1910 Cadenza magazine.

For Volume 1 see: G. E. 21 Classical Mandolin Orchestras & Solos 1904-1938 Vol. 1

For Volume 2 see: G. E. 26 Classical Mandolin Orchestras and Solos 1915-1940 Vol. 2

For Volume 4 see: G. E. 50 Classical Mandolin Orchestras and Solos 1935-55 Vol. 4

G. E. 38 David Moreno Maestro de Toque 1953

   David Moreno Navarro was born in Gijon (Asturias province) in 1924. His parents moved to Madrid in 1934. A few months later David performed in the Teatro La Latina. At the age of 12 he played in Los Gabrieles & Villa Rosa. With the troupes of Estrellita Castro & Carmen Amaya he toured the Americas. After that he toured France, England, Italy, Switzerland & Germany. In the early 1950's David toured with Concha Piquer to Argentina, Chile, Brazil & Mexico. He settled in Mexico and achieved great popularity. He died in 1976.
This CD has the Los Sitios de Zaragoza, which Sabicas was well known for. The excellent guitar mastery of David Moreno shows why he was hired by the various troupes he played with throughout his long career.

G. E. 39 David Moreno Flamenco Maestro 1956

   More great works by this fiery flamenco guitarist in his prime, though he began as a child prodigy. His Granadinas, as well as the other Flamenco styles exhibit his great control, touch & knowledge of the idiom.

For Volume 3 see:
G. E. 47 David Moreno Volume 3 1957 CD $17.00

G. E. 40 Laud & Bandurria Vol. 1 1959

   The Orquesta Popular de Madrid de La O.N.C.E. was formed in 1939 and its conductor Rafael Rodriguez Albert joined in 1947. The ensemble consists of three instruments: Guitar, Laud & Bandurria. The Orquesta is subdivided into: guitar section with Guitar, the larger Guitarron & the smaller Guitarrilla. There are dozens of musicians in this orchestra, and you wouldn't know that they are blind. They play extraordinarily throughout.

G. E. 41 Laud & Bandurria Vol. 2 1960-70 CD $17.00

   This CD of Spanish folk music of the Laud & Bandurria has 4 songs that show the roots of Mariachi music of Mexico. In Paracho, Mexico the guitar makers call themselves: "Lauderos", whereas in Spain, the guitar makers call themselves: "Guitarreros". This is an incredible reflection of the evolution of music.

G. E. 42 Carmelo Rizzuti 1955 CD $17.00

   Carmelo Rizzuti was born in 1889 in Buenos Aires. He began to play the guitar in 1895. He joined the Academia de Guitarra "Prat" in 1912. Domingo Prat was the first student of Francisco Tarrega to arrive in Buenos Aires in 1908. With the perfected style Carmelo made a tour in 1917 of the interior cities of Argentina with another student of Francisco Tarrega, Hilarion Leloup-director of the Academia de Guitarra "Tarrega". The cover photo is from that period of time. Maestro Rizzuti taught for over 50 years, having began in 1911.

   All the compositions are written by Maestro Rizzuti. Songs #s 10, 11, 14 16 and 18 were published in the 1920's and were included in the 1931 Antigua Casa Nuñez catalog.

G. E. 43 Abel Fleury (1903-58) The Poet of the Guitar 1935-54
CD $17.00

   This is the Centennial of the birth of Abel Fleury. Here presented are the Complete Works of Abel Fleury, the 10 recordings the maestro made. Atahualpa Yupanqui said in 1980 about Abel Fleury. "No one has outdone his tone." The photo on the cover is from the film "Joven, Viuda y Estanciera" released in 1941, for which he provided the background music as "Abel Fleury y sus Guitarras Criollas". This great Argentine guitarist who played folkloric and classical pieces, composed and published pieces since the late 1920's. He studied with one of Francisco Tarrega's students, Domingo Prat, played nerviously once in front of Andrés Segovia, performed with his "Escuadrones de Guitarras" on stage and radio (Squadron of Guitars-once in the Teatro Odeon with 40 guitarists), was a chess champion and toured Europe in the 1950's before his death to lung cancer in 1958. He first recorded in 1935, and continued to use his Francisco Simplicio guitar on all 10 recordings.

   The other Argentine virtuosos included on this CD are José Castorina who performed under the name "El Zarco Alejo", Eduardo Falu, Maria Angélica Funes (Domingo Prat student) and Maria Luisa Anido (student of three of Francisco Tarrega's students-Domingo Prat, Josefina Robledo and Miguel Llobet.)

For the companion biography see: Abel Fleury  El Poeta de la Guitarra

G. E. 44 Fredy Reyna Venezuelan Cuatro 1957 CD $17.00

   Fredy Reyna once played his cuatro for the maestro Andrés Segovia, who was amazed at the ability of the player and capacity of the instrument. Segovia's surprise sounded like this: "On a guitar"...it is possible, but from another planet smaller than the Land. However, you're not lacking any strings."

   The Venezuelan cuatro is normally tuned from low to high pitch G, C, E and A. The A string is typically a whole step above the 4th string G, a reentrant or scordatura tuning. Fredy Reyna tunes the A string above the E string. Therefore, it is basically like a guitar tuned at the 5th fret.

   Maestro of the guitar in Venezuela, Raul Borges, said that the cuatro puts vitality in the popular orchestra, by its sonorous and rhythmic capacity, that doesn't succeed with another instrument or group of instruments, and that due to this quality, it could be incluided in a symphonic orchestra. About Fredy Reyna he adds: "What I admire the most in his interpretations, is his ability for succeeding at full effects on only four strings, suggesting the chord from just one note, and over all, for synthesizing the work, getting from it that which is essential."

Now also available:

Fredy Reyna Veneuelan Cuatro Method

Oversize edition 8" x 12.5" Written in Tablature only.

230 pages w/slip cover case $59.95.

G. E. 45   1965   Manolo de Huelva (1892-1976) CD $17.00

   Manolo de Huelva is the artistic name for Manuel Gomez Vélez. He was born in Riotinto-Huelva province in 1892 and died in Seville in 1976. He was also known as Niño de Huelva. He began to play the guitar as a young boy in Huelva and later relocated to Seville. In 1910, at the age of 18 years old, the magazine "Nuevo Mundo" published a photo and this review: "Manuel Gomez Vélez, the concert guitarist whose prodigious execution is being the object of warm praises by the public and the press of Seville, where he has given some notable concerts". At this time he was favored by the Flamenco singers: Manuel Torre, Antonio Chacon, whom distinguished him publicly, and by Tomas Pavon and La Niña de los Peines, with whom he performed in private and public performances.
   In 1922 Manolo de Huelva was the Official Guitarist for the celebrated Concurso de Cante Jondo in Granada (Flamenco singing competition). He also performed in a celebrated festival in the plaza de toros (Bullfight Ring) in Huelva in 1922 where he accompanied Manuel Torre, Antonio Chacon, Manolo Caracol and La Gloria. The ovation by the public was so intense he was requiered to play some solos. He returned to Huelva the following year to accompany Manuel Torre, Niño Medina and Pepe Marchena.

G. E. 46 Mario Escudero 1958 Vol. 2 Flamenco Guitar Solos
   Mario was sixteen years old and playing guitar for the Vicente Escudero troupe in 1944 due to his expertise. He also worked for La Niña de Los Peines and Carmen Amaya. His ability to accompany was equal to that of playing solos. He also teamed up with Sabicas in the '50s for a while. He plays every form from Soleares, Sevillanas, Alegrias, Tarantas to Malagueña. He also does a few duets with Sabicas' brother Diego Castellon.
CD $17.00

 Mario uses a 1935 Hermann Hauser I guitar on these recordings.

G. E. 47 David Moreno Volume 3 1957 CD $17.00

   David Moreno Navarro was born in Gijon (Asturias province) in 1924. His parents moved to Madrid in 1934. A few months later David performed in the Teatro La Latina. At the age of 12 he played in Los Gabrieles and Villa Rosa. With the troupes of Estrellita Castro and Carmen Amaya he toured the Americas. After that he toured France, England, Italy, Switzerland and Germany. In the early 1950's David toured with Concha Piquer to Argentina, Chile, Brazil and Mexico. He settled in Mexico and achieved great popularity. He died in 1976.

   In this volume 3 guitarist David Moreno accompanies the cantoar Ramon de Cadiz.

The balance of the CD are songs by the legendary flamenco guitarist virtuoso Luis Maravilla and cantoar Pepe Valencia from 1952.

Golden Era 48 El Alma de la Guitarra Argentina 1942-53
(The Soul of the Argentine Guitar 1942-53) CD $17.00  

   Atahualpa Yupanqui and Eduardo Falu were founders of our modern day virtuoso Argentine folkloric guitar music. Their songs are influenced by the customs, various landscapes, traditions and songs styles of the different regions in Argentina. They sing while playing a most complex rhythm. They follow suit alternating with guitar solos.

G. E. 49 Cante y Toque Flamenco 1929-52 CD $17.00

   Cante and Toque refers to singing and guitar playing. The revered singers and guitarists presented here built the vibrant Flamenco music we enjoy today. The amount of recordings made by Manolo de Huelva are scarce in number as well as rare to find. Andrés Segovia said that Manolo was the best of his generation, when Manolo was young. Guitarist Niño Ricardo is one of the founders of the  new modern school of Flamenco. The solo guitar works of José Maria (Niño) Posadas are influenced by his maestro, Rafael Nogales. Rafael Nogales was transcribing the various Flamenco styles in tablature and they were published in Madrid by Union Musica Española in 1933. Rafael Nogales was also a maestro to Mariano Cordoba of San Jose, California. Mariano will turn 80 years old this September, 2004. The legacy of Flamenco is alive today due to its long history and development in the last 2 plus centuries.

G. E. 50 Classical Mandolin Orchestras and Solos 1935-55 Vol. 4
CD $17.00

   In 1880 the "Estudiantina Figaro", directed by Carlos Garcia Tolsa, landed in New York City from Spain. Though playing bandurrias and lauds, they influenced the local Italian population, so that in 6 weeks there were small orchestras of mandolins. The "Estudiantina Figaro" performed 1,000 concerts in the new world and many on the continent of Europe. When in Europe they spawned the Mandolin Orchestra craze there as well.

   Some decades later the Circolo Mandolinistico Giuseppe Verde di Livorno with their 65 members made many recordings. The crescendos are incredibly powerful. There are other recordings by this great plucked string orchestra on G. E. 21 Vol. 1.

   The Golden Nugget of this CD is Calace's Concert Marzurka performed by Mario De Pietro. The rapid execution and especially the quality of tone by Mario are extraordinary. Mario also graces the cover of this CD. The photo is from the cover of the B. M. G. magazine of April 1943. Mario died in 1945.

For Volume 1 see: G. E. 21 Classical Mandolin Orchestras & Solos 1904-1938 Vol. 1

For Volume 2 see: G. E. 26 Classical Mandolin Orchestras and Solos 1915-1940 Vol. 2

For Volume 3 see: G. E. 37 Classical Mandolin Orchestras and Solos 1930-50 Vol. 3

G. E. 51   Felix Arguelles 1945 CD $17.00

   Although not a familiar name to aficionados of the Spanish Guitar in North America, the player has an incredible tone, maybe better than some contemporaries on the scene at the time of the recordings. This quality of tone is a constant, somewhat as we expect nowadays from a Guitar Foundation of America competition winner.

   Felix Arguelles was born in Spain around 1905-1910. According to
oral tradition during the Spanish Civil War he was once approached
by members of the Civil Guard while he was playing guitar in a tavern.
All of a sudden everyone in the tavern was under arrest and it
appeared they were going to be taken out and shot to death. Upon this happening Felix said to the chief of the Civil Guard: "Why shoot me? I'm just a simple guitarist and not involved at all in politics." Whereupon the chief said: "If you can play the Jota Aragonesa by Tarrega you'll  save yourself from being shot." Felix is said to have played impeccably. After that the chief of the Guarda Civil said: "Good, you can leave, go ahead."Felix left for France and later arrived in Argentina.

G. E. 52 Lalyta Almiron (1914-1997) 1931-1954 CD $17.00

   Lalyta Almiron performed pieces by Tarrega, Aguado and Coste on the guitar the day before her 7th birthday in the Savoy Hotel in Rosario Santa Fe, Argentina. When she was 9 years old she studied with Agustin Barrios for a period of 5 months. When she was 10 years old she played two concerts back to back 3 days apart in the Salon "La Argentina" in Buenos Aires. These concerts included pieces such as "The Magic Flute" Sor-Mozart and  "Leyenda" (Albeniz). When she was 16 she performed in the Sala Mozart in Barcelona and the Ateneo in Madrid and recorded 10 pieces for Odeon in Barcelona. Three of those pieces are presented here. The remaining titles are from private recordings made in the 1940's-1954.

Golden Era 53    Guitarists of Argentina 1928-1960 CD $17.00

   Maria Luisa Anido was born on January 26, 1907 in Moron, Argentina. She received her first guitar in August 1914. It was a gift from Juan Alais to her father Juan Carlos Anido, on her behalf. She played her first recital on September 19, 1916. In 1925 she performed duo concerts with her maestro Miguel Llobet, and made duet recordings for Odeon records at this time and in 1929. In December 1941 she was named professor of guitar at the Conservatorio Nacional de Musica in Buenos Aires. She died in 1996.

   In Domingo Prat's Diccionario de Guitarristas, it says Adolfo V. Luna Herrera was born in the capital of La Rioja Province, Argentina on March 13, 1889. He began to study music and the guitar at age 10, under the direction of Camilo Castellanos. In 1909 Adolfo traveled to Buenos Aires and had the opportunity to attend concerts by Antonio Giménez Manjon and Domingo Prat. These concerts were an incentive to continue his studies with the guitar. He returned to La Rioja with a seriousness about his guitar studies. In 1911 he moved to Buenos Aires and entered the Academia de Guitarra "Prat". He progressed well, despite having to unlearn various technical aspects due to his previous mentor. (Excerpt from "Annotations for the History of the Classical Guitar in Argentina 1822-2000".)

   In 1928 Adolfo Luna recorded for Discos Nacional Odeon. The co-author of the above mentioned book studied with maestro Luna for 8 years, and Hector Garcia Martinez never heard from Adolfo of the existence of these recordings. They are very rare indeed. Adolfo Luna died in 1971.

   There are also spicy pieces by Duo Pesoa-Iriarte and Duo Ruiz-Acuña-4 guitars-Gomez, Daviz.

Golden Era 54 Esteban de Sanlucar Flamenco Guitar Solos 1954
CD $17.00

   This great Flamenco guitarist's pieces have been recorded by Paco de Lucia and many other icons. The guitar used on these recordings was made by Santos Hernandez in Madrid.

   Esteban de Sanlucar was born Esteban Delgado Bernal in Cadiz in 1910. In the cafes of Sevilla he began to perform. In 1933 he toured Spain with Angelillo and Pepe Marchena. In 1936 he was involved in a Cante Jondo contest and later accompanied the winners in a tour of the provinces of Spain until the Spanish Civil War broke out. In the 1940's he went to South America and performed in Argentina and later in Venezuela. Like Sabicas he never returned to Spain.

Golden Era 55 Guitarists of Argentina and Uruguay 1925-1955 CD $17.00

   In the great guitaristic movement that took place in the Rio de la Plata area of South America nearly a century ago, these are but a few of the marvelous artists who appeared on the scene. Three of the rarest pieces are non-commercial recordings by the musicologist Cédar Viglietti. He was the first author to write in 1947 about Agustin Barrios' plastic surgery on his lips. Sila Godoy- a Barrios researcher, later got to meet the plastic surgeon. It was Sila, who informed, Richard Stover-the Barrios biographer (Six Silver Moonbeams), about this aspect. The last 4 selections are performed by their contemporaries from Spain-the virtuoso Flamenco Guitarist Miguel Borrull, who plays a stunning version of the well known piece "Granada", and Alfredo Romea-a Catalan compatriot of Miguel Llobet.

G. E. 56 Atahualpa Yupanqui  1945-55 CD $17.00

   This great guitar soloist and Argentine folk singer's career began in the mid 1930's. He was left handed-so when he went to visit his colleague's homes in Buenos Aieres and didn't bring his guitar, they had to invert the strings on their's to be able to enjoy his art. At the age of 8 years of age he would ride a horse a several  miles to take a guitar lesson from Baustista Almiron-the father of child prodigy, Lalyta Almiron and student of Agustin Barrios, for a period of 5 months, when she was just 9 years old.

Golden Era 57 Rolando Valdes-Blain     Classical Guitar Virtuoso 1958 CD $17.00

   Rolando Valdes-Blain was born in Havana Cuba in 1922 and died in Spain in 2002. He made his first professional appearance at 13 years of age, in New York. He studied in Spain with Regino Sainz de la Maza, and later with the Uruguyan virtuoso, Julio Martinez Oyanguren. He graduated from the Royal Conservatory in Madrid-with the grand prize award for for concert guitar playing. After his stint in the armed forces from 1942-46, he gave concerts at the Casa Americana, the Pan American Union in Washington D.C., Yale University,Carnegie Recital Halls, the Ethical Culture Auditorium in Philadelphia, and the Real Conservatory in Madrid. He performed on major radio networks in New York, Caracas, Venezuela, and in San Juan, Puerto Rico. He accompanied the Spanish Ballet Company in Canada, South America and in the United States under the direction of Sol Hurok. He was presented as the guitarist in the cast of Tennesse Williams' "Camino Real" on Broadway. In the summer of 1958 he was the featured soloist with the Symphony Orchestra under the direction of Raymond Paige at the famed Radio City Music Hall.

   He was the maestro to dozens of guitarists, who are still of great influence on the music scene today in the 21st century. This is the rich legacy that he has left us with today. He uses a Manuel Velazquez guitar on this recording.

G. E. 58 Icons of Flamenco Guitar 1913-1955 CD $17.00

   Among all the titles on this CD, it has two songs from the very first 1913 recording session by La Niña de Los Peines with the legendary guitarist Luis Molina. He competed with Ramon Montoya. He is nowhere nearly as well known as his rival, because Luis died in a traffic accident in 1925, a quarter of a century before the passing of Ramon.

The cover photo of Ramon Montoya is from the film "Carmen, la de Triana", released in 1937.

G. E.  59 Julio J. Otermin & Trio de Guitarras de Uruguay 1915-19 
CD $17.00

    Julio J. Otermin was a professor and composer of guitar music. He
resides in Montevideo, Uruguay. In 1906 he studied with the Spanish
guitar professor Pedro Maza, then at the time, also residing in the
same capital. He has two works published, "Un Sueño and "Perlas de
Uruguay", the latter, which obtained the Primer Premio-Certamen
España- Celebrado en Montevideo (First Prize-Spanish Composition
Competition-Celebrated in Montevideo). Both of the compositions are
Boston waltzes, of a well achieved movement and and relative musical
value.
    This short biography is translated from the "Diccionario de
Guitarristas" by Domingo Prat, published in 1934 by Romero y Fernandez.
    Both of the musical compositions mentioned by Domingo Prat were listed
in the 1931 Antigua Casa Nuñez catalog.
    In Richard "Rico" Stover's "Six Silver Moonbeams-The Life and Times
of Agustin Barrios Mangoré" on page 43, he mentions a concert in the
fall (March, April, May) of 1912 organized by Carlos Trapani, where
Agustin Barrios as well as Julio Otermin and the Spanish guitarist
Francisco Callejas performed in Montevideo. In listening to original works by
Otermin such as "Nocturno" it is easy to make note of the concert
level composition of his creative ability.
    There is nothing well known about the other two members of the Trio de
Guitarras de Uruguay: Carlos M. Quintana and Anastasio Méndez. In that
Julio J. Otermin was a professor, it may be considered that they were
advanced students of his, until further verification may be found.
They undeniably created a very lively and popular sound at the
beginning of the World War I (The Great War) period of time.


Golden Era 60 Agustin Barrios Recently Discovered Recordings 1913-28 CD $17.00

    On March 31, 1913 Alfredo Amendola's Discos Atlanta opened
their doors for sales to the public in Buenos Aires. Their "sister"
label Discos Artigas, in Montevideo, released the same recordings
in the capital of Uruguay as well. There had to have been a 60 to 
90 day delay from the time of recording to the street date of the
recordings. After being recorded in the Rio de la Plata area the
masters were sent to Germany for pressing. The full page
advertisement of Ay, Ay, Ay-the fourth record to be recorded and
released by Agustin Barrios appeared on July 5, 1913 in the Caras
y Caretas  magazine, published in Buenos Aires. The songs
Mandolinata Napolitana and Ojos Negros are Agustin Barrios'
second disc to be released and Isabel was recorded close to the end
of the 1914 recording sessions. 
    
    These three recordings are a debut in the CD format.
These are not included in the 3 CD set Agustin Barrios 1913-43

Golden Era 61 José Motos Flamenco Arte y Duende1960 Vol. 3 CD $17.00

José is considered one of the 3 modern progenitors of Flamenco Guitar,
the other 2 maestros are Sabicas and Niño Ricardo.

1. Alegrias
2. Petenera
3. Danza Mora
4. Malagueña, El Vito, Verdiales
5. Farruca
6. Granadina
7. Guajiras
8. Sevillana
9. Bulerias

Guitar: Marcelo Barbero Madrid

Golden Era 62 Sabicas Live in Concert 1971

A 78 minute live concert when Sabicas was in his prime. He uses a José Ramirez Flamenco Blanca w/ pegs.

CD $17.00

  1.  Granadina
  2.  Farruca
  3. Soleares
  4. Garrotin
  5. Rondeña
  6. Seguidillas Con Saetas
  7. Tarantos
  8. Alegrias
  9. Malagueña
10. Fandanguillo
11. Capricho Andaluz
12. Zapateado en RE
13. Verdiales
14. Guajiras
15. Danza Arabe
16. Bulerias

Guitar: José Ramirez Madrid

Golden Era 63 Early Classical Guitar Solos 1908-1955 CD $17.00

 1. Habaneras Octaviano Yañes (Yañes)Victor 16411 A 1908
 2. Playera - Danza No. 5 (Granados-Gomez) Guillermo Gomez Columbia 3168-X
 3. La Huerfana (Granados-Gomez) Guillermo Gomez Columbia 3168-X
 4. Adelita (Tarrega) Francisco Salinas Columbia 2634-X
 5. El Deseo (Schubert) Francisco Salinas Columbia 2634-X
 6. a. Estudio (Las Abejas) (Barrios)
     b. Estudio (No.1) (Villa-Lobos) Abel Carlevaro Parlophone Odeon P.X.O. 1073
 7. Tarantella (Castelnuovo-Tedesco)  Abel Carlevaro Parlophone (disc above)
 8. Grand Overture Part 1 (Giuliani) Julio Martinez Oyanguren RCA Victor 13673
 9. Grand Overture Part 2 (Giuliani) Julio Martinez Oyanguren RCA Victor 13673
10.  Capricho Arabe (Tarrega) Julio Martinez Oyanguren Columbia 264011
11. Alhambra (Parga) Julio Martinez Oyanguren Columbia 264011
12. Flamenco Suite part 1 Soleares Julio Martinez Oyanguren RCA Victor 13799
13. Flamenco Suite part  2 Seguidillas Julio Martinez Oyanguren (disc above)
14. Campo sin eco-Estilo (Ariel Ramirez) Eduardo Falu TK 5392
15. San Carlos-Zamba (Jaime Davalos-Eduardo Falu) Eduardo Falu TK 5392
16. Clavel del Aire (F. Sila Valdes-J. de Dios Filiberto) Patrocinia Diaz
w/ accomp. of 3 guitars and organ, Freyre-Davila and Fernandez (disc below)
17. Amor que muere (A. Korbeneyer-J. de Dios Filiberto) Patrocinia Diaz
w/ accompaniment of 3 guitars, Freyre-Davila Odeon Discos Nacional 11410
18. Serenata Burlesca (Moreno-Torroba) Maria Angelica Funes Odeon 56544
19. Prelude No. 7 Mazurka (Chopin) Odeon 56544
20. Fandango de Huelva (Lopez Tejera) Luis Maravilla, Pilar Calvo (Baile),
Ramon de Loja Odeon 184.899
21. Zambra del Sacromonte (Lopez Tejera) Luis Maravilla, Pilar Calvo (Baile),<