José Torres Vicente: «My project explores what jondo from the do-it-yourself culture»

Is called Jose Torres Vicente, was born in Elche (Alicante, Valencian Community) in 1983 and is, in his own words, a guitarist with a multidisciplinary profile. Flamenco by Cuartito Vol.1 – Singers It is the artistic fruit of the doctoral thesis that, with the same title, is being carried out at the Polytechnic University of Valencia, and which addresses the reinvention of flamenco in a digital context. His project remixes the flamenco with the Lo-Fi genre and DIY culture (do it yourself). Lo-Fi (Low Fidelity) is a musical style characterized by an imperfect sound, associated with home recordings and first impressions, and which uses saturation or noise to give a feeling of closeness and authenticity. For its part, DIY culture promotes self-sufficient artistic creation and production. Both concepts are key in this search for a flamenco more accessible and experimental at the same time. This first EP is made up of four songs sung by four female voices: Sara Holgado, Inma la Carbonera, Cristina Tovar and Laura Madero. Each volume will include new collaborations, sounds and creative approaches.

José Torres has composed music for dance, exhibitions, performances and soundtracks for video art, advertising, fiction and documentaries. He has published two CDs of original compositions with his José Torres Trío, as well as an EP of free versions of lyrical classics with the singer Rocío Guzmán. He has performed on stages in more than thirty countries with artists such as Isabel Bayón, Carmen Linares, Orquesta Chekara, Carles Benavent, Vanesa Aibar, Ballet Flamenco from Andalusia, Manuel Lombo… He currently plays in two tablaos in Seville and is a member of Kiko Veneno’s band.

– The first volume of the project will be available on digital platforms on March 3 Flamenco of a little room. Where exactly is that little room?

– That little room is in Seville, in the Miraflores-Retiro Obrero neighbourhood, and more specifically on the roof of my block, just above my flat. I live on a street that is more than a hundred years old and El Cuartito is an old laundry converted into my workplace and a one-man music recording and production studio.

– With that title, it’s impossible not to turn your neck. It’s the cover sentence of your doctoral thesis, isn’t it?

– Indeed, it is the title of my doctoral thesis, which is in progress.

– At what point and for what reason does a thesis become a recording? Or several?

– My doctoral work is an artistic investigation and, therefore, the creative part is at the centre. In this research I explore the creation of new flamenco music based on the principles of DIY culture and what has historically been considered Lo-Fi music. This will probably be materialised in four volumes in EP format.

«I have worked with Rosario Toledo, Isabel Bayón, Rafaela Carrasco, Vanesa Aibar and Javier Barón. I have also been lucky enough to make music with Carmen Linares, whom I admire and adore. For a few years now I have been part of Kiko Veneno's band, for me one of the best composers of songs in Spanish»

– And as an advance, The lost directions. A bulería composed for an orchestra of twelve guitars, drum machine and the voice of Cristina Tovar. You do seem to have a very clear idea of ​​where you are going.

– Well, with this work I have set myself some relatively clear starting points, but the winds of creation, the interaction with other musicians, the public and other factors can greatly vary the direction I would have expected. I think it is positive and inevitable to lose direction from time to time.

– Do you see yourself in the future defending these albums as a concert guitarist in performance spaces here and there? As you did with the two previous albums in trio format.

– Not necessarily. With my trio, the live performance came before the recordings, and although they are different means of expression, the translation from the stage to the album and vice versa was quite natural. Flamenco from Cuartito part of my concerns as a composer and music producer and the natural fruit is, in this case, the phonogram. We will see with the development of the project if it materializes in some live format or evolves along other paths.

– Tell us a few details about your flamenco life, in case there is someone out there who is not aware.

– My career as a guitarist flamenco It has been dedicated, like so many, mainly to dance flamencoI have worked with Rosario Toledo, Isabel Bayón, Rafaela Carrasco, Vanesa Aibar and Javier Barón. I have also been lucky enough to make music with Carmen Linares, whom I admire and adore. For a few years now I have been part of Kiko Veneno's band, Banda del Retumbe, for me one of the best composers of songs in Spanish.

– You are from Elche and have been living in Seville for several years now. Why did you pack your bags?

– To study flamenco guitar first, and then to work as a musician. First I went to the Conservatory of Murcia to study flamenco guitar, then in Córdoba and, once I graduated, I went to look for work as a guitarist in Seville.

– In this city he regularly plays guitar in tablaos such as the Museo del Baile Flamenco o Flamenquería, Triana. How do you feel about that experience?

– For me it is very enriching. I approach the work in the tablao from improvisation and from the practice of the repertoire that we dance professionals have in common. When there is a good connection it is a joy.

– Do you see yourself as a dance accompaniment guitarist more than in other musical fields?

– I see myself as a professional dancer rather than as a guitarist accompanying dance. I compose and produce recorded music for dance and have starred in several duets with dancers in which the leading role is shared. I love working with dance, to be honest. But I am also fascinated by music production, songwriting, soundtracks, etc. And I am deeply enriched by other experiences such as the musical creation laboratory for homeless people that I have been developing for a few years for the NGO Solidarios para el desarrollo.

«To anyone interested in the cante "Or if you are just starting out on the guitar, I would recommend that you enroll in a conservatory. I don't think you can receive such comprehensive and inexpensive training anywhere else. In addition, knowledge of musical language, harmony, etc. can pave many paths."

– In 2016 you wrote the soundtrack for Matilde Coral’s documentary. What a magical moment in your professional career, right?

– For me it was a gift that Sarao Films, the producer of this documentary, decided to support me. It is a way of being forever linked to the figure of Matilde. It was a very heartfelt and fair tribute to her career and contribution.

– To what extent is it necessary, convenient, advisable or irrelevant for a guitarist to flamenco have a higher degree in flamenco guitar awarded by a conservatory, in this case the Superior of Córdoba?

– I don't like to give general advice, because I believe that solutions should be tailored to each individual. For example, a guitarist flamenco of my age with a solid work history I don't require unless you have concerns about these learnings or need a degree that qualifies you for a trade. However, anyone interested in the cante I would recommend that you enroll in a conservatory for those who are just starting out on the guitar. I don't think you can receive such comprehensive and inexpensive training anywhere else. In addition, knowledge of musical language, harmony, etc. can pave the way for many things. You can always complete your training in many ways outside the conservatory and, above all, finish your training by practicing what you have learned, whether in amateur or professional environments.

– Will it be? Flamenco of a little room the project of your life?

– It is certainly true at the moment. Although, at times, so are all the other projects I collaborated on and into which I put everything I have. I have been doing this for over a year and I estimate that it will take me at least two more. It is very exciting, but I know that it will also pass and other new projects will come along that will generate new concerns and hopes. ♦

→ Listening link: https://josetorresvicente.ffm.to/flamencodecuartitovol1cantaoras