Is the communication really that easy between flamenco and Cuban music?
I think there’s a similar root, especially between singing son and flamenco singing. In Cuban son, you’re always trying to sing outside of the natural notes, and, in flamenco, the same thing happens with el cante: You’re always trying to look for that upbeat, and you let the natural notes sound for themselves. On your latest recording, Morente’s collaboration is interesting. To tell you the truth, it’s something that I wanted to do a long time ago. It was practically a proposition of Enrique’s. We’d talked a long ways back about doing an adaptation of the malagueña del Mellizo. We finally got into a studio, we found some verse, and we did the recording. How do you compose? I use the computer like a notepad. I compose in a simple way, through a melody, or a jazz structure adapted to a flamenco rhythm. My compositions are structures for improvisation. They’re designed to be developed live. You’ve been playing a lot with Javier Colina (upright bass) and Guillermo Mc Guill (drums) There’s
