{"id":2841,"date":"2015-10-19T12:46:04","date_gmt":"2015-10-19T19:46:04","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=2841"},"modified":"2015-10-19T12:46:04","modified_gmt":"2015-10-19T19:46:04","slug":"juan-martin-and-chaparro-de-malagas-la-guitarra-mi-vida-mixes-jazz-and-flamenco","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/juan-martin-and-chaparro-de-malagas-la-guitarra-mi-vida-mixes-jazz-and-flamenco\/","title":{"rendered":"Juan Mart\u00edn and Chaparro de Malaga&#8217;s &#8216;La Guitarra\u2014Mi Vida&#8217; Mixes Jazz and Flamenco"},"content":{"rendered":"<p><a href=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/517BtVRaysL.jpg\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"alignleft wp-image-2843 size-medium\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/517BtVRaysL-300x300.jpg?resize=300%2C300\" alt=\"517BtVRaysL\" width=\"300\" height=\"300\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/517BtVRaysL.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/517BtVRaysL.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/517BtVRaysL.jpg?w=500&amp;ssl=1 500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a><strong>La Guitarra\u2014Mi Vida<br \/>\n<\/strong><em>Juan Mart\u00edn and Chaparro de Malaga<br \/>\n(<\/em>Flamencovision)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Traditionally rooted flamenco with some jazz elements<\/strong><\/p>\n<p>Flamenco guitarist Juan M\u00e1rtin has enjoyed much commercial success in the UK, where he has long been based. In 1984, he even had a hit single with \u201cLove Theme from \u2018The Thorn Birds,\u2019\u201d in which the orchestration was elaborate but the guitar content modest. In this 2015 release, he joins forces with the younger and clearly able guitarist known as Chaparro de M\u00e1laga. All 14 tracks, except the Lecuona-based \u201cMalague\u00f1a<em>,<\/em>\u201d are claimed as original compositions and most are based on established flamenco forms.<\/p>\n<p><iframe src=\"https:\/\/www.youtube.com\/embed\/GOCqr-woi_Q\" width=\"780\" height=\"439\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nAlthough the material is traditionally rooted, the harmonies occasionally display a modern jazz element, with major and minor sevenths in evidence in the opening \u201cMar de Plata\u201d and elsewhere. Apart from the snatched and uneven tremolo in \u201cFarruca Mart\u00edn,\u201d all seems well on the technical front. Long haul fans will doubtless welcome the valedictory reworking of the rumba subtitled \u201cLa Feria,\u201d a Mart\u00edn staple dating back at least to the <em>Andalucian Suites <\/em>album of 1990.<\/p>\n<p style=\"text-align: right;\"><em>\u2014Paul Fowles <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>La Guitarra\u2014Mi Vida Juan Mart\u00edn and Chaparro de Malaga (Flamencovision) &nbsp; Traditionally rooted flamenco with some jazz elements Flamenco guitarist Juan M\u00e1rtin has enjoyed much commercial success in the UK, where he has long been based. In 1984, he even had a hit single with \u201cLove Theme from \u2018The Thorn Birds,\u2019\u201d in which the orchestration was elaborate but the guitar content modest. In this 2015 release, he joins forces with the younger and clearly able guitarist known as Chaparro de [&hellip;]<\/p>\n","protected":false},"author":14,"featured_media":2843,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[5],"tags":[],"class_list":["post-2841","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-stories"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2015\/10\/517BtVRaysL.jpg?fit=500%2C500&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=2841"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/2841\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/2843"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=2841"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=2841"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=2841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}