Over the last decades, flamenco has evolved from folk music towards a real musical language. Musicians from all around the world drink today of this music (e.g., Wynton Marsalis, Chick Corea, Pat Metheny). As with bossa nova, flamenco now has a rich vocabulary to play any kind of repertoire without losing its distinctive sound.
The clinic shows an approach to flamenco interpretation and production that focuses on composition. Perhaps the real appeal of this music is the way the pieces are structured. Students will gain tools to enhance their own music, chords, rhythms, melodic expression. . . and all kind of interesting musical resources to grow as an artist. Flamenco has, like any other roots music, lots of styles and forms. We'll open a window to see into the distance of the global dimension of flamenco and to learn a concrete style, perhaps the most attractive style for today musicians: the "buleria."
Born in Madrid in 1973 with roots in Andalusia, classically trained songwriter and producer Javier Limón began his career as a composer, writing songs for flamenco singers Enrique and Estrella Morente, Pepe and Paco de Lucía, Remedios Amaya, Vicente Amigo, and El Cigala, among others. In early 2000 he met with seven-time Goya Award-winning film director Fernando Trueba, forming a relationship that would culminate in Limón's production of Lágrimas Negras, an album by Cuban pianist Bebo Valdés and flamenco singer El Cigala. This was Limón's first contact with Latin jazz.
Following his encounters with Trueba, Limón's sound changed substantially, and young Cuban musicians including Enrique Morente, Andres Calamaro, and Paco de Lucia began to appear on the albums he produced.
Since 2003 Limón has won three Premios Amigos and five Latin Grammy Awards, including Best Flamenco Album and Producer of the Year.