Last month, we had an inspiring evening recording with both Pepe Romero and Grisha Goryachev on a fascinating 1924 Miguel Rodriguez. Up to this point, the earliest Rodriguez to come through the shop was a flamenco from 1950, so the fact that this instrument was made over 25 years earlier gives you an indication of its rarity. On top of that, Pepe – the previous owner – says he acquired it from a relative of Paco de Lucia who claimed the flamenco legend played on it regularly!
You guys asked for more Grisha so he’s back this week with a Faruca by Sabicas entitled ‘Con Garbo y Salero.’ In this video, he plays a fiery 2017 Francisco Barba with a warm Spruce top and Indian Rosewood back and sides. The sonic result is a powerful and lively Andalusian guitar with the perfect amount of flamenco “sizzle” as you can hear in the recording. While Grisha’s playing looks effortless no matter the guitar he plays, the set up for this particular Barba makes playing a breeze!
Let’s be honest – here at GSI and in Los Angeles in general, we meet and hear a lot of incredible guitar players, both from seasoned professionals and the best up-and-coming young talents, and though we haven’t seen absolutely everything, we definitely get exposed to a fair share of great musicians. However, even from our very lucky vantage point, we can still be taken by surprise once in a while… and candidly admit we’re still floating from last week’s concert featuring the legendary Yamandu Costa.
Grisha Goryachev was back in the showroom recently and took some time to demo a few guitars for us. To start, here is his performance of Paco de Lucia’s exciting Almoraima (Bulerias) on a 2018 Pepe Romero which features a Cedar top and Indonesian Rosewood back and sides. This particular instrument was a perfect pairing with this piece as a 2012 model of this guitar was sold to Paco de Lucia and used on his album “Canción andaluza” recorded just before his passing in 2014. Four years later, Grisha effectively captures the soul of Lucia with his playing of this piece as well as the sound he produces on this stunning guitar.
Here is the second movement, “Reyna,” from Celil Refik Kaya’s new suite Miriam & Leon’s Daughters. In this performance, Celil is playing a fantastic 1977 Miguel Rodriguez with a Cedar top and Palo Rosa back and sides. This guitar has a very interesting story in how it came to us. When it first showed up, we noticed there was no date or signature on the label. We sent it down to the Romeros to see if they knew anything about it, and Pepe Sr. immediately recognized the guitar as one Rodriguez originally made for him which he named “La Pastosa.” Read more about this guitar’s story and learn why the label was never edited on the product page here. Meanwhile, enjoy Celil’s beautiful and energetic composition on this wonderful instrument!
Last year, we were thrilled to play a role hosting Guitar CoOp’s interview with Christopher Parkening here in the GSI showroom. This past month, all four parts of the series were released and the entire interview is now available!
Throughout the interview, Parkening touches on many fascinating subjects including his early life with the guitar, studies with Andres Segovia, recording CD’s with Columbia Records, and his experience working with legendary composers including Elmer Bernstein, John Williams, Joaquin Rodrigo, and more.
We’ve all seen at least one Celil Refik Kaya guitar demo, and David Collett here chose one of Celil’s performances as his top 5 favorite. So, make sure to catch up on all of his performances in our Santa Monica showroom with this YouTube playlist. Enjoy.
Here’s Celil Refik Kaya with the first movement of a new suite he has written entitled Miriam & Leon’s Daughters. This movement is called Loretta and Celil plays it on a gorgeous 1927 Francisco Simplicio in spruce and mahogany. In addition to being his deluxe model, with more decoration than is usual even for Simplicio, this particular guitar is fitted with a mahogany tornavoz, which is partly responsible for the incredibly rich low end on this instrument.
There’s a “spirit of openness and environmental awareness” throughout this 12th issue, to quote the editor of Orfeo, Alberto Martinez. That spirit is clear as the issue covers the process of environmentally-conscious guitar-making in Belgium, from research to physical workings of the most renowned luthiers in the country. Much of what this issue covers is not really information the public knows well, but many guitar aficionados do discuss from time to time, so we’re excited to bring to you all this particular publication. The Belgium Special features information on many innovative organizations and builders that work to make sustainable guitars, including the luthiery school of Puurs, Leonardo Guitar Research Project, Acoustics Laboratory, Le Mans University, Crelicam Project, luthier Walter Verreydt, Karel Dedain and Mark Peirelinck.
Here is a new collaboration between EliteGuitarist and GSI with a tutorial of Augustin Barrios’ Vals Op. 8 No. 3 Taso Comanescu’s note for note tutorial displays a deep understanding of the piece, provides tons of performance pointers, focuses on phrasing details and is a wealth of fingering principles. Learn to play this and many other repertoire pieces with the EliteGuitarist classical guitar repertoire tutorials at www.EliteGuitarist.com