"THE FLAMENCO GUITAR presents a special challenge to the interpreter and listener alike.
For the guitarist, there is an opportunity to create new music while working in a great tradition.
While the boundaries of each flamenco form are determined by strict conventions of scale and
rhythmic pattern (compas), every guitarist is free to invent new melodic variations (falsetas) and to
interweave them with original permutations of the characteristic strumming (rasqueando).
All guitarists rely heavily on the material which has been passed down from earlier creators—Javier
Molina, Ramon Montoya, Manolo de Huelva, Niño Ricardo and Diego del Gastor, to name a few of
the most prolific. But the most talented players are able to add their own contributions to flamenco.
This ability, along with the gift of selecting the most fitting music and combining it to give structure
and musical vision to each piece, determines the merit of a flamenco guitarist.
For a listener whose familarity with flamenco is limited, it is not always easy to differentiate between
music that enhances the tradition and music which is merely calculated to impress. The temptation
to invent superficially appealing melodies and ingratiating harmonies is strong, since this is an easy
road to popular success. In effect, any judgement of the excellence of a flamenco performance is
also an evaluation of the personal integrity of the artist. Certainly, broad popularity is no guarantee
of excellence; and in fact some of the world’s most widely acclaimed flamenco guitarists are regarded
with indifference or even outright contempt in flamenco circles.
CARLOS BOND LOMAS is an outstanding guitarist within the modern school of flamenco. His
approach to the music employs a precision of technique pioneered by the brilliant Sabicas and by
Mario Escudero, combined with fresh harmonies and complex syncopations within the traditional
rhythmic structure. The leading proponent of this modern style is the phenomenal Paco de Lucia,
whose influence can be sensed in several of Lomas’ selections. This artistic relationship—personal
as well as musical—is an important key to Lomas’ playing. But it should be stressed that Lomas is
never an imitator or a derivative player. His personal creativity is the vital element in his music, and
it lends a uniquely personal stamp to all of his interpretations.
In addition to his remarkable inventiveness, Lomas displays a keen sensitivity to the real
significance of the individual flamenco forms. He respects their emotional and cultural contexts, so
that deep and serious styles retain their profundity, while the lighter forms get an appropriately
appealing rendition. His use of multi-track recording and additional instrumentation—confined to
those styles which can benefit from these modern techniques—lends an extra dimension to this recital."
--Brook Zern, 1976.
1.Puente Nuevo ( Rondeña ) Carlos Lomas
2,Para Emilio (Seguiriyas) Carlos Lomas
3.Takis (Rumba Flamenca ( Carlos Lomas & D.Spitambelis
4.Chispas (Bulerias) Carlos Lomas
5.Aires de Almeria (Tarantas ) Carlos Lomas
6.Romance Español (Vals) N.Yepes/J.Rodrigo arreglo:Carlos Lomas
7.La Alcazaba (Danza Mora ) Carlos Lomas
on Takis :1st & 2nd guitar : Carlos Lomas ; 3rd guitar: Juan Amaya ; Bass: Dimitris Spitambelis ; Bongos: Antonio Orlando ; Palmas( clapping) Manolo Correa,Liliana Lomas
on Chispas: 1st & 2nd guitar : Carlos Lomas ; Palmas & Jaleo: Manolo Correa ,Liliana Lomas
Photos by Bill Del Conte, recording by Gabriel Oller,digitally remastered by Tony Isaacs 2007