flamenco Classical Music of the Soul
“Profundity exists on many different levels and within many different emotions." - Mito
During the fall of 1994 Mito’s close friend, fellow classmate and classical guitarist Michael Bootzin frequently purchased multiple tickets for himself, Mito and others for a number of guitar concerts throughout the Milwaukee metro area. One of the concerts headlined the world renowned Guitar Trio of John McLaughlin, Al Di’Meola, and Paco de Lucia. Having heard the Trio’s CD Passion, Grace and Fire, Mito was excited to hear this powerhouse perform live. Mito was inspired by the talent of the Trio and this encouraged him to focus intensively on composition – including teaching himself FINALE™ and Digital Performer™.
On the night of October 25, 1995, Michael invited Mito to another of the many guitar concerts they were to attend together. Little did Mito know that night would change his life forever. Once the auditorium was seated, the concert opened with Paco de Lucia, the world’s most renowned Flamenco guitarist, emerging into a single spotlight from the black backdrop of the stage. As his opening piece, Paco played an amazing solo guitar piece in the form of “Soleá”. Mito had known picado as opposed to the pic, and immediately noticed the dexterity and supreme skill of Paco’s mastery of the picado style (rapidly alternating the right hand index and middle fingers to pick the strings – a common Flamenco technique). Mito had used pics and picado, and having seen the Guitar Trio a year earlier, Mito realized the profound difference between Di’Meola’s and McLaughlin’s use of the pick rather than the natural technique of picado perfected by de Lucia.
Mito had brought a poster from the university bulletin board backstage with him in hopes of obtaining Paco’s signature after the concert. As one of the few lucky fans who went backstage to meet Paco, Mito remembers the moment as one of the most humble and transforming experiences of his life. In approaching Paco, Mito recalls looking up at Paco’s face, sensing he was larger than life, and nervously pulling his pen from his pocket:
Mito: “Con sus ordenes Paco . " ¿Puede firma ésta para mi?"
Paco: “Si claro.”
Mito: “Soy guitarrista …que concierto increíble!”
Paco: “Gracias, eh…”
Mito: “MITO”
Paco: “Gracias, Mito”
Mito: “Gracias a ustedes.”
Paco: “De nada, ‘buenas noches”
Although brief and perhaps mundane, the manner of the exchange made all the difference in Mito’s life; in meeting his idol and musical visionary, this profound evening opened a new perspective on life and music for Mito that has shaped his continuing passion for Flamenco and its unmatched opportunities for technical mastery embodied in the immortal style of Paco de Lucia displayed during that life changing night.
From this point forward, Mito focused his time and education on perfecting his guitar performance techniques. After a year of research, trial and error, and technical labor, Mito discovered a new and favored nylon string guitar that partnered with him to manifest a passion for Flamenco. He began to copy the music of the world renowned Gipsy Kings with their rumba rhythms (the simplest form of Flamenco music). Growing up hearing groups such as, Strunz & Farah’s Primal Magic who combined melodies and rhythms from South America, India, and simple Rumba rhythms was great for Mito. However, he had always been a musical student and technical purist, therefore he soon craved more complex Flamenco rhythms. Strunz & Farah's fast paced solos of Primal Magic were executed by using a pick. Mito refused to play in anything but the picado style of Paco de Lucia as well as all other Flamencos, thereby strengthening his technical prowess while molding a nascent trademark in his own unique picado proficiency.
Flamenco music styles are intense with articulations that rival most classical compositions. Expanding his Flamenco repertoire, Mito also studied the innovative Flamenco guitar styles of Niño Ricardo, Carlos Montoya, Sabicas, Paco Peña, and Manolo Sanlúcar as well as influences from legendary Flamenco greats like Tomatito, and Vicente Amigo, and of course, more intensive investigation of the style of Paco de Lucia.
Niño Ricardo (Manuel Serrapí Sánchez) Carlos Montoya Sabicas (Agustín Castellón Campos)
Francisco Peña Pérez Manolo (Manual Muñoz Alcón)
Tomatito (José Fernández Torres) Vicente Amigo
Paco de Lucía (Francisco Sánchez Gómez)
Vocally, Mito has also been graced with a powerful voice that is often likened to that of Flamenco greats like Enrique Morente, José Manuel Soto and E. Montoya. Some of Mito's favorite Flamenco vocalists include, but are not limited to: The late great Camarón, Duquende, Montse Cortés, and Tana.
Camarón (José Monje Cruz) Enrique Morente Duquende (Juan Rafael Cortés Santiago)
Montse (Montserrat Cortés Fernández)
For more of Mito's musical influences see, The Music Influence
For Performance by Mito Call: 910.508.2072
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