Joe´s Music Rack
Part of

The Rhythms of Carmen Amaya

Carmen Amaya and Company
Queen of the Gypsies
with SABICAS, Guitarist

The Rhythms of Carmen Amaya The Rhythms of Carmen Amaya
33FAmaya C1
DECCA RECORDS...DL 9816...MG-4438/MG-4439...33 1/3 LP HI FI...October 1955

Side 1
1) Ritmo De Carmen Amaya (Agustín Castellón Campos) 3:51
BMI Work #1255930
2) Taranta Guitar Solo - Sabicas (Agustín Castellón Campos) 3:50
BMI Work #1458119
3) Siguiriya Gitana vocal by Domingo Alvarado (Agustín Castellón Campos - Garcia Angel Curras) 10:43
BMI Work #1340381
4) Soleares Guitar Solo - Sabicas (Agustín Castellón Campos - Garcia Angel Curras) 1:44
BMI Work #1369337
5) Tiento Canastero (Agustín Castellón Campos - Angel Garcia Curras) 3:47
BMI Work #1512492

Side 2
1) Soleares vocal by Domingo Alvarado (Agustín Castellón Campos - Garcia Angel Curras) 5:22
BMI Work #1369337
2) Siguiriya (Agustín Castellón Campos - Garcia Angel Curras) 2:03
BMI Work #1340379
3) Rondeña (Agustín Castellón Campos) 4:54
BMI Work #1268202
4) Solea Por Buleria Guitar Solo - Sabicas (Agustín Castellón Campos - Garcia Angel Curras) 2:01
BMI Work #1369323
5) Alegrias vocal by Domingo Alvarado (Agustín Castellón Campos) 9:04
BMI Work #18232

All compoitions and arranements by Sabicas - Curras
(ibid: that would be Agustín Castellón Campos and Garcia Angel Curras)

The Rhythms of Carmen Amaya The Rhythms of Carmen Amaya


NOTE: The three columns are broken down, to made them easy to read

Carmen Amaya and Company

Queen of the Gypsies

with SABICAS, Guitarist

The Rhythms of Carmen Amaya

About Carmen Amaya...
One of the highlights of New York´s theatrical season 1955/56 was the appearance of Carmen Amaya and her Company. Her performances in Carnegie Hall and at the Holiday Theatre on Broadway drew enthusiastic praise from the critics. In this recording, Carmen Amaya is presented at her best, singing and dancing with her Company the songs and dances of the Spanish Gypsies, music which is generally known as Flamenco.

Not much is known about the origin of Flamenco. While the name literally means "Flemish," there is no connection between the art of Flamenco and the Belgian province of Flanders. Flamenco, in its true meaning, is the regional art of the Andalucian Gypsies. It comprises a wide variety of rhythms and melodies of a distinctly oriental flavor. Mostly the basic rhythm, is traditional, but there is ample room left for improvisation. The melodies are filled with passion, the lyrics sentimental, mostly sad, and full of deep feeling. Performed by an artist of the stature and temperament of Carmen Amaya, and accompanied by a guitarist as outstanding as sabicas, Flamenco music is exciting listening indeed.

Carmen Amaya is known as the "Queen of the Gypsies." She was born a gypsy, a true-child of the "bronze-skinned folk." She learned to sing and dance just as other children learn to walk and talk. People liked to watch her dancing when she was a child of four. Her father, himself a Flamenco guitar player, took her around to the coffee-houses other places where the Flamenco art was appreciated. Her fire, passion and charm won the public as well as the experts, wherever she went. Her first theatrical appearance caused a near-riot. Her fame spread, the newspapers talked about little "Carmelilla Amaya," and compared her to the greatest Flamenco artists Spain had produced.

At the 1929 Barcelona World´s Fair she cast her spell over an international audience. From then on, she was a star. She went on to Paris, all shared the stage with Raquel Meller. From Paris, still in her teens, she went touring the European and South American capitals.

She appeared first in the United States in 1942, just twenty years old, and was an instant success. The critics called her tempestuous, whirlwind display the most exciting dancing ever seen in New York. Shortly thereafter, she made her Broadway debut in Ed Wynn's musical revue "Laugh, Town, Laugh," sharing the plaudits with Ed Wynn and Jane Froman. Then came an exceedingly successful tour of the country´s leading concert halls and supper clubs. In 1944 she went to Hollywood and made two films. Since then Carmen Amaya has appeared in every country of Latin America, Europe, and North Africa. She received a warm ovation from Winston Churchill, and her command performance for President Franklin D. Roosevelt at the White House was one of the highlights of her career.

About Sabicas...
Among Spanish Flamenco guitarists, the name of Sabicas is synonymous with the purest traditional style and the highest degree of virtuosity. Born in Pamplona, the capital of Navarra, in 1917, Sabicas began to play the guitar as a child of five. Without any formal studies or instruction, he became so proficient that, at the age of eight, he gave his first public performance in Pamplona. Just three years later, as a boy of eleven won a prize in a nation-wide contest in Madrid.

In 1937 he, formed his own Company and toured through South America. In 1942, Carmen Amaya chose him for her first tour of the United States, and for five years Sabicas worked with her and disked shared her triumphs on Broadway and in Hollywood. Then he returned Mexico, where he makes his home, giving concerts in the Latin Capitol and working in a number of films. At present, he is Carmen Amaya solo guitarist and arranger, touring with her company in the United States.

End column one - start column two

Side One:


La rubia la panaera                              y de noche me mortifica
que con el calor del horno
se esta poniendo morena.                    La Virgen de la Merce
No me llamen bonita                          como mi gusto yo logre
gue mi mario es celoso                        un habito me pondre.

In the oopening number, a fast-moving BULERIAS, Carmen sings of the blond baker's wife whom the heat of the oven has transformed into a brunette, and who doesn't want to be called beautiful, because she's got a jealous husband to contend with.

This is the first of four guitar soli, all Sabicas' own compositions.

Como las flores de almendro                    y la cintura
tienes tu la cara                                         como junco de rio baña el agua.
y la cintura

Domingo Alvarado, the "Cantaor" (Flamenco Singer) of the Carmen Amaya Company, sings this sentimental, rhythmical gypsy tune about the incomparable beauty of his girl. He face is like almond blossoms and her body has the suppleness of reeds.

4. Soleares
Sabicas plays another guitar solo, a SOLEARES, a typical Flamenco rhythm filled with sadness and deep melancholy.
The SOLEARES - the name stems from the Spanish word SOLEDAD, meaning loneliness - is one of the basic forms of Flamenco singing and dancing.

Tu andas vendiendo flores                    y yo no los camelaba las mias de todos los colores.                    A Dios le peido llorando
                                      que me quite la salud
Te acuerdas cuando me dabas                    y a ti te vaya dando
Carmen Amays and her whole Company perform Sabicas' arrangement of this TIENTO. Originally, a TIENTO just the prelude which the guitarist played before the singers and dancers joined in. Now a TIENTO is any short Flamenco piece. In TIENTO CANASTERO, Carmen Amays tells a sad story, in just three short sentences; the two lovers, it seems, could never get along too well. But all the depth and hopelessness of the girl's feelings is beautifully expressed in the last verse:
"With tears in my eyes I beg the Lord
to take away my health from me
and give it to you."

Side 2:

1. Soleares

Aunque el mundo te critique                    Yo te voy a tener a mi vera
que eres una mala mujer                           aunque mal pago des.
Do to water damage on our source album we could not give you the rest of this information.

End column two - start column three

Side 1
1) Ritmo De Carmen Amaya
      (Flesta de Jerez) Carmen Amaya and Company
2) Taranta (Guitar Solo) Sabicas
3) Siguiriya Gitana Carmen Amaya and Company
                                 vocal by Domingo Alvarado
4) Soleares (Guitar Solo) Sabicas
5) Tiento Canastero Carmen Amaya and Company

Side 2
1) Soleares Carmen Amaya and Company
                                 vocal by Domingo Alvarado
2) Siguiriya (Guitar Solo) Sabicas
3) Rondeña Carmen Amaya and Company
4) Solea Por Buleria (Guitar Solo) Sabicas
5) Alegrias Carmen Amaya and Company
                                 vocal by Domingo Alvarado

All compositions and arranements by Sabicas - Curras

Like the SOLEARES before, this is another passionate, melancholy theme, sung by the "Cantaor" with the whole company. He has Fallen in love with a beautiful girl, although everything warned him against her. He wanted to give her true love, knowing that she could not respond. Now he asks himself:

"Why was it that I had to talk to you?
There was happiness in my face
but you stole it away."

Another composition by Sabicas, based upon the rhythmical pattern of the SEGUIDILLA which, like the SORMNES, is one of the basic Flamenco forms.

Abre que soy el moreno                    De Calaña, Calañes,
cle la jaca Valenciana.                      soy pañero y vendo paños
Abre que soy el moreno                   de Calaña, Calañes
y dame por la ventana                      de la sierra soy serrano
una copa de anis del bueno               y para servirle a Vd.
que vengo con mi serrma.                 me llaman Paco cl moreno.

The RONDEÑA is closely related to the FANDANGO. Here Carmen Amaya, assisted by her Company, sings, of “Paco el Moreno," Paco the Dark One, who comes to a closed tavern and wants the owner to open up and give him a “Copa de Anis," a drink of Anis Liqueur, because he has come down from the mountains with his girl.

In this original composition, a combination of two Flamenco rhythms, Sabicas once more has an opportunity to display the romantic and warm tone of his guitar and to show his accomplished virtuosity.

De Jerez la Buleria,                   de Cadiz las Alegrias;
de Sevilla Sevillana,                  de la sierra la serrana,
de Jerez la “Buleria."                 de Cadiz las “A.legrias."
De la sierra la serrana,

Here Carmen Amaya and the whole Company unite to bring us a rousing performance of the traditional ALEGRIAS, the gayest and most melodious of the Flamenco rhythms, praising the music and rhythms of beautiful, romantic Andalucia, from Jerez to Cadiz.

All compositions and arranements by Sabicas - Curras

End of Jacket


NOTE: ASCAP/BMI numbers and composer given above are added by us - they are not on the label

      Title (Format)       Label Cat#             Country             Year

Queen Of The Gypsies (The Rhythms Of Carmen Amaya) (LP, Album)      Brunswick LAT 8150      UK      1957

Queen Of The Flamenco (LP, Album, Mono)      Brunswick BVD 173 263      Netherlands      Unknown

Les Rythmes De Carmen Amaya (LP, Album, Mono)      Polydor 46 230      France      Unknown

Reina Del Flamenco (LP, Album)      MCA Records M - 18.176      Spain      1970

Under Section 107 of The Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

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Carmen Amaya
The Rhythms of Carmen Amaya
Joe´s Music Rack
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