MARIO ESCUDERO PLAYS CLASSICAL FLAMENCO MUSIC

1 Kelaja (Bulerias) 03:44
2 Pantomima Flamenca (Garrotin) 03:37
3 Ecos de la Union (Tarantas) 04:04
4 Touque del Moncho (Fandango) 04:46
5 Meditacion (Nana) 02:57
6 Serrania Andaluza (Serrana con Petenera) 03:49
7 Careos (Sevillanas) 04:21
8 Castillito de Alcala (Solea) 03:33
9 Homenaje a Montoya (Rondena) 03:17
10 Prala de la India (Tientos) 04:44
11 Aires Lejanos (Milonga Flamenca) 04:42
12 Noche Flamenca (Verdiales) 03:07
13 Impetu (Bulerias) 02:58
14 Exodo Gitano (Taranta) 03:39
15 Fiesta en Cadiz (Alegrias) 02:38
16 Navidad Andaluza (Villancicos) 03:49
17 Costa del Sol (Malaguena) 03:45
18 Tonadilla (Rumba) 02:59
19 La Palmera (Guajira) 03:22
20 Patios de la Alhambra (Granadinas) 03:25
21 La Grupa de Mi Jaca (Zapateado) 02:35
22 Gitanos Beticos (Siguirya) 04:20
23 Manatial Andaluz (Solea) 03:14
24 Vamos al Prado (Sevillanas) 04:19

Mario Escudero enjoyed success as a concert and recording artist for more than two decades, but poor management and terrible gypsy-styled business decisions prevented him from achieving the recognition he truly deserved. Eclipsed in his fame by boisterous showmen, Carlos Montoya and Manitas de Plata, the sophisticated, technically brilliant playing of Mario Escudero receded from public view. As adults, Mario and l maintained a quiet friendship, and l returned to study flamenco in the evolved style he had developed over the years. I especially wanted to learn his composition Ímpetu, an altogether new take on the traditional flamenco rhythm bulerías. This particular piece had a life-changing effect on the teenaged Paco de Lucía, who learned it from Escudero and went to create a new and revolutionary style of flamenco soon after. One afternoon, completing the piece in our casual lesson, Mario said to me, “Let’s listen.” He held a double LP set, with a plain white cover - l couldn’t help but think of the Beatles “White Album” - and saying nothing more, he played his last recording for me. Nothing like this had ever happened between us - Mario never liked to call attention to himself. As we listened, Mario maintained a wistful smile, now and then pointing and saying, “I’m rushing here.” I didn’t hear it. What l did hear was the culmination of a truly great guitarist’s artistry. --Dennis Koster