A number of fine players emerged in the late 1960s, including Serranito (b. 1942), who has an introspective character, fine articulation and dynamic sensibilities. The guitar still takes a central role in the accompaniment of flamenco singing and dancing, and one of the great figures in this area is the gypsy player Tomatito (b. 1958), whose earthy style and dramatic impetuosity is appealing, the elegant Vicente Amigo (b. 1967), and Paco Peiia, who has built an international career with his flamenco companies. Tradition has continued in the hands of dynasties such as the gypsy Habichuela family, and there are many guitarists working within the traditional framework of older styles who feel that flamenco should be played within a limited structure in order to retain its identity and authenticity.

Manolo sanlucar

One of the major figures in the development of modern flamenco, Manolo Sanlucar (b. 1943), was taught by his father and developed his talent in the bars of Madrid. A tremendous technique and a distinctive touch and tone give his playing both a dynamic, powerful aspect and a gentle side, embodied in melodic sensitivity, harmonic sophistication and lyricism. Early in his career, he concentrated on working with singers, and in 1972 won the Jerez Catedra de Flamencologia guitar prize. One of his most significant contributions to the evolution of flamenco is his use of the guitar within classical instrumental contexts based on structured written compositions.

During the 1960s and 1970s, light strings had been added to recordings by figures including Sabicas (see page 38) and Paco de Lucia (see pages 40-41). Sanlucar pioneered a fully integrated dialog with orchestra when, in his early twenties, he wrote the three-movement work Fantasia Vara Guitarra y Orchestra. This was recorded in 1977 and released with some success. He went on to experiment with jazz and incorporated new ideas that shaped his harmonies and linear playing. Sanlucar recorded an important guitar suite with orchestra on Tauromagia (1988). This features sections that evoke the series of rituals a matador goes through during a bullfight. It shows great invention and classical sophistication, achieved through subtle moods and textures.

The talented young guitarist, Vicente Amigo plays on the recording, and unusual instruments, such as a sitar, augment the orchestra. As homage to bullfighting, the piece relies on traditional flamenco forms, such as a slow buleria, an alegria, and a tango, to convey festive moods and dramatic scenes. Sanlucar has kept a strong traditional Spanish flamenco sound in his playing and composition, and is the major innovator, alongside Paco de Lucia, in contemporary progressive flamenco.