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Retrospectiva Vol. 1: It's About Damn Time
Basilio Georges

Eleven tracks recorded between 1981-2009. Only three tracks were ever available previously, and 8 have been newly remastered. There are two solo guitar numbers, 4 flamenco group numbers and 5 salsa group numbers. Hear the beginnings of Flamenco Latino in 1981, "We Ain't Doin' Nothin' New," and "Ya Se Va" with Basilio, Aurora, Liliana Morales, Miguel A. Santiago, Jr, our favorite conguero to this day, and the extraordinary flute of Amy Malina. There are cuts recorded in Madrid in 1986 with Fain Sanchez Dueñas, who went on to found Radio Tarifa, and unique music from 3 different shows produced by Thalia Spanish Theatre in 2003, 2005 and 2009. Other artists include Sean Kupisz, Alfonso Cid, Rex Benincasa, Tony Tonks, Lorenzo Azcona, Lisa Crowder, Jed Miley, Octavio Brunetti, and Mark Holen. Early recordings from a couple low-end studios, and others from live performance, the music stands up to time.

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Cante Flamenco en Nueva York
Luis Vargas with Basilio Georges

A compliation is in the works of four cantes recorded live by Vargas at the Cante Festival 1995, held at GuitarStage at the American Institute of Guitar in New York City and six cantes in 2007 at Flamenco Latino Studio Theater, both accompanied by Basilio Georges.

When I met Luis Vargas around 1978, he was one of three Spanish cantaores working in New York. His contemporaries, Paco Ortiz and Domingo Alvarado have passed on, but Luis is still with us. This CD represents recordings from two concerts featuring his cante. Born in Algeciras, his career spans over 60 years. He toured many years with Jose Greco and Maria Benitez. His earlier career is captured in a 1969 video, “Sabicas, King of the Guitar.” It includes segments danced by Maria Alba’s company with Luis singing and Adonis Puertas playing guitar. Flamenco Latino produced classes in cante with Luis at Fazil’s dance studio in the 1990s. His material was presented with simplicity and clarity. His choice of letras gets to the heart of the matter and never lacks wit. Musically, his style is understated, but emotional. His use of “tres por arriba” for nearly all the cantes makes the accompanist work to always be creative. We hope this CD is an excellent document of the scope of his cante. — Basilio Georges

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