21 (2018)

“21” in concert


This is to present one of the many possible stagings of "21", the new and third album by the guitarist Dani de Morón. It has recently deserved to be one of the five nominees for the Latin Grammy Awards 2018 for Best Flamenco Album, the result of which will be announced on 15 November.

After their two acclaimed solo albums - "Cambio de Sentido" and "El Sonido de mi Libertad" - in which the young guitarist showed his personality and musical discourse as a soloist, he now returns with an ontological project, based on the anthological concept of cantes / voice types, in which he has congregated the most important names of the “cante” of this century(El Pele, Miguel Poveda, Duquende, Estrella Morente, Jesús Méndez, Rocío Márquez, Arcángel, Pitingo, Marina Heredia, Antonio Reyes y Esperanza Fernández), opening definitively the frontier of his guitar to a stage in which the technique, the harmony and tunings play as important a role as the traditional “cuerda pelá” style and the ever-present use of the thumb on the bass strings in which he was raised as a child.Thus, maybe unintentionally, Dani has conceived a work that, making due allowance, could find its descent in that first 'Antología del Cante' recorded in 1953 by Perico del Lunar for Ducret Thompson which got the Prize of the French Record Academy. In this case, though, the final result has ended up as the first ontology of the accompaniment guitar in the history of flamenco.

To bring this work to the stage it is only necessary to choose at least two of the eleven “cantaores” who have participated in the project (Duquende, Jesús Méndez, Rocío Márquez, Marina Heredia or Antonio Reyes being the most regular collaborators) and, if desired, add the collaboration of “bailaora” Patricia Guerrero.

We are looking at one of the most important guitarists of the new generation, who, in a moment of full artistic maturity, set himself the challenge to undertake a work so contemporary that, with the passage of time, will certainly become a classic.

This ontology brings with it the light of a loyal and fresh dialogue, a high-level conversation between the singer and the guitarist, who, without neglecting his harmonizing role, shares the leading role as a singer, now full of newly seen angles in the quejío just discovered by the light of his guitar.

Dani de Morón never descends to a more-diffcult-still contest, he just tries to explore the silence with the enchantment of his instrument, more flamenco than ever, always adjusted to the principles that shaped it: that thumb, those legati, those rasgueos and markings ... Morón of the 21st century. Dani is a virtuoso who does not act as such, i. e. he goes directly to the core of the subject; he plays like in a dream, from a sound knowledge basis, because he knows what he is playing, he does it nicely and his sound is unmistakable, which is the key to of it all.


Guitar                  Dani de Morón

Voice                  a mínimum of two “cantaores” to be chosen among the following


        • Jesús Méndez
        • Rocío Márquez,
        • Marina Heredia
        • Antonio Reyes
        • Duquende

Palmas (hand clapping)  Los Mellis

Dance (optional)              Patricia Guerrero

Sound :                Fali Pipió

Management :   Fernando González-Caballos

International Distribution :      A Negro Producciones

Length :               75’ without intermission

Daniel López Vicente was born in Seville on September 6, 1981, although he has always lived in Morón de la Frontera. Morón is a town with a solid tradition of guitar players and flamencos, and he naturally begins to play and accompany in clubs and competitions until the need arises to learn how to play to accompany the dance; he moves then to Seville, where the Matilde Coral Academy becomes his second home. He enters then in a phase in which he will combine the accompaniment to cante with the accompaniment to the dance, while composing and striving towards the concert guitar playing. This ensemble of experiences will open the door to great dance companies, such as the ones of Antonio Canales, Javier Latorre or Manuela Carrasco, among others. However, the definitive accolade reaches him when he is recruited by maestro Paco de Lucía to accompany him as his second guitarist in the tour "Cositas Buenas", an experience that will open a new dimension and catapult him to the front line of the flamenco guitar.

In 2018 he publishes his third and last record, "21", in which he puts his guitar at the service of the singing of eleven of the most important interpreters of 21st century flamenco singing: Miguel Poveda, Estrella Morente, Arcángel, Rocío Márquez, el Pele, Marina Heredia, Antonio Reyes, Jesús Méndez, Pitingo, Esperanza Fernández and Duquende. With this album Dani de Morón definitively brings his guitar to a point in which technique, harmony and refinements are as important as the traditional cuerda pelá (bare guitar string) style, along with the ever-present use of thumb on bass strings that he learned as a child.



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