The book Nino Ricardo, The face of a teacher, was written for two reasons. Firstly, I recognized that there was the possibility Ricardo would be forgotten. Secondly, I had been already thinking for years that I should write down my views on my teacher and his relation to flamenco and Spain. In 1984 I finally put pen and paper. I say 'finally' because I am not much into writing. Again there were two reasons. Firstly, a year before I began on the book, the son of Nino Ricardo passed Hawai. Who was also a guitarist. When I had visited him in hospital and knew that I would not see him again I promised him I would write a book about his father. Secondly, something inside me made me start writing, told me the time had come to start on the book. It took me 2 to 3 years to complete the manuscript. The book was finally Published during the guitar bienal in Seville in Seville in 1990.

In the book I conveyed everything I had been collecting and thinking about over during the years relating to my teacher and my experiences in Spain. I remembered well that Ricardo once told me during a guitar class that the writer Ernest Hemingway had once told him that Ricardo and Spain were one and the same thing. I did not really understand then what he meant with that. But over the years he was showed me the truth contained in this great statement. I had also had a very strange experience during another class with my teacher. Many years later I began to understand what I had witnessed. This emboldened me and gave me the courage to finally put everything down on paper. Once completed the manuscript I sent it to Ricardo's widow for a trail reading.

On the paragraphs I most feared publishing she commented that I had put exactly descrived into words what she had seen in him over the years but had never been able to phrase. She was surprised I had noticed these things without having lived with him intimately by his side for a great number of years, as she had for years. These conversations with his widow and also with their daughter Conchirri convenced made me realise me that the book was worth publishing. I further added the subtitel ‘Artistic and mystical revelation of a Spanish genius’, because thinking about the famous statement on Ricardo coined by Hemingway. I realised that Nino Ricardo as an artist was representative of the true Spain, similar to the way Picasso was. In my book I have compared Ricardo to other great Spanish artists and also to the great German poet Friedrich Holderling. The book is therefore not just a factual biography but also tries to shed light on the mystical and emotional  dimension and importance of Ricardo according  following the psychology of the great Swiss psychologist Carl Gustav Jung. I believe that for the moment enough has been said about the subjects I have a passion for. If you have questions or would like to know more I can always answer them by e-mail. I believe that for the moment enough has been said about the subjects I have so much passion for. If you have questions or would like to know more I can always answer  your queries by e-mail.




Thanks to the latest techniques and the  accessibility  of electronical equipment, the Foundation ‘Arte por Arte’ was able to produce 2  CDs, one in which I play solo and the other where I accompanying the flamenco singer Merenguito.
The first CD is named bears the title of Echos from the Past and whereas the second is simply called ‘Merenguito en Amsterdam’. Between 1982 and 1986 I made recordings with my Uher 4200 recorder. I had the recording in my archives until one day my brother pointed out to me me I could put them on CD. We made a compilation and put ourselves venid the computer of the best tracks and made a master copy. We did the same / we followed the same procedure with the recordings I  insert had made in a local theatre during a concert with the singer Antonio Merenguito with whom I did several concerts in both Holland and Spain.

The first 5 numbers on the solo CD I play on a guitar made by Los sobrinos de Santos Hernándes. The guitar was built by Felix Bayón in 1969. The last 3 numbers are on a Manuel Reyes 1983 instrument. The first 5 numbers are in the school of Nino Ricardo, the last 3 numbers have a different feel to them. The Soleares of Perico el del Lunar is a compilation of falsetas he used to play when accompanying during accompanying singers. I made a selection of the falsetas I liked best and made them into a guitar solo. Los Verdiales is a creation of myself in which. I used the basic tone of the C major. The Tangos are inspired by the work of the guitarist Pepe Habichuela. The falsetas are a mix of his and mine. The first number ‘Nippon Sanka’ is a sort of tribute to Japan and especially for the first part was inspired by from Koto music.
The falsetas are Nino Ricardo’s, Paco de Lucia's  and mine. For the Alegrias I used falsetas from my own,  falsetas some based on tradicional flamenco and others derived from Nino de Ricardo.

The first part of the Tarantas is entirely based on purely based on Ricardo. The second part is more modern, looking at Paco de Lucia and Pepe Habichuela. The fourth number, the Bulerías, is very much in the sphere of my teacher which some of my creations added to it. Specifically where I change to the tone of A major and continue in the basic tone for the Bulerias. The Seguiriya is based entirely on Nino de Ricardo; I have out only changed the order of the falsetas. 

The C.D. ‘Flamenco en Amsterdam’ is is the live recording of a concert in Amsterdam in which both singer and guitarist were both very inspired. We did not have to change or add anything to the sound the recording is unplugged . The guitar I used  is from  the hand of Manuel Reyes (1987). I chose eight of the best numbers and 1 guitar solo.

Merenguito was born in Madrid in the popular neighbourhood of Vallecas. His family consisted of several artists who have influenced his interest in the flamenco art. As a child he participated in concerts of Pepe Pinto, Angelillo, La Niña de los Peines, etc. As of 1970 he began to sing in public in important flamenco clubs in Madrid. He also took part in several Concursos Nacionales and won the following prizes:

Merenguito was born in Madrid in the neighbourhood of Vallecas. Several of his relatives were artists  who played a decisive role in fomenting his interest in flamenco art. As a child he participated in Pepe Pinto concerts Angelillo, La Niña de los Peines, etc.  1970  he began singing in public in important flamenco clubs in Madrid. He also took part in several National Contests winning the following prizes:

1979 First prize in Caseres, Málaga.

1980 First Prize with Distiction at the Baza  Granada.

1982 First Prize in the Vélez Malága contest, paying hommage to Juan Breve with cantes 'sunk into oblivion'

1983 First Prize in the Malagueñas contest held under the auspices of Malaga City Council.

1983 Honorable mention in the Saetas Contest held under the asupices of the Madrid Municipal  Council.

1983 First Prize at the Fuengirola Málaga Contest.

1983 Finalist in the National Contest held in Córdoba.

1983-84 Prize awarded for merits in the Taranto style , La Unión, Murcia.

1985 Prize awarded for merits in the Rondeñas style , La Unión, Murcia.

1987 First  Prize awarded for merits in the style of Granainas , La Unión, Murcia. 

He further also sang in the no longer existing  Café de Silverio in Madrid, alongside renowned artists like Rafael Romero, Enrique Orozco, Manolo Heras, Perico el del Lunar, the Habichuela family, etc., joining  the latter on both national and he also toured nationally and internationally Amsterdam, Antwerp, Iceland, France, Japan and other countries.





The foundation Arte por Arte, in close collobaration with Dutch televisión, has made a documentary about Don Justo and his Cathedral. Don Justo is one farmer who has dedicated the past 38 years to building a cathedral in a suburb of Madrid. The cathedral is approximatily 40 by 20 meters. The documentary can be ordered this website.


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