JACK

MANNING-—-PAUL

BACON

RIVERSIDE STEREOPHONIC |

‘ Sheer Flamenco: the voice and guitar of

ANITA SHEER

’ | RLP 1116

assisted by TERESITA LaTANA, castanets and dancing (on Side 1, #1 and 4; Side 2, #2 and 6); and Osvaldo Baez, dancing (on Side 2, #2 and 6). New York City; June, 1958.

SIDE 1 Sevillanas Pena, Tengo, Pena Jota Anda Jaleo Tarantas Malaguena

SIDE 2 Lerele El Tran-Tran Asturias -Zambrilla Eres Alta y Delgada Fandangos

Ot ei ea

Oo ore vote

Flamenco is as contradictory as the Andalucian Gyp- sies who are its foremost exponents. So, when one thinks of Flamenco ... one thinks of gypsies. How, then, can one be expected to listen to the interpretations of this gypsy art form when it is performed by a non-Gypsy? Sill, in ANITA SHEER, Riverside has found that most sublime of all contradictions: the non-Gypsy interpretor of Flamenco who is so much the master (or mistress? ) of her material that she is not only accepted by authentic Gypsy performers, but is given their greatest secrets, utilizing them to become the outstanding American in- terpretor of this vital gypsy lore.

For many years, Carlos Montoya, the master gypsy guitarist of them all, refused to teach Flamenco guitar to the numerous Americans who beseeched him to pass on to them his great talent. Montoya maintained that no non-gypsy could ever learn his art-form. Nevertheless, he consented to allow Miss Sheer to study with him, realizing in her the very contradiction of his thesis, for here was a gifted American with an amazing predilec-

tion for the music of his people. So impressed was he with her talent and interpretive genius, that he later turned over to her the task of notating for publication his own compositions and arrangements of gypsy guitar music.

Nor has this acceptance by gypsy artists been an iso- lated case. Wishing to supplement her guitar virtuosity with the vocal art of Flamenco, she approached the re- nowned Nino Pavon for instruction. Pavon was astounded that an America should want to learn Flamenco singing, but accepted the challenge. Today, Anita Sheer is one of the proudest examples of his singing and instructional

_ talents. Miss Sheer also acquired from Pavon a large repertory of Flamenco songs, to which she has continu- ally added by learning from other Spanish gypsy per- formers, both in this country and in Spain, who saw in her the same genius noted by Montoya and Pavon. Miss Sheer has since appeared in concert with her great teacher, Montoya—no small honor—and in addition has performed frequently on radio, television and concerts in New York, London and Madrid, and has ‘toured the United States in a highly successful series of night club performances. d :

About the Music — Sevillanas: The most popular song and dance form of the

proud and romantic city of Seville, its origins dating back into the 16th century. During her many fiestas, Seville echoes to the gay and vivacious (but never noisy ) ring of her most genuine art form and greatest contri- bution to Flamenco: the Sevillanas. This is one of the selections on which the talent of Teresita LaTana (plus the hand-clapping and audible enthusiasm of friends who were spectators at the recording session) add an addi- tional dynamic quality.

Pena, Tengo, Pena; This is performed in the very old Tientos rhythm, first established as a popular song style by El Marruro and Manuel Torres. In recent years, its greatest exponent has been the world-famous La Nina de los Peines.

Jota: Second in popularity only to the Fandango among the folk-dance and song forms of Spain, the Jofa orig- inated in the Aragon region. The song concerns angels in heaven, appropriately enough, “guitarricas” instead of the conventional harps.

Anda Jaleo: A folk melody set to a Bulerias rhythm, which originated in the Jerez area of Andalucia, this song is typical of the gypsy treatment of Flamenco dance, which is characterized by extremely fast and in- tricate improvised variations of a melodic theme. Again, Teresita LaTana offers vibrant assistance.

Tarantas: Born in the rugged mining regions of the Levante, the Tarantas are ihe ancient tragic laments ex- pressing the sorrows and hard life of the laborers who first created them. An outstanding example of the Hondo, or “deep” song. Presented here in instrumental form.

Malaguena: From the ancient and romantic city of Malaga, this song combines both Latin and Arab in- fluences. Its tale of love and rejection is a universal one (similar, for example, to the American folk-blues, Care- less Love), but its deeply emotional lines communicate a sorrow found only in the burning “heart-songs” of the people of Malaga.

Lerele: Here, as in so much of Spanish music, a Moorish strain predominates, producing a fascinating mixture of contradictory and complementary Eastern, European and gypsy elements.

El Tran-Tran: A Farruca dance rhythm in 4/4 time, this is a song without real words, its effectiveness stem- ming from its extreme vitality and an overwhelming impression of rhythm and force. Farruca is the first dance that gypsy children learn, for it embodies the technique of all other Flamenco dances. The dancing of Miss LaTana and Osvaldo Baez adds greatly to the powerful impact.

Asturias: Typical of many songs found throughout

A HIGH FIDELITY STEREOPHONIC Recording — River- side-Reeves SPECTROSONIC High Fidelity Engineering. Produced by ORRIN KEEPNEWS. Notes by KENNETH S. GOLDSTEIN. Cover photograph: JACK MANNING. Cover designed by PAUL BACON. Engineer: JACK HIGGINS (Reeves Sound Studios).

RIVERSIDE RECORDS are released by

BILL GRAUER PRODUCTIONS, Inc.

553 West 5lst Street New York 19, N. Y.

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CHANNEL A. CHANNEL 8B

RIVERSIDE STEREOPHONIC

Stereophonic discs permit the re-creation of full |; dimensional sound. Riverside stereo recording is designed to achieve a true spacial effect through proper microphone placement. Avoiding the so- called “ping pong” effect (an extreme left-right division by which sound is heard through the two speakers only, with a silent “hole” between them), our aim is to retain the natural sounds as you would hear them originally. This recording method, plus the finest of re-recording techniques, enables us to provide you with a truly three dimensional experience in sound, in which a “phantom” speaker seems to exist between your two actual speakers, providing a continuous arc of sound. The equipment used in recording Riverside Stereo includes: Multi-channel Ampex tape recording ma- chines; Telefunken and Western microphones. The 45/45 system is used in re-recording Riverside Stereo. For proper sound reproduction and longer life, a stereo cartridge should be used.

Spain which extoll the virtues of the local region or community—in this case, Asturia.

Zambrilla: A second instrumental solo, and a _ par- ticularly effective showcase for Miss Sheer’s talents as guitarist. For the Zambrilla involves numerous complex counter-rhythms, being a more complicated form of

the Zambra, a couple dance of the Andalucian Moors which is one of the’ most beautiful of all Spanish dances.

Eres Alia y Delgada: In sharp contrast to the fiery exoticism of the love songs of southern Spain, this’ love song from Montana, in the north, embodies the re- straint so typical of the Castillian people. .

Fandangos: A fitting climax to the record, Fandangos is probably the most popular of all Spanish folk forms. It has a very ancient history, tracing back to the popu- lar songs of the Moors, and in various provinces it has taken on varied and distinct special characteristics. Here, Miss Sheer (again working jointly with the two dancers) demonstrates that most typical of gypsy traits, a sudden transition from sadness to joy, as she shifts swiftly from the characteristically slow Fandango to the spirited Fan- dangos de Huelva.

(The notes on the selections prepared from data pro- vided by Anita Sheer.)

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LONG PLAYIN

ZIVERSIDE

STEREOPHONIC

Sheer Flamenco!

ANITA SHEER

RLP SIDE 1116 1

1. SEVILLANAS (2:31) * 2. PENA TENGO PENA (3:39) Pee eect: 3) 4. ANDA JALEG (Bulerias) (2:29)* 3. TARANTAS (3:57)

uli)

. MALAGUENA = (2:25)

Sheer, vocal and guitar (#5 is an instrumental solo); * with Teresita La Tana, dancing and

castanets (on #1 and #4 only).

(RLP 12-1116 A)

BILL GRAUER PRODUCTIONS NEW YORK CITY

| |

LONG PLAYING

RIVERSIDE STEREOPHONIC

Sheer Flamenco!

ANITA SHEER

RLP SIDE 1116 2

1. LERELE (2:15) 2. TRAN TRAN (Farruca) (3:30) * 3. ASTURIAS (2:50) 4. ZAMBRILLA (2:22) 5. ERES ALTA Y DELGABA (2:50) 6. FANDANGOS (3:30) *

Anita Sheer, vocal and guitar (#4 is an instrumental solo); * with Teresita La Tana, dancing and castanets;

and Oswaldo Baez, dancing (on #2 and #6 only).

(RLP 12-1116 B)

BILL GRAUER PRODUCTIONS NEW YORK CITY

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