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Flavio Sala and Juan Lorenzo Encuentro (Dunya / Felmay) Flavio Sala, born in Campobasso, and Juan Lorenzo, a flamenco guitarist who has studied in Sevilla, and who has played with such great artists as Andrea Bocelli, Mario Reyes (Gipsy Kings), Al di Meola and Pino Daniele, seek a common ground on which the classical tradition and the flamenco legacy can thrive, experimenting and defining a new guitar language inside of classical Venezuelan themes, Granada flamenco, and jazz-like improvisation. flavio sala - classic guitar juan lorenzo - flamenco guitar dario carbonell - cajon jose salguero - palmas y jaleo

Listen: Alma llanera La cartuja Tierra granaina More info: Flavio Sala, 25 years old, born in Campobasso, after graduating at the musical conservatory he took classes with Maestro Oscar Ghiglia, always obtaining the highest marks. He has received many international awards, and he has been applauded all over the world, on the stages of Italy, Spain, Russia, North and South America. Juan Lorenzo is a flamenco guitarist, who has studied in Sevilla, and who has played with such great artists as Andrea Bocelli, Mario Reyes (Gipsy Kings), Al di Meola and Pino Daniele. In the mid-nineties he has founded the Flamenco Libre ensemble, which aimed at the diffusion and promotion of the flamenco art. He has also written methods, essays and books on the flamenco guitar, and he has taught in the most important european musical institutions. In Encuentro Sala and Lorenzo want to find a common ground on which the classical tradition and the flamenco legacy can thrive, experimenting and defining a new guitar language. Tracks after tracks their interplay grows more and more, making this CD a real work in progress, in which classical pages alternate with some traditional flamenco songs. Things start with a classical Venezuelan theme, arranged for flamenco guitar, and after that we have a Granada flamenco, presented in a classical style, close to that of Albeniz. The alternation between these two genres goes on for the whole record, with some surprises, such as La Cartuja, in which there is a great deal of jazz-like improvisation, or as the tracks in which the cajon of Dario Carbonell strengthens the rhythmic foundations of the music.

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