Being the son of the Spanish Singer Martirio Raul grew up inside the musical counterculture of Seville of the ‘70s and ‘80s. He started as a blues and rock drummer and electric guitar player. In order to understand the nature of popular music he studied History and Cultural Anthropology. In 1995 he founded his first band where he introduced the Cuban Tres into Flamenco and designed a new instrument: the TRES FLAMENCO.
In 2003 Raul formed the band Son de La Frontera in a homage to Diego del Gastor. He produced both albums of the band for Nuevos Medios: Son de la Frontera, (2004) and Cal (2006). The band gained international reputation, receiving several awards including BBC Radio World Music Awards as Best European Album 2008 and a Grammy nomination as Best Flamenco Album in 2007.
He has played live and recorded with a host of Spanish and international stars: Kiko Veneno, Martirio, Susana Rinaldi, Miguel Poveda, Enrique Morente, Compay Segundo, Chavala Vargas, Jackson Browne, Jorge Drexler, Marta Valdés, Luz Casal, Mayte Martín, Trilok Gurtu, John Cale among others.
RAZON DE SON 2014
“Razón de Son” is a new creative project that investigates the intercultural origin of early flamenco music. The project uses an anthropological background as well as musical experimentation.
Razón de Son aims to expand our musical storyline by tracing the deeply mestizo Cuban Spanish culture back to the cultural crossover that occurred in the Afro-Caribbean colonies and the Andalusian ports of Seville and Cádiz between the XVI and XIX centuries.
In order to offer a new performance style, with new tunes and reinterpretations of the ancient Afro-Hispanic dances, Raúl Rodriguez introduces a new instrument that he has called the TRES FLAMENCO, combining son and toque, which opens the possibilities of finding new ways towards a new language: SON FLAMENCO.
“Razón de Son” also applies the latest historical and musical studies on the multiple sources that influenced flamenco music. This idea has been developed by several authors over the last few years such as Faustino Núñez, Jose Luis Ortiz-Nuevo, J. L. Navarro García, and Santiago Auserón, offering some of the most interesting perspectives around the basic fundamentals of flamenco culture. This new perspective not only shows new origins of Flamenco´s most deeply rooted traditions but also highlights the importance of the contribution of black music from the Andalusian ports of the XVI to XVIII centuries to flamenco music. Detailed studies show that African dances already existed in Andalusia in the Golden Age and had a decisive influence on the development of many of the modern Flamenco dances, thus opening up a path to follow in order to continue to discover new tools of expression, new sones for the future.
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