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David Serva Jones
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estebanana
Posts: 9351
Joined: Oct. 16 2009
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 RE: David Serva Jones (in reply to Mark2)
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The Mr. Jones song was about a bar on Broadway in San Francisco called the Intetnational. It’s just down the hill from the San Francisco Art Institute.
The dancer is La Fibi, Phoebe Vernier who still performs. She’s a friend of mine. After a show that David played in a whole bunch of people went to the international. David’s son Martin Jones and the singer from Counting Crows were in a band together, they weren’t famous yet. David was playing and Phoebe was dancing por fiesta, the singer of counting crows ( I even forgot his name) and Martin couldn’t figure out if Phoebe was flirting with them, and that’s how the song was written. Martin told me the story in 2008 when we worked together as carpenters.
David and Phoebe re met at a flamenco show a she was in, only about four or five weeks ago, before David died. He said Phoebe you haven’t changed at all, still beautiful.
Martin said he left the band, he was the bass player, because the band moved to LA and the music business in
LA was to him all phoney and no fun.
David is family to me, in that way that flamenco form bonds, and then even some more after that.
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https://www.stephenfaulkguitars.com
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Date Oct. 29 2022 20:06:34
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estebanana
Posts: 9351
Joined: Oct. 16 2009
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RE: David Serva Jones (in reply to Mark2)
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Fall 2000 David’s wife Clara Chinoy ( Clara Mora professionally as a dancer) received a Fulbright to study Gitano women's Genealogy, David wasn’t working because he was recovering from a broken wrist due to a bike accident. We were in Sevilla at the time as Clara was using the city as a base of studies to venture out to other cities to interview women. I met Ines Bacan on one of her trips I joined.
It left David and I a lot of time to hang out and for two months he told me the story of the history of flamenco as he knew it. One night we were sitting at the Carbonaria and David was noodling around with the D# thing, or the E flat thing, that’s he called it “the E flat thing”. Carlos Heredia walked by and lolled his eyes at a David, and asked him for the guitar. Carlos gave David a lesson on the spot by playing the latest moves that guitarists were doing with the D# thing. David was interested and Carlos only stayed a minute as he was off to play in the other room.
David was handed back the guitar and he tentatively worked over the falseta Carlos had just played. Then he said “Huh, I showed this to the kids in Lavapies in Madrid 20 years ago. Now they all play it.”
He told me he came up with it in the late 70’s and played around with it in front of young guitarists at Candela in Madrid and around town. With David there was something, he was a Gitano magnet. Gitano kids walked up to him in the street and says hello. I’d say do you know that kid? He’d say nope, but he just wanted to say hello, so hello.
David was amused that the generation after him took up the D# thing, but never once did I see him try to say to anyone playing it that he played a long time back. He didn’t try to tell Carlos he was doing it way back, and Carlos most likely copped it from Paco off a record. Paco probably got wind if it in Madrid when the younger guitarists were passing it around.
And this was also the time Carlos said he had to stop listening to Paco because it led him to copy too closely and Carlos wanted to develop his own voice. Ah…. Carlos had two albums full of solo music he never recorded. What a great guitarist also.
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https://www.stephenfaulkguitars.com
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Date Oct. 29 2022 22:08:34
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Ricardo
Posts: 14801
Joined: Dec. 14 2004
From: Washington DC
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RE: David Serva Jones (in reply to estebanana)
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quote:
Carlos most likely copped it from Paco off a record. Paco probably got wind if it in Madrid when the younger guitarists were passing it around.
In This case no way, Paco never used it before Luzia, and even that he forced himself to transpose the thing he played in the Saura movie (i want to say Sauron lol), from D up a half step and added a single falseta in the new key that uses the open E strings.
So while i totally believe your David story, and it makes sense, I believe the first to use it on TV was Niño Miguel for a rumba 1980 and didn’t record it, but the Caño Roto guys were likely using it already up until the FIRST OFFICIAL recording of the thing by Tomatito (Alexandria, also Rumba, 1987) and at the same time Nuñez (Tangos/Rumba). It was Vicente who took it into Solea Buleria and Granaina relm, and more later. Viejin recorded a Fandango using it and probably had been using it before Tomatito even, but there is no evidence. End of the day, it is a very important thing he introduced and IMO the best use of it was Jucal by Nuñez, a true master piece.
It expanded the circle of 5th for traditional guitarist by one position, and i think that is very significant historically. It must be viewed as D# and never as Eb, other wise the opens strings used are Fb and Cb. Although the open F double sharp string gets used. 
Thanks for the stories, keep em coming.
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CD's and transcriptions available here:
www.ricardomarlow.com
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Date Oct. 29 2022 22:50:45
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