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One of the players is playing a Gerundino Father but the video is quite poor quality. Taking a look at his facebook page seems like many pros are trying his guitars. I don't like the commercial rosettes and I never tried one of these guitars, so I cannot judge, but imho the guy is likely to have good chances to make his way.
I've been fortunate enough to own a Gerundino Fernandez flamenco guitar at one time, so I can personally say what a joy it is to own and play one of his guitars. It took a while for me to save up for such an expense/investment, so there being a Gerundino Fernandez Hijo guitar as an alternative, may allow more to enjoy what a Gerundino Fernandez might be, even though it's an Hijo.
I love the sound Paco Pena gets from his Gerundinos. To me it defines what a flamenco guitar should sound like.
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Ah well, there was a fantastic passion there, in my case anyway. I discovered flamenco very early on. It grips you in a way that you can't get away - Paco Pena
I love the sound Paco Pena gets from his Gerundinos. To me it defines what a flamenco guitar should sound like.
Absolutely. My flamenco guru and good friend Paco de Malaga gave me a nice discount on a Gerundino he bought directly from Gerundino Fernandez himself, along with a photograph of Paco and Gerundino in Gerundino's workshop. It is a magnificent instrument with that unparalleled flamenco sound. That's another reason Paco Pena is my favorite flamenco guitarist running the circuit, along with his more traditional approach to flamenco.
Bill
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And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East."
When I want to introduce someone to flamenco guitar I usually start with Peña's CD of pieces by Niño Ricardo and Ramon Montoya. It is well recorded, his Gerundino sounds beautiful, it is generally accessible to people accustomed to other styles of music, and it contains music of genuine substance.
If they seem interested enough, I might then progress to Sabicas, Manolo Sanlucar and Paco.
I never try them on cante, unless I have reason to believe they are particularly open minded. In that case I might try them on La Niña de los Peines, or Mairena with Melchor de Marchena, on some of the cuts where they hit it off well and Mairena sings in tune. Once in a while he really nails it. For me, Melchor is one of the all-time great accompanists.
I haven´t done it yet, but I think I might try Rocío Marquez and Dani de Moron some time.
I recently sold to friend a '98 Gerundino and still have a nice cedar topped Gerundino guitar from '82 (not for sale). My 98 Gerundino was very good, but kind of boldly made and less mellowing and raspy sounding than the older one (if this means something). Obviously I have a great consideration of him as a maker.
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