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ESPASÓN (EH-SPAH-SOHN)

The word ESPASÓN derives from the Spanish words for space and sound - ESPACIO and SONIDO. As an artist trained in architecture and music, space and sound are the mediums of my creative work. They are sources of inspiration, means for expression, and vehicles for communication. They also represent tension and struggle. They compete for time and attention, pulling me in different directions and rarely existing in equilibrium. Ultimately, I welcome the tension. I would not be the musician I am without my experience shaping space. I would not be the architect I am without my experience shaping sound. My mediums are interdependent and forever linked.

The seeds for the music recorded here were planted in 2017, when I relocated from the United States to Spain. Prior to this, I was self-taught as a musician, dedicated and thoroughly obsessed. A love of art has always been part of my DNA, but flamenco did something different. It grabbed me hard and did not let go. Before I knew it, I had become a professional musician. After self-producing my first record, Punto Lejano, in 2014, it was clear that a life of music was ahead of me. But, I needed more. My resources for artistic development were being exhausted. I needed more training. I needed to cultivate stronger artistic relationships and permeate flamenco’s deeper meaning and culture. I understood flamenco was not just a musical or dance style. It was an entire life philosophy, value system, and creative universe unto itself.

After many years of hard work and professional sacrifice, I was awarded a Fulbright performing arts fellowship. It gave me my first opportunity for complete immersion into music, and forever changed the trajectory of my life and career. I moved to Sevilla for instrument training with master guitarists and, most critically, to live among the Andalusian people and the culture of flamenco. This time was special, and only deepened my love of the art form and that part of the world. It fortified my sense of commitment and accelerated my development as an artist.

This project started in earnest near the end of 2021, as the world began to emerge from the COVID pandemic. It builds on existing relationships and forges new collaborations with artists I met in Spain. It is a concept album that unfolds gradually and episodically. It was conceived as a single experience with musical encounters that shift dramatically in character. Certain episodes are firmly rooted within flamenco traditions, and others venture into more experimental territory. All tap into specific parts of my musical sensibilities, while also showcasing the artistry of an international team of musicians. The roots of flamenco guitar lie in accompaniment, which plays a central role in my approach to the instrument. The guitar is front and center at certain moments, but also spends considerable time accompanying others and guiding the search for larger, cinematic ensemble sounds.

PASO DERECHO (TARANTA CON VALS BULERÍAS)

A step taken straight ahead… in the right direction… slowly, deliberately, and with intention.

I have always identified with the dark, pensive character of the Taranta. It opens up gradually, without rushing, providing time to be alone with one’s thoughts, to think about where we’ve been, where we might go, and who we might meet.

A RECORRER (TIENTOS - TANGOS)

To roam, tour, wander, explore… in search of knowledge, skill, and connection… of a new perspective and purpose… across new landscapes, cityscapes, and cultures.

The Tientos is heavy, steady, and stately, the Tangos more spirited, mischievous, and sensual. This interpretation utilizes the structure of a flamenco dance arrangement. The clarinet plays traditional, popular vocal melodies, and the extended improvisational sections occupy the spaces where dance solos normally go.

LA ADMISIÓN (SOLEÁ DE CÁDIZ)

The admission… of a reality… that the reality may be different than what you want or think it should be… and coming to terms with it, being okay with it, gaining wisdom from it, and continuing onward in spite of being worn out by it.

The Soleá is sublime and melancholic, occupying a central point in the art of flamenco. With endless possibilities for variation, nuance, and expression, it is an entire musical universe unto itself.

LETRAS (LYRICS)

Pasitos que he hecho en falso

vuelven al camino hecho,

prefiero lentos los pasos

pero siempre por derecho.

(The false steps that I’ve made

return to the path, fully formed,

I prefer to step slowly

but always straight ahead.)

Libre de tó nadie es libre,

que la libertá es un sueño,

el sueño más imposible.

(Free from everything, nobody is free,

freedom is a dream,

the most impossible dream.)

Siguen los viejos refranes

diciendo mucha verdad,

nunca sin padrino nadie

se ha podido bautizar.

(The old sayings continue

speaking the truth,

without a godfather, nobody

gets baptized.)

Gustarme me gusta poco

este camino que llevo

pero ya no tengo otro.

(It pleases me little

this path that I’m on

but I have no other.)

Este mundo está mal hecho,

con engaños y mentiras

desde los mismos cimientos.

(This world is poorly made

with cheats and lies

made from the same foundations.)

LESIONES (FANDANGOS GRANDES)

Injuries, wounds, pain… caused by love… and understanding what it feels like to be hurt by someone you love and care for.

The Fandango Grande is a staple of flamenco singing, popular among its most dedicated aficionados. They’re blunt, direct, and unambiguous in message.

LETRAS (LYRICS)

Yo a ti te quisiera ver

como ahora me estoy viendo,

paque comprendas, mujé

lo mucho que estoy sufriendo

por culpa de tu queré.

(I would like to see you

as I see myself now,

so you understand

how much I am suffering

as a result of your love.)

Aunque diga que me quiere,

corazón, tú no hagas caso;

que cuando a buscarme viene

besos, caricias, y abrazos

me da porque le conviene.

(Although you say that you love me,

you don’t pay much attention;

because when you come searching,

the kisses, caresses, and embraces

you give them when it’s convenient.)

Poco me importa a mí eso,

que de mí pases de largo;

si aunque me muestres desprecio

tus ojos dicen bien claro

que te mueres por mis besos.

(It is of little importance,

that you pass me at a distance;

although you show me contempt

your eyes say perfectly clearly

that you’re dying for my kisses.)

INVIERNO SIN LUZ

Winter without light… that is, without power… cold, stark, and dark.

The title acknowledges the piece’s moment of musical inception during a brutal winter storm. Each part reflects on different elements of the experience. The four parts of the composition utilize the flamenco style of Bulerías, each with a completely different character, a testament to its musical and emotional versatility.

INVIERNO SIN LUZ: PARTE I, LEVANTAMIENTO (COMPOSICIÓN CON BULERÍAS LENTAS)

A lifting up… getting up… and getting ready to prepare for the storm.

INVIERNO SIN LUZ: PARTE II, CARRERA (BULERÍAS POPULARES)

The race… the race to prepare in time for the storm’s arrival… to gather supplies… to make sure that loved ones are safe.

INVIERNO SIN LUZ: PARTE III, ENFOQUE AZUL (COMPOSICIÓN CON BULERÍAS)

Blue focus… focus on the ice… the arrival and effects of the storm itself… and the celebration of overcoming it.

INVIERNO SIN LUZ: PARTE IV, AGOTAMIENTO (BULERÍAS IMPROVISADAS)

Exhaustion… from the cold… from anxiety… from fear… from news of the neighbors whose luck ran out.

ECO DE INVIERNO (RONDEÑA)

Echo of winter… a short, distant echo of the storm and its effects.

The distinct sonority of the Rondeña is derived by its unusual tuning. Like the Taranta, it is contemplative and reflective… giving us a moment to think about what has happened, to feel the reverberations, and determine how to proceed.

Flamenco Guitar

Gustavo Alonso López

Voice

Edu Hidalgo

Clarinet | Harmonica

Diego Villegas

Percussion

Davide Sampaolo

Trumpet

Brian Chin

Double Bass

Steve Schermer

Lyrics

José Luis Rodríguez Ojeda

Musical Direction | Composition | Arrangements | Production

Gustavo Alonso López

Graphic Design

Gustavo Alonso López

Photography

Gustavo Alonso López | Jeremy Wesley

Recording Engineers

Michael Thomas Connolly (Assisted by Jeremy Wesley & Zach Miller) | Empty Sea Studios,

Ferndale, WA

Eduardo Rebollar | Artes Escénicas Rebollar, Sevilla, Spain

Ron Haight | Common Tone Productions, Seattle, WA

Mixing Engineer

Michael Thomas Connolly | Empty Sea Studios, Ferndale, WA

Mastering Engineer

Rachel Field | Resonant Mastering, Seattle, WA

ACKNOWLEDGEMENTS

I did not do this project alone, nor could I have. I owe an enormous debt of gratitude to many people, those who helped me directly and those who helped me indirectly, those who have helped over the course of many years, and those with whom I’ll cross paths in the future. 

I would like to thank my family - my father Alonso, my mother Kate, my sister MaryAlice, my brother Vonnie and his family, Paula, Madeline, and Miles. I would like to thank my partner Alessandra, for her endless generosity and for giving me the time and space to create. 

I would like to thank all the artists who brought this music alive - Brian, Diego, Edu, Davide, and Steve - for offering me the sounds of their instruments; to Jose Luis for his beautiful poetry; to Michael Connolly and the staff at Empty Sea Studios; to Common Tone Arts and ArtWalla; to my teacher Eduardo Rebollar and the artistic community of Artes Escénicas Rebollar - thank you for welcoming me into your world with open arms and treating me like family; to Mariano Conde and Mariano Conde Hijo - thank you for making my fantastic guitar. 

I would especially like to thank the 115 Kickstarter backers who helped finance this project. Financing an international recording project as an independent artist is no easy task. It continues to surprise me how willing and excited people are to help, if just asked. There is no way this recording would have happened without your support.

Mil gracias a todos,

Gustavo Alonso López

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