«The biggest challenge was to record with Paco de Lucía’s guitars»

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You just turned 65. David Broza (Haifa, Israel, 1955) sings in Spanish, Hebrew and English and is admired around the world. “I always film everything,” he says. «Now I have filmed the recording of At home Limón. I was lucky to record in Madrid with Javier Limon and, for me, it is a tribute to the Spanish guitar. I would not dare to make an album for the interest of teaching how I play. I have never considered myself a guitarist or soloist, there have been very few times that I have been called from a studio to accompany an artist. I have been my companion, for my needs, and it is true that I play in an original, different way, I have an interpretation ».

What are its sources? Because it is true that sometimes he remembers the flamenco touch.

Everything and nothing (laughs). I’ve heard from jazz to Jackson Browne and Paul Simon and James Taylor; and the Spanish, Paco de Lucía, with whom I have shared a poster, Manzanita, with whom I have worked, and each one inspired me, in one way or another. And I, emulating, copying the styles, searching, Joaquín Rodrigo, the Aranjuez’s concert

Yes, yes, it is that all that is seen in the new album, even Django Reinhardt, can it be?

Django Reinhardt, Stéphane Grappelli… you know? I have played with Al Di Meola many years ago, in the time when I used the grid (capodestra) on the fret. In the world of guitarists there are no laws. You have to touch and take out what your soul asks for in a total way, and for that you have to practice, practice and practice. You have to dedicate your whole life to that instrument, to your voice, to whatever it is so that the moment they ask you or the moment you have decided to go out, and give everything, like a bullfighter, there is no other way , it is your life and it is your soul, there is neither zero nor there are a hundred, there are thousands and thousands, you do not give your one hundred percent, you are entirely what you give. It’s your skin, it’s your bone, it’s your blood, it’s everything. When you stop playing the song and people applaud you, they don’t applaud you because you’ve done very well, they do it because you’ve touched their soul. As Javier Limón said when we entered the studio: «We have to record the sound of the guitar, as you play it, for eternity. To inspire them, to entertain them, he is your muse, you will inspire many people, it is for eternity. This is the studio, what happens on stage stays on stage. And the next day you have to reinvent yourself again. I have not done anything else in my life since the moment I decided to become a musician, which was not before my twenty-second birthday. And this album was the first time that I learned to show myself without being ashamed, in front of the microphone, without singing, and say: “Look, these are my songs and here you have them.”

“People do not applaud because you have done very well, but because you have touched their soul”

You decide to record only with the accompaniment of your guitar.

I had never had the idea for an instrumental album. Although my fans had asked me many times. That’s when the president of S-Curve, the label, which is from BMG, Steve Greenberg, calls me and tells me that he knows me well, because he has recorded two of my albums, and asks me if I have instrumental songs. And I say, “No, why?” And he replied: “Well, I think it’s time, because I am missing an instrumental album by David Broza.” I tried to tell him that the world is not expecting that, that it is not necessary. “No,” he answered, “it is necessary and I have the cache for that.” Well, let me think about it. And it didn’t have a theme. So I sat at home and started composing in the morning.

That, when did you start composing these songs?

I think three years ago. And, after a year – because I’m doing an average of one hundred and fifty concerts a year, I can’t stop playing on five continents: Japan, Australia, the United States … – I had eight special songs for the album, another one that I picked up. that of Townes Van Zandt and another of Complete Parking. In the end, when I called him, he said it was a shame, because he didn’t have the budget anymore, so we waited. Then a year passed, I called Greenberg to see who we were going to produce it with, and another six months went by, until one night my wife said to me: «Why don’t you call Javier Limón? He knows you well, he respects you a lot. I sent him a WhatsApp message, he was just recording in Cuba, and he told me: “Since Paco de Lucía died, I have not been very excited about making an instrumental album.” And, ten minutes later, he adds: «You know? Thinking about your guitar, the way you play, I would love to do it, it is a different world from what I know ». This is how we met in July 2019 and entered the Casa Limón studio. Before I had four months to practice eight hours a day. We set six days to record twelve songs and on the fourth day we had everything. He says to me: “Hey, you have arrived so prepared that I almost only had to set the record of recording.” And, there we are, this is the sound. But the biggest challenge was when Javier asked me to record with the guitars with which Paco de Lucía recorded the last albums in his studio. And I told him: «I don’t know, flamenco guitars are very special, my style is much harder». Well, in the end I did 11 songs with these guitars by Vicente Carrillo, who is a luthier who comes from Cuenca. The only one that I do with my Contreras guitar, from Madrid, with which I have played since I was 12 years old, is “Nili’s Waltz.” Flamencas, in addition to studying to play them, are very delicate in themselves. I’m a rocker, a bit of a beast on stage, but in the studio I had to control my hands as if they were two different bodies, the right hand had to be weak and the left as if it were iron to get this beautiful sound. And Javier Limón did the miracle of recording it for eternity.

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