A local of Andalucia, Spain, classical guitar virtuoso Juan Martín is a get better at of what Spanish music artists make reference to as nuevo flamenco — that’s, flamenco that’s modern and expansive instead of totally traditional in its approach. Nuevo flamenco isn’t straight-ahead flamenco any longer than jazz-rock fusion can be straight-ahead jazz; rather than getting carbon copies of flamenco’s traditionalists, Spain’s nuevo flamenco performers have attempt to broaden flamenco’s borders. That’s not to state that Martín (whose last name can be pronounced Mar-teen) was not suffering from flamenco’s traditionalists — in fact, straight-ahead flamenco as well as the Spanish traditional guitar tradition have already been ongoing resources of motivation to Martín, whose main affects have got included Paco de Lucía, Tomatito, and the fantastic Andrés Segovia. But Martín’s affects don’t visit either traditional flamenco or Spanish traditional electric guitar. While Martín can be flamenco-oriented, he’s not really a flamenco purist — rather, the broad-minded musician/composer sights flamenco as a thing that can be coupled with anything from jazz to Brazilian samba, Afro-Cuban salsa, and Argentinean tango. Latin America, actually, is a significant source of motivation for Martín — which determination to unite Spanish and Latin American appearance is shown in song game titles like “Cuba con España” (“Cuba and Spain”) and “Bossa Rumba.” Martín’s result (which is basically but not completely instrumental) offers something for Paco de Lucía and Tomatito aficionados, but it addittionally offers something for Joe Move admirers aswell as fans from the past due Brazilian acoustic guitar virtuoso Laurindo Almeida (who was simply among the 1st guitarists to mix samba with awesome jazz and it is among Martín’s non-Spanish affects). Martín started creating a catalog in the ’80s, when he documented several albums for RCA’s Novus label (including Through the Shifting Windows and 1986’s Painter in Audio). Novus was essentially a jazz label in the ’80s and early ’90s, but despite the fact that Martín wasn’t jazz in the rigid sense, he previously enough jazz affects to squeeze in — and besides, Martín offers, over time, crossed pathways with jazz greats which range from tenor and soprano saxophonist Wayne Shorter to Brazilian vocalist Flora Purim and her percussion-playing spouse, Airto Moreira. Martín offered some albums for the Alex label in the first to middle-’90s, as well as the past due ’90s and early 2000s discovered him recording thoroughly for the impartial Flamenco Eyesight label. By early 2005, Martín experienced at least 16 albums in his catalog.