Internation Guitar Night II
ECHOES REVIEW by John Diliberto
"Miguel de la Bastide is from a post Paco De Lucia generation of flamenco musicians, playing death-defying runs, counterpoints and rhythms on his nylon string guitar." "... exchanging dagger licks on tunes like "Torrecillo del Leal" with Bastide and Carroll..."
Internation Guitar Festival
SUNDAY MAIL by Leo Forde
28th September, 2008
"Miguel de la Bastide's flawless flamenco technique." "Bastide's flamenco playing that had the audience of guitar fans shifting to get a better look."
Internation Guitar Night
THE LEMON TREE
"Miguel de la Bastide, a superb flamenco player originally from the West Indies..."
DE LA BASTIDE
has undergone many incarnations since it originated some 200 years
ago. Originally, if you didn't have a singer or, secondarily, a
dancer, you really didn't have flamenco. Then around the middle of
the last century, guitar gradually started coming to the fore, and
became less of an accompanying instrument. These days the guitar
is the star, and players like Paco de Lucia are practically household
Here in Toronto, we
are very fortunate to have an authentic flamenco guitar master of our
own, Miguel de la Bastide. "Siento",
his second CD, is a gratifying collection of eight original songs,
designed to appeal to both the aficionado and the mainstream
listener. The tracks alternate between traditional style, acoustic
flamenco, with guitar, palmas (hand claps) and percussion, and
more accessible "coffee bar" flamenco with electric
bass, saxophone and even African percussion instruments, which lend
depth and exotic appeal to the songs on which they appear. But it
all works, because the unifying thread is Mr. de la Bastide's impeccable
technique and clear, crisp style. Whether you're a fan of dazzling
million-note-a-minute runs, or the slow groove, you'll find it here.
With this disc,
Miguel de la Bastide proves himself both a solid composer and a skilled
guitar player. If we're lucky, he'll stick around and continue to
enrich Toronto's musical landscape with his brand of authentic flamenco.
de la Bastide, first flamenco guitarist on staff at the RCM (Royal
Conservatory of Music),
also provides the flamenco component of this fall series. One of
the leading North American flamenco guitarists, de la Bastide hails not
from Spain but from Trinidad, although he's made Canada his home since
he was 18. Like many flamenco artists of late, he's on the
fusion path. Thankfully, he has steered clear of the overcooked,
under-seasoned mushy new-age stylings that curse many a flowing-tressed
guitarist. In fact, his thrilling runs and sparkling melodies are
often used in TV commercials in Spain—where they know from flamenco."
DE LA BASTIDE - Siento
New York, USA
art of flamenco guitar playing originated in Spain, Trinidad-born,
Toronto-based guitarist Miguel de la Bastide has further refined the
fabled guitar sound on his second solo album Siento.
A superb mix of the spirit and influence of flamenco giants like Paco de
Lucia and Vicente Amigo and the flavors of Latin World Beat sounds, the
CD also features several players on percussion, sax and bass in addition
to the authentic flamenco footwork of his partner Carmen
Romero. There's also a enhanced CD-ROM track for PC
and MAC. The follow up to his '98 solo debut, El
Cambio, 2003's Siento
establishes Miguel de la Bastide in the top echelon of today's finest
recording flamenco guitarists."
DE LA BASTIDE: Siento
September 10th, 2003
we are dealing with someone who not only plays well, but one who
understands the guitar and understands performance. Siento
is certainly not a letdown. Quite the opposite.
This is an album of
beautiful music, elegantly performed and passionately understood by a
There is more to
playing than just technique and this is something that de la Bastide
understands fully well and delivers powerfully.
The approach is
fresh, the sound is different from the traditional flamenco guitarist
and the pieces are truly inspired. Definitely something you'll
want in your CD library.
A nice bonus is that
the CD is enhanced, including a video for El
Cambio, from his previous album, samples from other tracks
and a photo album. If
you're looking for a great guitar album, this is one I wholeheartedly
de la Bastide's second album is easily as gutsy as his first, while
musically more refined... Excellent
playing and tasteful composition throughout."
DE LA BASTIDE "Siento" 2003
August 23rd, 2003
renaissance of acoustic music over the last decade has extended to all
genres - classical, folk, and of course, the ubiquitous "New
Age" category, made popular by Windham Hill artists in the
1980's. But American listeners have also begun to hear stringed
poetry from lands across the Atlantic. Some of the attempts at
"Nuevo Flamenco" have tickled the ears, but failed
deliver real flamenco duende. Echoing the power of Paco de Lucia,
and the lyricism of Vicente Amigo, Trinidadian Miguel de la Bastide has
delivered a marvelous offering of flamenco puro mixed with some
Latin-inspired world beats in his latest release
"Siento". The very first track, a bulerías called
"Tentación", draws you in with its percussive rhythm.
De la Bastide recorded most of the eight tracks with some excellent help
on percussion, while dancer Carmen Romero - his partner in the Compañia
Carmen Romero - provides captivating footwork on
"Andaluza". But de la Bastide crosses outside the skirts
of traditional accompaniment with soprano and tenor sax on two cuts,
lending a jazz feel. The CD ends with the solo "El
Santo Día", a passionate, fiery conclusion showcasing his
fluency and virtuosity in flamenco. Miguel de la Bastide has got
some duende! For anyone interested in excellence in modern
flamenco guitar, this CD is a good place to start."
by Mari Katsigianis
July 24th, 2003
Buzz-stress can tell you from beginning to end - it is absolutely
amazing! Siento is full of Ritmo,
Duende, and Sabor. A treat for the ears and heart.
Engineered with the very latest sound technology, SIENTO
has all the makings of a best-selling CD for flamenco with both
traditional and cutting-edge fusion. Miguel is not merely a
musical artist... he is a visionary! ENJOY!"
by June Heywood
November 16th, 2002
de la Bastide is indeed an imaginative, fertile
creator whose work has an exception poetic quality."
MIGUEL DE LA
April 1st, 2002
had just returned from a week in Jerez at the Flamenco Festival and I
have to say this Montreal show was BETTER than 4 of the 5 presentations
at the Teatro Villamarta!"
ladies Miguel De La Bastide, Canada's Premier Flamenco Guitarist dazzled
with his brilliant finger-work, flawless compas, and perfectly executed
communication. To listen to this genius is to take a virtual trip
The Straits Time, Life!
February 24th, 2001
Miguel de la Bastide's guitar music must be
romantic and sensuous sound on Earth.
Poster for the concert
SHARES FLAMENCO'S HERITAGE
by Robert Reid
Record Staff, February 10th 2001
Guelph, On., Canada
celebration of music, song and dance featured the acclaimed
Toronto-based ensemble under the musical direction of renowned guitarist
and composer Miguel de la Bastide and artistic director of Carmen
Romero, acknowledged as one of North America's greatest flamenco choreographers
COMMENTS TO PRESENTER
was the best show the River Run Centre has ever seen!"
forgot where I was, I thought I was on Broadway, it was so
That's all I can say. Wow!"
was by far the best show I have ever seen in my life...and I've seen a
lot of shows."
PLAYING WITH FIRE
New Age Voice Magazine, December 2000
Atlanta, GA., USA
De La Bastide's compelling music is a masterful,
evocative blend of both past and present, incorporating both traditional
and newer instrumentation. Similar to Paco de Lucia's Sextet, de
la Bastide and his compatriots expertly traverse through different
worlds, exploring, rediscovering and creating remarkable music in their
Amazon.com (On-line), 2000
de la Bastide's speedy six-string fingerwork on the edited "El
Cambio" (accompanied by flute) flows with a subtle jazz
INK 19 (On-line), 2000
de la Bastide's "El Cambio
(edit)" had a beautiful polish, and flute, bass, and percussion
accompaniment that reminded me of progressive jazz.
CD Now (On-line), April 19th 2000
de la Bastide's six-string playing is so jaw-dropping on "Candela,"
it's clear he performs miracles every time he plucks his guitar.
The Globe and Mail, August 21st 1999
"...Miguel de la
Bastide's evocative score..."
/ HIT LIST
volume 10, #2 issue 80
San Rafael, California, USA
Miguel de la Bastide, a native of Trinidad now living in Toronto, has
been featured on half a dozen collections on the Narada label. El
Cambio, his first solo album, fulfills the promise of those
earlier recordings, balancing traditional flamenco forms with
contemporary sounds. "Arrimate," an alegrías, and the
title piece, a bulerías, particularly stand out, offering
well-developed, melodic arrangements. Ably supported by bass,
percussion, flute, and voice, de la Bastide has created an accessible
and interesting blend of fresh ideas.
/ NEW RELEASES
AND EVENTS, July
New Mexico, USA
Miguel de la
Bastide's release "El Cambio"
is a refreshing change from what many are buying and few are now calling
flamenco. After the financial success of the Noveau Flamenco
genre, there has been an onslaught of flamenco guitar-wielding
opportunists, ready to make a quick buck serenading tourists.
Unfortunately, a lot of their releases are billed as
"flamenco" and are packaged attractively. De la Bastide
shows us he is made of better stuff than that.
Miguel de la Bastide
plays flamenco. Born in San Fernando, Trinidad, and residing in
Toronto, De La Bastide's twenty-three years of flamenco study have
culminated into this first solo release. The CD release by this
humble guitarist is full of respect and knowledge of the art-form.
Opening with the title-track Bulerías, the listener is pleasantly surprised
by the quality of the recording, done by La Bastide Productions.
His guitar is pleasantly balanced, with a satisfying low-end. The
Bulería is lively, has its own aire, and includes interesting interplay
between the guitar and David Slater's able flute. De La Bastide's
guitar style is reminiscent of the modern, "post-Paco"
This release includes
two numbers which will be familiar to those who have heard Narada
Records "Flamenco: Fire and Grace" - Morir Soñando
(Bulerías) and Viajeros (Tangos). However,
both those numbers have been re-recorded and improved markedly.
Both temas fall into comfortable tempos and are played more confidently
Highlights include an
Alegrías (Arrimate) with a beautifully extended silencio,
and the two Bulerías. You can particularly hear his experience
accompanying the baile in the Alegrías. This comes from his
undoubtedly countless hours accompanying dancer Carmen
Romero, his partner.
The CD ends with a
hidden track. Perhaps I should not expose a hidden track, but I
think it is indicative of the time, respect, and hard work that Miguel
de la Bastide has obviously given to flamenco. Tucked in after
his Soleá por Bulerías, Alma Libre, is a soleá where he
is accompanying el cante. It appears to be a recording done on
more primitive equipment, but that makes no difference. His
accompaniment is strong and generous to his cantaor. Although his
entire CD is rich in musicality and melodic prowess, here is where he
proves himself. For as every flamenco guitarist knows,
accompanying the cante is where we often see what separates the
flamencos from the rest of the pack. A job well done.
OF FLAMENCO DE AYER Y HOY
"The instrumental offering by Miguel and the
musicians, Calle Torrecillo Del Leal (Rumba) presented a
tight control and perfect proportion of guitar, bass, and rhythm and
showcased Miguel's extensive talents as both musical director and fine
Flamenco guitarist. His music is dynamic, energetic, ambitious, and
"Miguel's intricate falsetas kept the band tight, embellishing every
nuance that Carmen threw their way. It was very intimate, very intense,
"Ms. Romero and Mr. de la Bastide
received standing ovations from an audience that knows its flamenco.
Their praise is not heaped lightly on anyone..."
January 11th, 1999
question, Miguel de la Bastide has his fingers on the pulse of flamenco.
Having shared CD compilations with Paco de Lucia, Al Di Meola, Tomatito
and Rafael Riqueni, this flamenco guitarist extraordinaire steps into
the spot light with his solo album. There's more to flamenco music than
what we get from the overrated purveyors of this exciting music genre,
and here Bastide passionately gives us a true sample with what is
described as masterful blends of Afro-Latin, Middle Eastern and
Arabic elements... All published tracks are instrumental, but Bastide
has cleverly added a hidden track titled Solearés, also a
Bastide original, featuring exceptional improv vocalizing by Alfonso
Mogaburo Cid. The title track will be released as a video with imagery
supplied by Carmen Romero, whose movements are being touted as being as
exciting as Bastide's guitar work. Anyone of these tracks could serve as
a wake-up call to early morning radio listeners. Certainly, in-store
play will create a buzz through the store... Take your pick, there isn't
a weak track..."
EYE ON THE
Arts Council of Buffalo and Erie County,
May 2nd, 1998
"A word must be
said about this ensemble. First they brought the house down with an
audience responding to them with a standing ovation, cheers and screams.
The Calumet was an interesting setting for this show. It's intimate
feel, low lights and close stage added to the impact of the performance.
The ensemble multicultural in its make up, consisted of two
percussionist, Mario Melo and Debashis Sinha, flautist David Slater,
bassist Rudy Bolanos and guitarist extraordinaire Miguel de la Bastide.
Their set opened with the deep smoky rumble of Nigerian Udu drums, which
look remarkably like larger ceramic jug. Messers Sinha and de la Bastide
are dynamite players who took the crowd to new rhythmic heights using a
broad array of exotic percussive instruments.
FLAIR HIGHLIGHTS CONCERT FINALE
sound of Miguel de la Bastide's solo guitar bridged the opening and the
grand entrance of Carmen Romero."