Career
Pepe was a virtuoso exponent of 'Flamenco Lírico', a style of playing which emphasises the melodic as well as rhythmic elements of flamenco. His musical style reflected his warm personality. His playing, even more than many other flamenco guitarists of the time, was strongly influenced by that of his mentor, Ramón Montoya.
Pepe initially excelled in accompanying the cante and baile before developing a solo concert career. As an accompanist he played with such artists as Pepe Marchena, Niña de los Peines, Pepe Pinto, Juanito Valderrama, Niña de la Puebla, Niña de Antequera, Pepe Aznalcollar, Pepe Guillena, Niño de la Huerta amongst others.
Pepe was cited by Carlos Montoya, in the New York Guitar Review, as being one of the very finest flamenco guitarists of his generation along with Manolo de Huelva, Sabicas, Mario Escudero and Niño Ricardo.
Pepe Martínez made many recordings throughout his career, in Spain, France and the UK, on Columbia, Belter, Discophone, HMV, Odeon, Hispavox, Decca, Odean, Guilde Internationale du Disque and Discophon.
The BBC made a documentary about his life called My Friend Pepe Martinez which was part of a series of programs about the spirit of Spain. Pepe also featured, along with Andres Segovia, in a French television film titled Sortileges du Flamenco.
During his career, Martínez played guitars by Archangel Fernandez, Marcelo Barbero and Manuel Reyes. It was Pepe Martínez who introduced the young Manuel Reyes to the workshop of Marcelo Barbero.
His pupil, Prof. Malcolm Weller, of the Spanish Guitar Centre, owns his Barbero guitar.
Read more about this topic: Pepe Martinez
Famous quotes containing the word career:
“The problem, thus, is not whether or not women are to combine marriage and motherhood with work or career but how they are to do soconcomitantly in a two-role continuous pattern or sequentially in a pattern involving job or career discontinuities.”
—Jessie Bernard (20th century)
“Whether lawyer, politician or executive, the American who knows whats good for his career seeks an institutional rather than an individual identity. He becomes the man from NBC or IBM. The institutional imprint furnishes him with pension, meaning, proofs of existence. A man without a company name is a man without a country.”
—Lewis H. Lapham (b. 1935)
“A black boxers career is the perfect metaphor for the career of a black male. Every day is like being in the gym, sparring with impersonal opponents as one faces the rudeness and hostility that a black male must confront in the United States, where he is the object of both fear and fascination.”
—Ishmael Reed (b. 1938)