Beyond Salsa Piano is a history and anthology of the role of the piano in the Cuban rhythm section – from its first appearance to the present. In a broader sense, it’s a study of the tumbao – the art of creating music from layers of repeating rhythmic and melodic phrases. Whether these syncopated figures are called tumbaos, guajeos, montunos, riffs or vamps, this Afro-Cuban concept lies at the heart of nearly every popular music genre from salsa to rock , funk, R&B, hiphop and jazz.

While presented as a set of method books, the series doubles as a history course and record collecting guide for listeners, dancers, and players of instruments other than the piano.

Perhaps the most important goal of the series is to provide a comprehensive understanding of how tumbaos are constructed, their central role in the texture of Latin music of all eras, and the endless possibilities they provide for creative composing and arranging.


Artist:   Carlos Montoya

Style Released Album Tracks Charts
Flamenco 1955 14 0


© 1955 Smithsonian Folkways Recordings. All rights reserved.
Audio album download includes album tracks, liner notes and cover art.
All audio tracks in MP3-VBR format. About LPM album downloads.
# Name Play Time Info
01  Bulerias 2:16 Carlos was famous for these improvised pieces
02  Rondena 4:00 uses the gypsy tone scale
03  Jota 4:08 rough and lusty fireworks
04  Fandanguillo 4:38 popular song from Andalucia
05  Guajiras 3:57 a Cuban style with added flamenco touches
06  Zambra 4:10 Moorish melodies for dancing duels
07  Seguiriya 2:44 the most sacred of flamenco music
08  Saeta 4:01 the story of the Holy Week procession in Sevilla
09  Petenera 3:59 a characteristically tragic flamenco song
10  Tanguillo Rumbeao 3:36 Andalusian gypsy style
11  Cante Minero 5:21 from the mining region of Linares
12  Variaciones por Tango 3:54 and early version of the Tango Flamenco
13  Granada 4:37 no dance rhythm, length of the phrases governed by singer
14  Regiones de Espana 4:21 is a Spanish medley
Carlos Montoya has a legendary name in flamenco: his uncle Ramon was regarded as the foremost flamenco guitarist of his generation. Yet this namesake was a handicap early in the younger Montoya's career, one which he overcame. Performing "real" Andalusian flamenco on solo guitar, some of these gypsy tunes originated in the regions of Aragon and Linares while others reflect Moorish or even Cuban influence; some take on dance forms like the rumba or tango. Montoya performs passionately and persuasively.

Amazing technique, burning guitar riffs, passionate phrases and runs, heartfelt melodies -these are the features of this great solo classical flamenco guitar album. There is also some very interesting percussive interplay between the strings and the guitar body.