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Childhood and Teachers. The first thing I want to do on my journey is to thank my parents for countless reasons. Starting from a very young age, I was fortunate to grow up in a home filled with a wide variety of music: rock, heavy metal, pop, classical… and, of course, flamenco.
Being from Jerez, it was almost inevitable that flamenco would resonate throughout my life. This point, which I often reflect on with gratitude, has shaped who I am today.
Instead, I have allowed myself to be enriched by the wide array of styles I have encountered. I hope that God grants me more time to continue exploring and embracing diverse musical cultures because I am convinced that, among other benefits, musical diversity has been a key factor in strengthening my personality.
A pivotal moment in my childhood was the first time I consciously heard a guitar played live. I must have been around 10 or 11 years old, and it was one of the most profound experiences of my life. To this day, I vividly recall the overwhelming emotion I felt. It happened at a social club near my home, a place where I often spent time playing with other children and my family. That was where I had the extraordinary experience of hearing a guitar live for the first time.
Being from Jerez, it was almost inevitable that flamenco would resonate throughout my life. This point, which I often reflect on with gratitude, has shaped who I am today.
Instead, I have allowed myself to be enriched by the wide array of styles I have encountered. I hope that God grants me more time to continue exploring and embracing diverse musical cultures because I am convinced that, among other benefits, musical diversity has been a key factor in strengthening my personality.
A pivotal moment in my childhood was the first time I consciously heard a guitar played live. I must have been around 10 or 11 years old, and it was one of the most profound experiences of my life. To this day, I vividly recall the overwhelming emotion I felt. It happened at a social club near my home, a place where I often spent time playing with other children and my family. That was where I had the extraordinary experience of hearing a guitar live for the first time.
My father had a guitar stored at my grandmother's house, tucked away in a closet alongside a CCC course (a company that sold lessons through cassette tapes and books). That guitar was my first real introduction to the instrument. (Imagine the quality—it was barely playable.) Soon after, I started asking where I could learn because I quickly realized that learning on my own wouldn’t be possible.
And so began my journey of learning to play the guitar at one of the best schools imaginable, under the guidance of my teachers Don José Luis Balao and Manuel Lozano “El Carbonero”. I still remember the schedule: I attended classes on Mondays, Wednesdays, and Fridays. On those days, even during school hours, I felt a special happiness knowing I was about to learn something new, something that held immense value for me.
I can still recall the material I learned during that time.
Back then, there was no technology like we have today to record and review lessons, so I relied heavily on my memory. Every note I mastered felt like a treasure, and I even learned to tune the guitar by ear using a tuning fork.
During those formative years at the academy, I absorbed the entire methodology taught by Rafael del Águila, a teacher whose legacy influenced maestros such as Balao, Carbonero, Moraito, Periquín, Gerardo Núñez, and many others. I learned to identify the different styles within flamenco, and my passion for the art grew steadily with each passing day.
That childhood stage with the guitar was magical and transformative. It wasn’t just about learning to play—it was also about sharing moments with other students in the waiting room, where we all learned so much from one another.
My father had a guitar stored at my grandmother's house, tucked away in a closet alongside a CCC course (a company that sold lessons through cassette tapes and books). That guitar was my first real introduction to the instrument. (Imagine the quality—it was barely playable.) Soon after, I started asking where I could learn because I quickly realized that learning on my own wouldn’t be possible.
And so began my journey of learning to play the guitar at one of the best schools imaginable, under the guidance of my teachers Don José Luis Balao and Manuel Lozano “El Carbonero”. I still remember the schedule: I attended classes on Mondays, Wednesdays, and Fridays. On those days, even during school hours, I felt a special happiness knowing I was about to learn something new, something that held immense value for me.
I can still recall the material I learned during that time.
Back then, there was no technology like we have today to record and review lessons, so I relied heavily on my memory. Every note I mastered felt like a treasure, and I even learned to tune the guitar by ear using a tuning fork.
During those formative years at the academy, I absorbed the entire methodology taught by Rafael del Águila, a teacher whose legacy influenced maestros such as Balao, Carbonero, Moraito, Periquín, Gerardo Núñez, and many others. I learned to identify the different styles within flamenco, and my passion for the art grew steadily with each passing day.
That childhood stage with the guitar was magical and transformative. It wasn’t just about learning to play—it was also about sharing moments with other students in the waiting room, where we all learned so much from one another.
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Alongside my discovery of the guitar, I experienced a deeper connection to the flamenco world of my homeland. My father and his family, who had been in the wholesale fruit trade since my great-grandfather, were well-known in Jerez, particularly in La Plazuela, one of the two most important and flamenco-rich neighborhoods in the city.
From a very young age, I attended family gatherings where flamenco was always present in its purest form. We would fall asleep on chairs while aficionados and professionals sang at these events. Artists such as Luis de la Pica, Tío Ramón, La Chati, La Paqui, or the dancer Pepe Año would often join the celebrations. I could name many more artists who left their mark.
I recall one of these gatherings when an older Gypsy man, well-known in Jerez’s fishing community, José Flores, approached us children and said:
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It was during this time that I began to immerse myself in the most authentic flamenco scene of Jerez. Looking back, I feel privileged to have lived those moments with artists, personalities, and individuals who embodied the true essence of flamenco. They were, and always will be, my teachers because they live on in my heart.
I loved it when my father would take me to the Barrio de Santiago, to Calle de la Sangre, on Holy Wednesdays. We would eat chickpeas with cod at the Rincón del Arte, the restaurant of the maestro guitarist Juan Parrilla, brother of one of Jerez’s most iconic guitarists, Manuel Fernández “Parrilla de Jerez.”
For me, all of this was pure magic. Listening to them speak was like a dream; I was in love with that world. Afterward, we would go to the bar in La Corredera, where I would hear the saetas of Curro de la Morena, Tío Ramón el Coco, Enrique el Zambo, and other local artists, surrounded by the flamenco, Gypsy, and deeply Jerezano atmosphere.
My father would also take me to the cultural association Los Juncales, which, to me, was a temple of flamenco, of compás, and of bulería. I held it in the highest respect. I would sit quietly in a chair and observe everything — absolutely everything.
At Los Juncales, I watched the elders clap their hands. I memorized the patterns visually and would practice them softly during the festivities, ensuring no sound escaped. Of course, when I got home, I would always practice the patterns more fervently. I remember it vividly, particularly the muted hand claps. I believe it was there that I first became conscious of what it meant to feel the rhythm—the “soniquete.” I must have been around 12 or 13 years old. That was my first deep connection with the Barrio de Santiago, one of Jerez’s two iconic flamenco neighborhoods.
Walking through the neighborhood with my father as he introduced me to legends like Al Bo (the greatest hand-clapper of all time), Diego Carrasco, Pepe la Joaquina, Luis de la Pica (whom I will speak more about later), La Sordera, Los Zambos, Periquín Niño Jero (another pillar of the toque de Jerez), and Gregorio, the son of Tío Borrico, was an unforgettable privilege.
These people and artists were, and still are, figures of immense stature to me. Each of them knew I was passionate about the guitar, as my father had told them all. They would share stories about flamenco and offer me advice.
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Alongside my discovery of the guitar, I experienced a deeper connection to the flamenco world of my homeland. My father and his family, who had been in the wholesale fruit trade since my great-grandfather, were well-known in Jerez, particularly in La Plazuela, one of the two most important and flamenco-rich neighborhoods in the city.
From a very young age, I attended family gatherings where flamenco was always present in its purest form. We would fall asleep on chairs while aficionados and professionals sang at these events. Artists such as Luis de la Pica, Tío Ramón, La Chati, La Paqui, or the dancer Pepe Año would often join the celebrations. I could name many more artists who left their mark.
Recuerdo una de esas fiestas en las que se acercó un gitano mayor muy conocido en el mundo del pescado en Jerez, José Flores, y nos dijo a los niños:
It was during this time that I began to immerse myself in the most authentic flamenco scene of Jerez. Looking back, I feel privileged to have lived those moments with artists, personalities, and individuals who embodied the true essence of flamenco. They were, and always will be, my teachers because they live on in my heart.
I loved it when my father would take me to the Barrio de Santiago, to Calle de la Sangre, on Holy Wednesdays. We would eat chickpeas with cod at the Rincón del Arte, the restaurant of the maestro guitarist Juan Parrilla, brother of one of Jerez’s most iconic guitarists, Manuel Fernández “Parrilla de Jerez.”
For me, all of this was pure magic. Listening to them speak was like a dream; I was in love with that world. Afterward, we would go to the bar in La Corredera, where I would hear the saetas of Curro de la Morena, Tío Ramón el Coco, Enrique el Zambo, and other local artists, surrounded by the flamenco, Gypsy, and deeply Jerezano atmosphere.
My father would also take me to the cultural association Los Juncales, which, to me, was a temple of flamenco, of compás, and of bulería. I held it in the highest respect. I would sit quietly in a chair and observe everything — absolutely everything.
At Los Juncales, I watched the elders clap their hands. I memorized the patterns visually and would practice them softly during the festivities, ensuring no sound escaped. Of course, when I got home, I would always practice the patterns more fervently. I remember it vividly, particularly the muted hand claps. I believe it was there that I first became conscious of what it meant to feel the rhythm—the “soniquete.” I must have been around 12 or 13 years old. That was my first deep connection with the Barrio de Santiago, one of Jerez’s two iconic flamenco neighborhoods.
Walking through the neighborhood with my father as he introduced me to legends like Al Bo (the greatest hand-clapper of all time), Diego Carrasco, Pepe la Joaquina, Luis de la Pica (whom I will speak more about later), La Sordera, Los Zambos, Periquín Niño Jero (another pillar of the toque de Jerez), and Gregorio, the son of Tío Borrico, was an unforgettable privilege.
These people and artists were, and still are, figures of immense stature to me. Each of them knew I was passionate about the guitar, as my father had told them all. They would share stories about flamenco and offer me advice.
At this time, something profoundly important happened in my life: the discovery of Moraito’s guitar. It was another transformative moment for me, as impactful as hearing the instrument for the first time. The only word that can define what I felt at that moment is LOVE. No other musician has ever made me feel that way. It was love, because even now, I feel the same.
I would watch VHS tapes of Moraito, rewinding and fast-forwarding them repeatedly, imagining that I was him. I spent countless hours watching videos of Moraito accompanying singers and playing solo until I knew them by heart.
I clearly remember the first time I met him in person. I was about 14 or 15 years old, at the communion of the son of the footballer and dancer Diego de la Margara. My father brought me over to greet him, and when they told him I loved the guitar, he gave me advice.
I remember taking his hand, looking at it, and feeling its texture. I was overcome with emotion—I flew! As I write this now, tears come to my eyes, and I feel deeply moved. THIS IS MY FLAMENCO HEART.
If even one thing had been different, I wouldn’t be here writing this. “God exists,” and He wanted and still wants me to live all of this in such a magical and unique way.
Recuerdo que le cogí la mano, la miré y sentí su tacto. Volé de emoción! Escribo esto ahora, y las lágrimas me vienen a los ojos, me emociono. ESE ES MI CORAZÓN FLAMENCO.
Si solo una cosa no hubiera estado en su lugar, yo no estaría aquí escribiendo esto. “Dios existe”, y Él quiso y quiere que viviera todo esto de una manera tan mágica y única.
At this time, something profoundly important happened in my life: the discovery of Moraito’s guitar. It was another transformative moment for me, as impactful as hearing the instrument for the first time. The only word that can define what I felt at that moment is LOVE. No other musician has ever made me feel that way. It was love, because even now, I feel the same.
I would watch VHS tapes of Moraito, rewinding and fast-forwarding them repeatedly, imagining that I was him. I spent countless hours watching videos of Moraito accompanying singers and playing solo until I knew them by heart.
I clearly remember the first time I met him in person. I was about 14 or 15 years old, at the communion of the son of the footballer and dancer Diego de la Margara. My father brought me over to greet him, and when they told him I loved the guitar, he gave me advice.
I remember taking his hand, looking at it, and feeling its texture. I was overcome with emotion—I flew! As I write this now, tears come to my eyes, and I feel deeply moved. THIS IS MY FLAMENCO HEART.
If even one thing had been different, I wouldn’t be here writing this. “God exists,” and He wanted and still wants me to live all of this in such a magical and unique way.
At the same time, I continued studying guitar with the teachers I have mentioned earlier. However, I must highlight another mentor who greatly influenced my learning, especially my understanding of cante (flamenco singing) — Domingo Rosado.
Domingo was an aficionado of flamenco at an extraordinary level. He worked as a carpenter and, in the workshop beneath his house, he had a room filled with hundreds or even thousands of cassettes, videos, and recordings he had made himself. He would attend every peña with his camera, capturing everything. It was incredible.
Domingo taught us so much, particularly about cante and accompaniment, and he did so selflessly. He was the one who started taking us to flamenco peñas throughout the province of Cádiz, and that’s when we began earning recognition in those circles.
One of the flamenco peñas that left the greatest mark on my life was the PEÑA FLAMENCA DE BARBATE, led by its president Isidoro and its members, who often welcomed me. I am deeply grateful to them for their support and encouragement.
At the same time, I continued studying guitar with the teachers I have mentioned earlier. However, I must highlight another mentor who greatly influenced my learning, especially my understanding of cante (flamenco singing) — Domingo Rosado.
Domingo was an aficionado of flamenco at an extraordinary level. He worked as a carpenter and, in the workshop beneath his house, he had a room filled with hundreds or even thousands of cassettes, videos, and recordings he had made himself. He would attend every peña with his camera, capturing everything. It was incredible.
Domingo taught us so much, particularly about cante and accompaniment, and he did so selflessly. He was the one who started taking us to flamenco peñas throughout the province of Cádiz, and that’s when we began earning recognition in those circles.
One of the flamenco peñas that left the greatest mark on my life was the PEÑA FLAMENCA DE BARBATE, led by its president Isidoro and its members, who often welcomed me. I am deeply grateful to them for their support and encouragement.
At around the age of 14 or 15, I had the privilege of hearing and sharing many moments with the maestro Diego del Morao, one of the great figures of the toque de Jerez. We were the same age (born in 1978) and shared a mutual connection through my cousin Kiko, who was a close friend of his. Thanks to Kiko, I was able to listen to Diego at a young age and become friends with him.
I vividly remember the realization I had when I heard him play — I understood that what I was listening to was something new, a completely fresh way of playing.
He held the art in great reverence.
From then on, we often met to play together. Diego taught me many things that I continue to practice to this day. He showed me how to distinguish the styles of his great-uncle Manuel Morao and his grandfather Juan Morao, comparing them to modern techniques. Diego has always kept those traditional patterns and methods alive, adapting them into his own unique style.
At around the age of 14 or 15, I had the privilege of hearing and sharing many moments with the maestro Diego del Morao, one of the great figures of the toque de Jerez. We were the same age (born in 1978) and shared a mutual connection through my cousin Kiko, who was a close friend of his. Thanks to Kiko, I was able to listen to Diego at a young age and become friends with him.
I vividly remember the realization I had when I heard him play—I understood that what I was listening to was something new, a completely fresh way of playing.
He held the art in great reverence.
From then on, we often met to play together. Diego taught me many things that I continue to practice to this day. He showed me how to distinguish the styles of his great-uncle Manuel Morao and his grandfather Juan Morao, comparing them to modern techniques. Diego has always kept those traditional patterns and methods alive, adapting them into his own unique style.
Introduction to the Stage.
During these formative years of my adolescence, I continued my guitar studies at the academy with my teachers, delving deeper into various styles. I also recall being part of a group of students who were invited to perform at flamenco peñas. The first time I played was at the Peña de la Bulería, located on Calle Mariñíguez. The following year, I performed at the cultural center Don Antonio Chacón.
At the time, I continued studying with José Luis Balao, who expanded my understanding of the instrument, its harmonies with other musical genres, and taught me how to read sheet music.
I also accompanied Domingo Rosado to various flamenco peñas across the province of Cádiz, performing alongside the singers I mentioned earlier. This experience was crucial for me, as it gave me direct exposure to the stage and the audience, helping me learn how to carry myself in this artistic space. Over time, we gained more supporters who followed and encouraged us.
Another key figure during that period was the presenter and actor Pepe Marín, who directed the program “A Compás” on Onda Jerez. I appeared on his show many times.
Introduction to the Stage. During these formative years of my adolescence, I continued my guitar studies at the academy with my teachers, delving deeper into various styles. I also recall being part of a group of students who were invited to perform at flamenco peñas. The first time I played was at the Peña de la Bulería, located on Calle Mariñíguez. The following year, I performed at the cultural center Don Antonio Chacón.
At the time, I continued studying with José Luis Balao, who expanded my understanding of the instrument, its harmonies with other musical genres, and taught me how to read sheet music.
I also accompanied Domingo Rosado to various flamenco peñas across the province of Cádiz, performing alongside the singers I mentioned earlier. This experience was crucial for me, as it gave me direct exposure to the stage and the audience, helping me learn how to carry myself in this artistic space. Over time, we gained more supporters who followed and encouraged us.
Another key figure during that period was the presenter and actor Pepe Marín, who directed the program “A Compás” on Onda Jerez. I appeared on his show many times.
Back then, Onda Jerez was at its peak, and being part of that environment was invaluable.
Back then, Onda Jerez was at its peak, and being part of that environment was invaluable.
Something very important happened here for me, because I started to be the “player” of Capullo de Jerez. For me, it was unimaginable—he was one of my top three favorite artists, alongside Luis de la Pica and Juan Moneo “El Torta”. It all started when Capullo saw me playing at a neighborhood festival in El Pelirón, a district of Jerez, and he liked what he heard.
To me, he has been, is, and always will be a maestro. I spent several years by his side; we took a break and later reunited for another two years. Altogether, I was fortunate to share many years with him, traveling across Spain and southern France, performing in festivals, venues, theaters, nightclubs, and even weddings.
At 18 years old, I discovered something within me — a desire to share and teach what I had learned up to that point.
In the basement of my parents’ house, I began teaching a few students. Over time, more students joined during that first year.
By the following year, more students were coming to the school, and my parents began to tire of constantly opening and closing the door. They also wanted more privacy at home, so I decided to look for my first rental space to set up the academy.
During that period, I balanced teaching at the academy with performing alongside Capullo de Jerez and other local artists across Spain and even abroad. By the time I was 20, I was already in high demand as a tocaor for the singers of Jerez, constantly traveling to flamenco gatherings and festivals.
This was a crucial moment in my artistic and personal life, as I believe both are deeply interconnected and influence one another. I still remember being in Rota when I received a call on my mobile phone. It was one of the first calls I got from Paco Cepero, a legend to me, a giant of flamenco. He told me that in two weeks, we would perform at the Teatro Villamarta — which would also be my first time playing at the theater in Jerez.
And I replied: “Okay!” Ha-ha-ha, but it was madness—a whole album to learn, and there I was in my swimsuit at the beach. So, I went back to Jerez, to the basement of my parents’ house, and spent two full days studying the album. Then I went to his house, and we began rehearsing.
From there, I toured again, performing at all the most important festivals and theaters in Spain and internationally. It was also the first time I performed in America — I crossed the Atlantic with the maestro. There were countless events, rehearsals, conversations, and advice. He cared for me as if I were his son, and I respected and loved him as if he were my father. It was a very special relationship. I owe him so much. Without him, I wouldn’t be who I am today, either in music or in life.
The Desire to Share. At 18 years old, I discovered something within me—a desire to share and teach what I had learned up to that point.
In the basement of my parents’ house, I began teaching a few students. Over time, more students joined during that first year.
By the following year, more students were coming to the school, and my parents began to tire of constantly opening and closing the door. They also wanted more privacy at home, so I decided to look for my first rental space to set up the academy.
During that period, I balanced teaching at the academy with performing alongside Capullo de Jerez and other local artists across Spain and even abroad. By the time I was 20, I was already in high demand as a tocaor for the singers of Jerez, constantly traveling to flamenco gatherings and festivals.
This was a crucial moment in my artistic and personal life, as I believe both are deeply interconnected and influence one another. I still remember being in Rota when I received a call on my mobile phone. It was one of the first calls I got from Paco Cepero, a legend to me, a giant of flamenco. He told me that in two weeks, we would perform at the Teatro Villamarta — which would also be my first time playing at the theater in Jerez.
And I replied: “Okay!” Ha-ha-ha, but it was madness—a whole album to learn, and there I was in my swimsuit at the beach. So, I went back to Jerez, to the basement of my parents’ house, and spent two full days studying the album. Then I went to his house, and we began rehearsing.
From there, I toured again, performing at all the most important festivals and theaters in Spain and internationally. It was also the first time I performed in America — I crossed the Atlantic with the maestro. There were countless events, rehearsals, conversations, and advice. He cared for me as if I were his son, and I respected and loved him as if he were my father. It was a very special relationship. I owe him so much. Without him, I wouldn’t be who I am today, either in music or in life.
Creative Growth.
During this decade, I continued my work as a tocaor and teacher, moving into a second, more visible location, where a positive change in artistic development began to emerge. During this time, I spent about two years performing for the cantaorLuis “El Zambo”, whose voice I had admired since childhood. It was incredibly special for me to accompany such a unique voice in peñas, theaters, and festivals. Over the years, I had the honor of accompanying many flamenco singers, including one of my favorites, Juan Moneo “El Torta.” I performed with him at several festivals, and those experiences remain unforgettable. In general, I accompanied most of the singers from Jerez — almost all of them, I believe.
Another significant highlight of my artistic life was my connection with the legendary artist Rocío Jurado and her family. I had the privilege of sharing moments with them at birthdays, romerías, and even in their home celebrating New Year’s Eve.
As I mentioned before, my artistic life evolved in parallel with the academy. However, I began to realize that both were incompatible.
Ultimately, I found greater fulfillment in sharing what I had learned and building a school with a more focused and dedicated approach.
Creative Growth. During this decade, I continued my work as a tocaor and teacher, moving into a second, more visible location, where a positive change in artistic development began to emerge. During this time, I spent about two years performing for the cantaor Luis “El Zambo”, whose voice I had admired since childhood. It was incredibly special for me to accompany such a unique voice in peñas, theaters, and festivals. Over the years, I had the honor of accompanying many flamenco singers, including one of my favorites, Juan Moneo “El Torta.” I performed with him at several festivals, and those experiences remain unforgettable. In general, I accompanied most of the singers from Jerez—almost all of them, I believe.Another significant highlight of my artistic life was my connection with the legendary artist Rocío Jurado and her family. I had the privilege of sharing moments with them at birthdays, romerías, and even in their home celebrating New Year’s Eve.
As I mentioned before, my artistic life evolved in parallel with the academy. However, I began to realize that both were incompatible.
Ultimately, I found greater fulfillment in sharing what I had learned and building a school with a more focused and dedicated approach.
Academy of Flamenco Guitar.
At the age of 35 or 36, a pivotal change occurred in my life: I left the artistic world and devoted myself fully to teaching. I opened a new school with a concept I had never practiced or seen before, born out of a need to create something unique. I wanted a system that encompassed all branches of flamenco guitar: accompaniment for dance, harmony, modern techniques, compás, accompaniment for singing, and the identification of styles.
While my personal experience was primarily in accompaniment for cante, I realized I lacked the same level of expertise in other areas. This led me to seek out specialized teachers for each discipline to establish a flamenco guitar school offering comprehensive instruction across its various facets.
Fernando Carrasco, a maestro of contemporary flamenco guitar, was one of the first to join. We connected instantly; I admired his music and his interpretation. Coming from a great flamenco family —his father is Fernando de la Morena — Fernando and I have walked this path together since 2014, learning and adapting to the times.
Manuel Cantarote, a compás maestro, was another foundational member of the team. Working with Manuel has always been effortless, like working with family. We’ve collaborated since our youth, long before the school’s creation.
Pedro Niño de la Fragua, who teaches the “Identification of Flamenco Styles” course, joined later, but including him was one of the best decisions. This subject is essential for students, as understanding cante is critical. Pedro brings both the life experience of his family and his university credentials as a professor, making him the perfect fit for this role.
Juan Diego Mateos joined the team, bringing a unique spiritual perspective to the toque de Jerez with his playing and teaching.
Diego Pozo “El Ratón”, from the famous group Los Delinqüentes, and Andrés Olaegui, are our harmony teachers. Both have been with us for years and make incredible contributions to the students’ education.
Domingo Rubichi teaches dance accompaniment with his Gitano style, opening his heart and immersing students in the essence of Jerez.
Of course, my eldest son, Joselito, leads the school’s in-person operations in Jerez. He’s on the front lines, playing beautifully and possessing a special gift for teaching—a sentiment echoed not only by me but by everyone around him.
Adri Castro, another integral part of the team, teaches the Gym Guitar course, focusing on practice exercises. A former student of the school, Adri is now taking his first professional steps as a guitarist and doing an excellent job.
A New Chapter: The Pandemic
During the pandemic, a student named Josua from Chicago, who works in IT, asked me: “Would you like me to create an online platform for the school?” I said yes, and that moment changed the school—and my life. We began creating online courses, recording videos, and embarking on an entirely new adventure. Looking back now, I see how much the platform has evolved, and we continue to refine and improve it. I’m deeply grateful to Josua for giving me the opportunity to share our school with the world and bring my dream to life.
During the same period, I started a group with my dear friend, guitarist Nofar Yatskan, who studied with us and continues to do so. Together, we’ve performed in several countries, and, with God’s help, our first album will be released soon. Our group is called “Halevai”, and I am very excited about this project.
Over the years, the school has grown significantly. We are proud of what we’ve accomplished and are eager to continue expanding. For example, we’re currently focusing on marketing strategies and introducing new changes. Change has always been a part of our school; we are never static. Moving forward is one of our defining characteristics.
The greatest gift God has given me is my two sons, whom I love deeply. My eldest, Joselito, works at the school, and I’m incredibly proud of him for the special way he teaches and shares his knowledge. My youngest, Luis, is already playing very well and making his debut at zambombas. Two more tocaores — long live flamenco!
With Valeriia, our creative director, we are modernizing the school and taking our teaching to a new level. Thanks to her innovative vision, our school has evolved to offer a learning experience adapted to modern times while always preserving its essence and tradition.
We are committed to the online format without neglecting our in-person school in Jerez. Both modalities go hand in hand, as we broadcast live almost every day from the school to our platform, which now features a modern and efficient system.
Currently, we are entering a new stage with a stronger focus on marketing and making strategic changes. Evolution is part of our identity—we never remain static. Advancing and constantly improving is what defines us.
A core value of our school is offering the toque de Jerez as our flagship, preserving, defending, and exploring this legacy.
Academy of Flamenco Guitar. At the age of 35 or 36, a pivotal change occurred in my life: I left the artistic world and devoted myself fully to teaching. I opened a new school with a concept I had never practiced or seen before, born out of a need to create something unique. I wanted a system that encompassed all branches of flamenco guitar: accompaniment for dance, harmony, modern techniques, compás, accompaniment for singing, and the identification of styles.
While my personal experience was primarily in accompaniment for cante, I realized I lacked the same level of expertise in other areas. This led me to seek out specialized teachers for each discipline to establish a flamenco guitar school offering comprehensive instruction across its various facets.
Fernando Carrasco, a maestro of contemporary flamenco guitar, was one of the first to join. We connected instantly; I admired his music and his interpretation. Coming from a great flamenco family—his father is Fernando de la Morena — Fernando and I have walked this path together since 2014, learning and adapting to the times.
Manuel Cantarote, a compás maestro, was another foundational member of the team. Working with Manuel has always been effortless, like working with family. We’ve collaborated since our youth, long before the school’s creation.
Pedro Niño de la Fragua, who teaches the “Identification of Flamenco Styles” course, joined later, but including him was one of the best decisions. This subject is essential for students, as understanding cante is critical. Pedro brings both the life experience of his family and his university credentials as a professor, making him the perfect fit for this role.
Juan Diego Mateos joined the team, bringing a unique spiritual perspective to the toque de Jerez with his playing and teaching.
Diego Pozo “El Ratón”, from the famous group Los Delinqüentes, and Andrés Olaegui, are our harmony teachers. Both have been with us for years and make incredible contributions to the students’ education.
Domingo Rubichi teaches dance accompaniment with his Gitano style, opening his heart and immersing students in the essence of Jerez.
Of course, my eldest son, Joselito, leads the school’s in-person operations in Jerez. He’s on the front lines, playing beautifully and possessing a special gift for teaching—a sentiment echoed not only by me but by everyone around him.
Adri Castro, another integral part of the team, teaches the Gym Guitar course, focusing on practice exercises. A former student of the school, Adri is now taking his first professional steps as a guitarist and doing an excellent job.
A New Chapter: The Pandemic
During the pandemic, a student named Josua from Chicago, who works in IT, asked me: “Would you like me to create an online platform for the school?” I said yes, and that moment changed the school—and my life. We began creating online courses, recording videos, and embarking on an entirely new adventure. Looking back now, I see how much the platform has evolved, and we continue to refine and improve it. I’m deeply grateful to Josua for giving me the opportunity to share our school with the world and bring my dream to life.
During the same period, I started a group with my dear friend, guitarist Nofar Yatskan, who studied with us and continues to do so. Together, we’ve performed in several countries, and, with God’s help, our first album will be released soon. Our group is called “Halevai”, and I am very excited about this project.
Over the years, the school has grown significantly. We are proud of what we’ve accomplished and are eager to continue expanding. For example, we’re currently focusing on marketing strategies and introducing new changes. Change has always been a part of our school; we are never static. Moving forward is one of our defining characteristics.
The greatest gift God has given me is my two sons, whom I love deeply. My eldest, Joselito, works at the school, and I’m incredibly proud of him for the special way he teaches and shares his knowledge. My youngest, Luis, is already playing very well and making his debut at zambombas. Two more tocaores—long live flamenco!
With Valeriia, our creative director, we are modernizing the school and taking our teaching to a new level. Thanks to her innovative vision, our school has evolved to offer a learning experience adapted to modern times while always preserving its essence and tradition.
We are committed to the online format without neglecting our in-person school in Jerez. Both modalities go hand in hand, as we broadcast live almost every day from the school to our platform, which now features a modern and efficient system.
Currently, we are entering a new stage with a stronger focus on marketing and making strategic changes. Evolution is part of our identity—we never remain static. Advancing and constantly improving is what defines us.
A core value of our school is offering the toque de Jerez as our flagship, preserving, defending, and exploring this legacy.
