Interview with Richard Marlow Flamenco Guitarist
On behalf of Flamenco-Teacher.com, Errol Putigna was able to
catch up with Richard Marlow in Sanlúcar de Barrameda, Spain, during the
Gerardo Núñez master class in July of 2007.
Flamenco Teacher (FT): It’s great to be with you here
today in Sanlúcar. Thank you for allowing us this opportunity.
Richard Marlow (RM): No problem. It’s my pleasure.
FT: Tell us a little bit about how you got started
RM: My father was a classical guitarist when he was
alive, as was my mother. That’s how they met. They were both students of
Sophocles Papas in the Washington D.C. area.
FT: He was the Greek guy, right?
RM: Yes. I’m from Washington D.C. My dad also did a
master class with Andrés Segovia in Santiago de Compostela, Spain, in 1965.
FT: I guess your dad was a very serious classical
RM: Oh yes. He was a professional classical
guitarist. My mother loved playing, but was more practical about the household
income… she made the sacrifice and gave up playing professionally after they
got married. She got a regular job for more steady income. My father was
teaching music and playing until he passed away. I grew up listening to
Spanish guitar, basically classical guitar. I had a ukulele as a young child,
but that was really boring. I really didn’t show any interest in the guitar
until I was about 11 or 12 years old. It was then when I was watching MTV that
I saw a music video, Eddie Van Halen was playing, I was hooked!
I had made a cardboard cutout guitar and I would practice
playing like Eddie. Later, I read somewhere that Tomatito also had a cardboard
guitar in his youth. One day, in middle school, I saw another kid playing
guitar (starts to play, “Crazy Train” by Randy Rhodes) and I was like,
"That’s cool". There were all these girls around him. So I went
home that day and I started playing on one of my dad’s guitars (playing,
“Wasted Years” by Iron Maiden). I think it was around that Christmas that
my parents bought me my first electric guitar.
FT: How was that? You know, your dad being a
classical guitarist/musician. Usually, I do mean “usually”… let’s say the
stereotype of a classical musician is more of a conservative, uptight kind of
person… Was he totally cool with you and the rock/metal music? Did he accept
RM: Yeah, he actually liked a lot of different kinds
of music. He wasn’t like a “nerdy, classical snob".
FT: He was a very open minded guy.
RM: Definitely. His first thing was also playing
rock guitar. He got into classical later.
FT: Did your dad ever really sit down and teach you?
RM: Not really. I pretty much taught myself.
FT: What about reading music?
RM: Initially, my mom gave me a quick lesson on the
basics. I would buy rock magazines and they would come with sheet music of
different songs and I started to associate the TABS with the notes. That’s how
I really started to read music. I would also write my own songs and write them
out with musical notations. I took a music theory class in high school. The
class was actually for seniors (12th grade high school). I really
wanted to take it. I had to asked for permission, as I was an underclassman.
I was eventually allowed to take it.
FT: Were you in the 9th or 10th
RM: Yes, 9th grade. They were very reluctant in
allowing me to take the course. I later got an “A” in the class. I was always
very into that (music theory).
At the end of high school, my father died (Aug. 1997).
I was still playing rock guitar and writing cheesy pop songs. Before then, I
would listen to lots of stuff and I would ask my dad if he new any of it. He
would say, “Yeah, that’s a Bach Prelude” and I would be like, “What are you
talking about?”. He would prove it by finding the same piece in his record
I did have one teacher. It was at a summer camp at the
Shenandoah Conservatory. That guy was such a cool dude. He was a former
student of my father's. There were a large variety of guitarists with
different styles and different backgrounds. He would ask us to bring in
different music that we could share with the class. A lot of kids brought in
country, rock….. there was this one kid that was into classical guitar. That
was kind of weird at that time….. I think he was German or something.
FT: What year was this, more or less?
RM: It was probably around 1989 or 1990……. Our
teacher brought the record by John McLaughlin, Al Di Meola and Paco De Lucia.
It was the, “Passion, Grace and Fire” album. I was like, “Oh my God, that’s
amazing! “. So I went home and that was it. I was really into all three of
those guitarists. I was buying all of their records. I couldn’t find any from
Paco de Lucia, so I asked my dad if he new of this guitarist. He said,
"Yes, but the best flamenco guitarist was Sabicas". He had a record
of Carmen Amaya with Sabicas called, “Queen of the Gypsies”. It was totally
badass! So I made a tape of it and I brought it into class the next week.
That was pretty much my first experience with flamenco. My dad didn’t know too
much about flamenco but I do remember him doing some rasgueados. My dad died
when I was 17 years old. I really regret not taking more advantage of my dad’s
knowledge of classical and acoustic guitar.
FT: So from what I see, you not only had a great
father/son relationship with your dad but a great musical relationship with him
RM: Yeah, it was mostly just listening to music and
talking about it. He never taught me how or what to play.
FT: It was like friends listening to music.
RM: Most of it was just listening to music while
riding in the car. I’d force him to listen to heavy metal and then he would
get tired of it and put on some classical music. He would sometimes have me
guess who the composer was.
FT: It was kind of like ear training.
RM: Exactly!! So when I went to college, I was tired
of electric guitar. You had to play classical in order to study music at James
Madison University. That made me regret not studying with my dad even more.
FT: So you’d have to say that you did study classical
guitar… or at least forced into it.
RM: I guess you could say that. My teacher was Keith
Stevens at James Madison University, a great classical player. We used to
fight a bit about music, though. I wanted more of a flamenco sound and he
wanted more of a classical sound (plays a bit of, “Concierto de Aranjuez”
with flamenco verses classical attacks).
FT: Your teacher was going crazy!
RM: Yeah! And I was like, “No. This is what it’s got
to sound like!”. That was it. I just started teaching myself because there
was no one that could help me.
FT: What about the rhythms in flamenco? Were you
aware of the different compases and times?
RM: Well, when I was in the rock band, I realized how
important rhythm and timing was. I was like; the drummer is the guy to hang
out with because he knows about music. One of my best friends in college, Paul
Erickson, was a percussionist. He happened to be one of the top percussionists
in the university. He actually won first prize in the concerto competition on
marimba. I learned a lot from him.
I was also listening to a lot of flamenco records. I then
started to figure out what they were doing with the rhythms.
FT: So in reality, it wasn’t about being taught, but
knowing how to learn.
RM: Or translate what I knew about rhythm into what
it meant in flamenco.
FT: For me, and I’ll come back, the most difficult
thing was figuring out how to reproduce the sound. I knew what kind of sound I
wanted but I was unable to reproduce it because I didn’t know the technique.
How did you do it?
RM: I saw Paco de Lucia’s concert for the first time
in 1995. I had a front row ticket.
FT: Was this the first time you had ever seen
RM: No. There was this friend of my fathers, Paco De
Málaga, who played Flamenco. I would ask him questions, "pick his
brain". He mailed me a tap plate when I was in college and he played at a
benefit for my father. So along the way, when I was teaching myself, he was
someone I would refer to once in while.
FT: So in reality, you were pretty autodidactic.
RM: I really figured out a lot of things by video.
FT: So at the Paco de Lucia concert, you were
mentally recording everything.
FT: So it wasn’t even a concert but more of a one on
one lesson with Paco De Lucia! (Ha! Ha!)
RM: After I got home from the show I said, “Now, I’m
going to take this seriously!” I wanted everything to sound right, you know….
I also was listening to a lot of different music at the
time, like Indian music and Jazz. College is a great atmosphere to listen to
and explore different musical genres.
FT: How did you start playing flamenco for a living?
RM: I was looking for flamenco dancers in college but
there was nobody. When I graduated and came home, I met whomever I could meet…
There was one guy at Paco de Lucia's concert who told me where to go to meet
some dancers. That’s when I got hooked up with the Washington flamenco scene.
I finally met a dancer. She had an incredible knowledge base about flamenco
and the different styles of flamenco dance. She didn’t play guitar but she
would sing the parts that I needed to do. I would imitate them on the guitar.
FT: Your wife is a flamenco dancer, right?
RM: Yes. We met when I was playing for the flamenco
company she was in at the time.
FT: Did you ever get to the point in your evolution
in flamenco where you said, “I need to go to Spain.”
RM: Yeah. I knew I needed to do that. It became
more of a reality when I met Gerardo Núñez in North Carolina. It’s about a 5
or 6 hour drive South from Washington D.C. We were trying to bring him to do a
workshop. We got in touch with the record label and they said he would do it
but they never quoted us a price or anything so, we decided to go see and ask
him ourselves. Sadly, he said he wouldn’t do it but he did invite us to his
workshop in Sanlúcar, Spain. He was a really nice guy. He invited us to go have
dinner with him.
FT: By this time you definitely knew who he was,
RM: Oh yeah! He was one of my guitar heroes.
Anyway, that night I wrote my name down on a napkin with a magic marker. He
took that napkin home and mailed me all the course info. So that was a sign
for me that I needed to go to Sanlúcar and take his workshop. I couldn't
convince any of my guitar playing friends to go with me and I didn't want to go
alone because I didn't speak Spanish. My Spanish speaking girlfriend at the
time (later to be my wife), insisted that I go with her and we would take the
FT: So when you finally made it to Sanlúcar, were you
like,” Man, I’ve still got a lot to learn!”. Was it a real eye-opening
RM: Absolutely! I was amazed on how much I was
learning and how much I really needed to learn.
FT: Was it a total overdose of information?
RM: Not really. It was more like what I really
needed at the time, not more than I could handle…kind of like you need a cup of
coffee in the morning, a well needed boost.
FT: On a personal level, what did you get out of
RM: At first I wasn’t really sure. Then I realized I
had to change my technique, break old habits. His music is really
inspirational too. I started to pick up on little details, nuances, rhythms,
etc. Mainly, technique… right hand especially. Of course, palmas, singing,
juergas, you know…. everything that goes with flamenco. Going now, it's more
about being inspired, but I still learn details.
FT: What about the fact of being a foreigner in the
flamenco world. Let’s face it, Richard Marlow is not Ricardo de Sanlúcar.
RM: To be honest with you, from the beginning before
I could play flamenco I was an aficionado and developed my own kinds of
prejudices, my own tastes. When I heard someone playing or singing, I would
say to myself, "They’re not Spanish". I could tell the difference to
some degree. Especially when I would record myself. I would say, “Oh, you
sound like a gringo!”. As a student myself, I think the important thing is
that you make it sound flamenco, authentic, pay attention to the details. In
the end, you are who you are and you can’t change that.
FT: Well, I can tell you this, Richard. You’ve got
an extremely flamenco sound and nobody can deny that. How about recording? Do
you have any CD in the works?
RM: Yeah, it should be done pretty soon. I’ve got to
mix it and set the CD layout and design.
FT: There are a lot of people excited to hear your
work. Is it going to be all original compositions?
RM: Yes. It’s going to be just guitar.
FT: Do you have any recommendations for foreign
flamenco guitarists, like from the rest of Europe, Japan or the USA?
RM: Yeah, remember the details that I was talking
about. Make sure you pay attention to them because, in reality, they are
technical. In other words, they are something you can learn and work on. You
have to respect the details, respect the art form. Do what you’re going to do
musically, be yourself. Take some risk and do the best you can. Don’t be shy,
show confidence but don't be arrogant.
FT: Arrogance can put a limit on you.
RM: That’s right. It really limits your learning.
Even Gerardo’s learning everyday. Keep learning!
FT: Thank you very much for allowing us this
opportunity for this interview. We can’t wait to hear your CD and any other
things you have for the future.
RM: Thanks a lot for giving me this opportunity.