Roberto Martinez brought various styles of Flamenco to the 5th & Main Espresso Bar, on Feb. 18. Some of the styles he incorporated were Farruca, Soleres, Alegrías, Sevillanas, Tarantas and others.
Prior to beginning Martinez’s set with René Heredia’s “René’s Warm Up in C”, he played a few notes and adjusted the sound on his mixer—for a brief sound check and began to sway from side-to-side. He took a brief pause and adjusted the neck of his microphone stand. He went onto push downward on the top guitar string and strummed the rest with his free fingers, almost simultaneously.
Before combining a mixture of Ruben Romero’s, Guillermo Salazar’s, Leo Polo Sánchez’s and Martinez’s renditions of “First Words”, he extended both of his arms and intertwined his fingers. His knuckles began to crack; he let out a lgrunt and cleared his throat. After the song came to an end, he received some applause. He quietly voiced his gratitude and gave a nod to an audience member.
After removing the capo near the end of Martinez’s fretboard, he covered Leo Polo Sánchez’s “Farruca Traditional”. Two spectators walked in front of him, as he looked up at them and motioned his eyebrows upward to greet them. They continued to walk to the table nearest to Martinez, as they looked onward and watched him play. Afterwards, he reached for a small bottle of baby powder and lathered up the neck of his guitar.
Martinez briefly stood up and reached into his back pocket, to obtain a white handkerchief. He continued to wipe off the excess amount of baby powder, on the neck of his guitar. Then, he continued his recital with René Heredia’s “Farruca”.
Mando San Luca’s “Garraton” brought an end to Martinez’s concert. During the song—he wiggled his left hand over the strings located above the soundhole of his guitar, to manipulate the sound. As he continued to play—he gently tapped near the saddle of his guitar, as a form of percussion.
Ruben Romero’s “Luna Nocturna” and “Alegria Por Sanchez”, “Seviallas”, “Tarantas”, Sanchez Sabicas’ “Soleares”, “Malagueña Verdiales”, Ruben Romero’s “Passing Storm”, Guillermo Salazar, Leo Polo Sánchez, René Heredia’s “Alegrio Por”, Ruben Romero’s “Cathedral Bells (Homenaje A Ruby)”, Sanchez Sabica’s “Grandino”, Óscar Herrero’s “Vieven’ and “Ámbar de Pimavera (Tangos)”, René Heredia’s “Rumba”, Óscar Herrero’s “28 de Junio (Nana)” and Sanchez Sabicas’ “Ole Mi Cadiz” were also part of Roberto Martinez’s set.