Rycardo Moreno Montiel is a Flamenco and Jazz guitarist (Lebrija 1981). Was born in the
bosom of a gypsy family-on his father side- and mulatto on his mother part ... which makes
merger an inherent quality within himself. Had his musical beginnings with the guitar at 11,
accompanying his grandmother at the Cante, "Pepa La Cartuja" and his uncles, family of Diego
Flores 'Lebrijano', Juaniquí and the Rumbilla de Lebrija, among others… having Gerardo Nuñez
as Musical Godfather.
Music producer, arranger, composer and guitarist of the album "Tu cara" by Alba Molina; the
album "Infundio", by Tomás de Perrate and El Lebrijano's latest album: “Cuando El Lebrijano
canta, se moja el agua”. He has also featured at the album by pianist Dorantes "Sin Muros",
among others. He was awarded as a producer, arranger and guitarist with the Best Tourist Ad
Award for the score at the Andalusia Tourism Campaign Advertisement.
He played in Esperanza Fernández's album "Mi voz en tu palabra"; on Jorge Pardo's album
"Historias de Rahda y Krishna"; on the last album by Lya; and on Lole Montoya's album where
he recorded the guitars and worked on the arrangements for "Metaphors”, by Alejandro Sanz.
He was second guitarist in the tour of Raimundo Amador "Half man, half guitar".
Throughout his musical career Rycardo has made many more collaborations with main artists:
Javier Ruibal, Montse Cortés, Guadiana, Josemi Carmona, Arcangel, José Valencia, Yelsi
Heredia, René Toledo, Tito Alcedo, Ramón Porrinas, Pepe Rivero, etc.
He has collaborated as guitarist, along with the Dorante’s Quartet at several International Jazz
Festivals: San Sebastian, San Javier, Toulouse, Paris and at the National Auditorium of Madrid,
Spain. Along with Jorge Pardo’s Quartet "Huellas" he performed at the Jazz Festival of Sanlúcar
de Barrameda, at Arnedo (La Rioja), Palencia, etc.
Along with the band "King of Cai" he played at the Festival of Jazz of Caracas and Nagua-
Nagua. He has played for several years at the Bienal de Flamenco in Seville, with artists such as
Tomás de Perrate, Dorantes, Ricardo Pachón, etc.
In the year 2012 he participated as guitarist and musical director at the Show "Flamenco
Hoofer's" by the Flamenco dancer Juan de Juan. While touring through New York, he played
with his quartet "Flamenco World Music" in prestigious venues such as the Zinc Bar, Le Poisson
Rouge and Terraza 7.
He also performed at the Instituto Cervantes in New York and at the Circulo Español with
Javier Ruibal, and collaborated with the flamenco dancer Juan de Juan and the American Jason
Samuels Smith at the Mad Museum in New York.
It is in 2014 when the Master of the guitar Gerardo Núñez, after knowing his project, invites
him to present it in the I International Festival of Guitar "Gerardo Núñez" and opens up the
doors for him with the record company Nuba Records / Karonte that will publish his album
"VAREKAI" in 2015, with which he could participate in the Bienal de Flamenco de Sevilla 2016.
Rycardo Moreno is a professor of jazz-flamenco instrumental ensemble at the «Taller de
Músics Escuela Superior de Estudios Musicales».
Rycardo Moreno, an Andalusian artist of mixed race origin who is a different guitarist, an
unclassifiable musician but flamenco to the core. With his fingers, his picks, his strings, his
cables - which he never steps on -, his watts and his volts - the electric ones and the walks
through the music of the planet -, without giving us cramps he shakes us. Rycardo Moreno, in
perpetual crossover, owner of a peculiar open-wave phrasing and harmonically current,
conforms some works of characteristic articulation that show his good taste and start off, in
search of an origin, from the blessed trunk of the solea and the peculiar branch that he
represents, fed by the same underground root in which the jondo was born.
There you will find him, starting with that Underground Soleá, handmade, like the potters, to
continue with La boda on his cutaway guitar on a stand, plectrum, plugged in, with effects, and
yet, in effect, as true, as natural as the communal and huge “alboreá” that sounds and
accompanies connected to the party.
Adds up and goes on with Andromeda and the adagio de Aranjuez, by the Maestro Rodrigo,
with the guitar floating on the plectrum and effect on the keyboards, until the drone gives way
to the fingertip and fingernail strumming that leads to the central axis of that "Concierto of
Aranjuez" that made us visible on the planet; meaning the Spanish Guitarists of all kind and the
music with National copyright. The characteristic melody of "Aranjuez" travels ethereally
through the stereo in the undulating wave of departure... And his Guajira mía arrives. And who
dares to argue against it? It's a Guajira, but of his own and it's non-transferable.
In Hoagy Carmichael's Skylark, which introduces Tony Romero's voice and keyboard, his guitar
makes us transatlantic tricks as it moves us with a tasty little wiggle.
And by granaína jerezana of Antonia Chacón arises The lullaby of Peter Pank, sung by Antonio
Agujetas Chico and its echo with Certification of Origin.
Then the cantaor wraps up the juicy Lebrija Jerez 21st Century Suite, a bulería that in its long
development moves your body joyfully, fretted by Rycardo between playful keyboards... In
addition to Tony Romero on the keyboards we find David Sancho, plus Victor Franco's second
guitar. The percussions are played by David Domínguez and Manuel Moreno; all very tight,
without a plus or a minus.
Miesencia, is definitely Rycardo Moreno turned into music. He shows us, at a time when
copies abound and contributions are scarce, his surprisingly different being. Rycardo is an
unexpected guitarist who calmly, without making any fuss, relaxes and electrifies us at the
same time; a truly contemporary flamenco; pure steadiness.
The postscript of this carefully produced work is a succulent version of Erik Satie's Gnossienne
No.1. That Satie who inspired Javier Ruibal and who in turn injected Satie's poison into another
beloved companion and master Gerardo Núñez... Gerardo Núñez, who discovered and
encouraged Rycardo Moreno to go on solo. And so the album closes in a perfect circle, as it