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Born in 1972, Juan Ramón Caro is one of the young flamenco artists who have grown up and trained in Barcelona. He began his guitar studies with Manuel Carvajal at the age of 11. As time went by, he was introduced to the world of flamenco by his father, Juan Caro, a renowned cantaor (flamenco singer).
He has known the secrets of the guitar for four decades and has been learning the secrets of accompanying flamenco singing at festivals and competitions, learning a large number of falsetas, techniques, resources and interpretations, delving into the world of concert guitar and reaching the theoretical and practical study of flamenco. It is possible to speak of a classical stage in his career, both in accompaniment and in solo playing, with original repertoires, but he has marked a progressive trajectory, well grounded in this classicism, which has been enhanced by his perseverance in learning, his ability to create and his eagerness in the search for perfection.
If we consider the concept of renaissance as a study and emulation of the classical, expressing it in an avant-garde way, we could say that the flamenco guitar is continually reborn to survive in a world that demands creativity and harmony, but yearns for the atavistic. Thus, under an appellative rubric, Caro's latest work, Caríssimo, offers us a personal form of rebirth, in all its breadth, from the purely musical, through scales, modes, tunings and equivalences, to a kind of eclectic metaphor that is reflected in mythology, the scientific nomenclature of biology, attachment to place or state of mind. Caríssimo's touch is manifested in all the facets that he has cultivated throughout his history, accompaniment, resources, concert and study.
Juan Ramón Caro is a flamenco lover in every sense of the word, and he has an immense weakness for flamenco singing, something that is evident in his latest album, Caríssimo. When you sing in the first person, the guitar accompanies the singing, but when you sing to accompany the guitar you have to reach the demand of the guitar playing. The cante needs a guitar that knows how to finish off the tones with chords and techniques, that knows how to fill in the gaps in between with passing chords and allow the cante to breathe with appropriate falsetas in time and form. The cante, when it accompanies the guitar playing, is It is more complex because it has to adapt to the structure of the guitar. Here, Juan Ramón Caro's playing is demanding because he plays, more than with equivalences, with variations of chords, with different tunings, with scales and modes, and you have to have a privileged voice, but also wisdom and dedication.
He has performed on the most prestigious stages all over the world: Palau de la Música Catalana, Teatro Real in Madrid, Lope de Vega in Seville, Gran Teatro de Córdoba, Teatro Cervantes in Málaga, Carnegie Hall in New York, Tokyo Forum, Paris, London, Moscow, Zurich, Chicago, Buenos Aires, Helsinki, etc...