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Efrén López | El Fill Del Llop

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World: Middle East Traditional World: Mediterranean Moods: Type: Instrumental
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El Fill Del Llop

by Efrén López

Nine original instrumental pieces and two old songs, one Flamenco and one Occitan with new arrangements. Compositions that use exclusively acoustic traditional instruments and influences of Greek, Turkish, Persian and Medieval music.
Genre: World: Middle East Traditional
Release Date: 

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  Song Share Time Download
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1. Kurtoğlu Zeybeği (feat. Kelly Thoma)
6:56 $1.50
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2. Plaerdemavida (feat. Christos Barbas, Aleix Tobias & Diego López)
7:56 $1.50
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3. Como Al Pie Del Suplicio Estuve (feat. Stelios Petrakis & Raúl Micó)
7:52 $1.50
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4. O Γιος Του Λύκου - O Gios Tou Lykou (feat. Miriam Encinas)
4:45 $1.50
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5. Aralık (Ferahfezâ) [feat. Sofia Lambropoulou, Evgenios Voulgaris & Meira Segal]
8:12 $1.50
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6. اسب سنگ - Asbe Sangi (feat. Diego López, Itzhak Ventura & Jérôme Salomon)
6:25 $1.50
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7. Lo Boièr - Iria (feat. Miriam Encinas & Iván López)
11:23 $1.50
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8. Vallsabollera (feat. Miriam Encinas, Diego López & Meira Segal)
5:11 $1.50
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9. Bourrées De La Carrasca De La Vaca (feat. Miriam Encinas, Raquel García & Aleix Tobias)
5:49 $1.50
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10. Azinhaga (feat. Aleix Tobias)
3:40 $1.50
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11. Abracadabra (feat. Meira Segal & Aleix Tobias)
7:40 $1.50
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Produced, arranged, recorded, mixed and mastered by Efrén López between March and November of 2014 at the following studios:
Primavera en el Atlas (Alhama de Múrcia, Spain)
Cambra Records (Real de Montroi, Spain)
Studio Stelios Petrakis (Heraklion, Crete, Greece)
Studio Nikos Paraoulakis (Athens, Greece)
Studio Vasmaris (Heraklion, Crete, Greece)
B & B Studio (Riba-Roja de Túria, Spain)
Studio Saeed Mani (Tel Aviv, Israel)
Recording assistants : Constantino López, Vicent Sengermés, Stelios Petrakis, Nikos Paraulakis, Vangelis Apostolou and
Pasqual Brisa.
Dessign : Cyrille Buffet
Efrén's photos : Manolis Mathioudakis
instruments photos : Anabel Berral
www.efrenlopez.net
Efrén López : Davul (1), Çöğür (1, 3), Bulgari (1, 4), Meydan saz (1, 3), Kopuz (1, 2, 4), Cura saz (1, 4), Üç telli Bağlama (1),
Fretles guitar (2),Cretan Laouto (4), Ud (5, 6, 11), Kurdish tanbur (6), Persian Santoor (6, 8), Bass citole (8), Citole (8),
Shofar (7), Gothic harp (7), Hurdy gurdy (9), Guitarró (10), Llaüt (10), Bandúrria (10), Mandola (10), Irish bouzouki (10),
Palmas (10), Banjo (11), Vocals (11)
Kelly Thoma : Cretan lyra (1)
Christos Barbas : Turkish ney (2)
Aleix Tobias : Cymbals (2), Square drum of Peñaparda (9), Tambourine (9, 10), Bottle (10), Udu (10), Legüero (10),
Palmas (10), Bell (11), Bendir (11), Adufe (11), Tavil (11), Nagara (11), Metallic percussion (11), Crakebs (11), Sabar (11)
Diego López : Doira (2), Bendir (2, 6, 8), Davul (2), Daf (6), Gungru (8)
Stelios Petrakis : Cretan lyra (3)
Raúl Micó : Vocals (3)
Miriam Encinas : Bendir (4), Vielle (7, 8, 9), Dilruba (7), Flute (7), Recorders (8)
Evgenios Voulgaris : Yaylı tanbur (5), Bass yaylı tanbur (5)
Sofia Lambropoulou : Kanun (5)
Meira Segal : Turcquish ney (5), Bulgarian gaida (8), Kawala (11)
Itzhak Ventura : Persian ney (6)
Jérôme Salomon : Tombak (6)
Iván López : Vocals (7)
Raquel García : Galician gaita (9)

— 1. Kurtoğlu Zeybeği —
(Efrén López - Mas de Flors, September 2012 / Banyoles, January 2014)
Efrén López : davul, çöğür, bulgarí, meydan saz, kopuz, cura saz, üç telli bağlama
Kelly Thoma : Cretan lyras
I wrote this piece to express my gratitude and pay homage to the various masters with whom I was fortunate to study the
Turkish baglama: Ross Daly, Mehmet Erenler, Erol Parlak and Erkan O_ur. I wanted to use the great variety of techniques,
tones and expressive possibilities of this fascinating family of instruments, yet inspiration did not come spontaneously.
While I was in the composition process of this project, my friend Stelios Petrakis, a musician I greatly admire and respect,
halfjokingly challenged me to write a Zeybek “so slow that each bar lasts a week”. This heavy dance of Turkish origin has
always fascinated me and Stelios’ dare was the perfect excuse to start working on my collection of various-sized ba_lama’s
and kopuz. Here, I also play the davul, the only percussion whose substance I feel I can express, and Kelly Thoma’s lyras
both lighten and give an expressive character to the wall of sound I have built.

— 2. Plaerdemavida —
(Efrén López - Fuente la Reina, març 2012 / Manises, maig 2013)
Efrén López : fretless guitar, kopuz
Christos Barbas : Turkish ney
Aleix Tobias : cymbals
Diego López : doira, bendir, davul

Plaerdemavida (‘pleasure-of-my-life’) is the name of a character in Tirant lo Blanch, a Valencian medieval novel by Joanot
Martorell. When I have a daughter, this will be her name, with soundtrack and all. To my composition based on the deep
sound of a classical fretless guitar, I wanted to add a lighter introduction, which my friend and collaborator on numerous
projects Christos Barbas achieved with layer over layer of whirling ney.
To create Plaerdemavida as well as other pieces on this project, I took advantage of my dear friend Ignacio Rosat and settled
in his house in Fuente la Reina for two weeks. Some days, the house was surrounded by snow and there was no electricity.
Fortunately, there was a well-stoked storeroom to enable me to survive in case of a nuclear war or a zombie attack.

— 3. Como al pie del suplicio estuve —
(Juan Peña “El Lebrijano” / Efrén López - Arhanes / Crete / Greece, March 2014)
Efrén López : meydan saz, çöğür
Stelios Petrakis : Cretan lyra
Raúl Micó : vocals

Puzzled when hearing me say that I was born in Spain and half Andalucian, foreign musicians have often asked me how
come I did not play flamenco music. Apart from not liking this kind of cliché, I’ve never known what to say. I have had a
few collaborations with flamenco artists; yet I have never gone deep enough into its palos to be able to claim that I “play
flamenco music”.
Anyway, a few months before entering the studio to record “El fill del llop”, I was contacted by Raúl Micó, a lively cantaor from
Villena, to evoke the possibility of a collaboration. Even before I heard him sing, I liked his open mind, initiative and freshness.
When I had the opportunity to listen to his voice, I was highly impressed by its strength and precision, so I shouted: “it is only
a question of time before we do something together”.
I wanted to include a piece featuring him on this album initially meant to be entirely instrumental, given my distate for 99% of
singers. We decided on a version of this theme from El Lebrijano. I hope you like our arrangement based on the aesthetics of
the Turkish ba_lama played in fairly ‘orthodox’ way and the more experimental sounds of the Cretan lyra in the hands of my
friend Stelios Petrakis. I hope this is the first sign of what could be an inspiring future collaboration with Raúl.

— 4. Ο γιος του λύκου / O gios tou lykou —
(Efrén López / Stelios Petrakis - Fuente la Reina, March 2012 / Heraklion / Crete / Greece, Februrary 2013)
Efrén López : bulgari, Cretan laouto, cura saz, kopuz
Miriam Encinas : bendir

Kapetanianá is a village in the south-central part of Crete, situated at the foot of a mound which, seen from certains points,
clearly evokes the profile of a sleeping man. It is full of legends and old pagan traditions that Christianism has adapted for
its sake. Among these is the cult of a type of small tree that grows nowhere else. It is considered as sacred (I believe it is
associated with a saint) and gives small apples which are very tasty.
The place is isolated from the region’s urban centres. It was only in the 1970s that people started building roads adapted
to motor vehicles, enabling it to communicate with the rest of the world. This was when the first foreign tourists arrived in
Kapetanianá: tall, long-haired hippies with whom clear conversation was not possible. They looked so different from the villagers
that the latter wondered whether they were human. It was months after their arrival that people started to think that
they might belong to the same species as themselves. After careful observation the locals saw that when these blond, skinny,
hairy people settled in a house and remained there for a while, their number increased and their offspring resembled them…
they reproduced like humans! It is well-known that female hippies think that hair removal is just bad taste alienation and the
moustache some of them had were almost as dense as those of their male friends who, for their part, wore their hair as long
as women’s hair. Furthermore, both sexes dressed the same, so differentiating them was almost impossible for Kapetanians.
Yet gradually, the understandable inital mistrust eased off and gave way to growing sympathy, probably because the
foreigners started to learn the basics of the Greek language –even though it was difficult to understand their Nordic accent:
Kalimega, kalimega, oghea, oghea, pagakaló, pagakaló!
If there was, say, fifty families of locals, every night the same number of hot dishes appeared in the hippy house as if by
magic: the women of each clan competed to prepare them the most delicious stews to stand out from the others. With time,
each family came to adopt their own hippy as though it was some sort of pet. When they had to leave the village for a few
days, people would ask their closest neighbour:
—Giorgi, can you do me a favour and feed my tourist for a few days, I have some errands to run in town.”
In addition to paying tribute to my surname, López, “O gios tou lykou” (“The Son of the Wolf”) is about this island that has
always had so many stories to tell in the fifteen years that I have been going there.

— 5. Aralık (Ferahfezâ) —
(Efrén López / Meira Segal - Istanbul / Turkey, December 2013)
Efrén López : ud
Evgenios Voulgaris : yaylı tanbur, bass yaylı tanbur
Sofia Lambropoulou : kanun
Meira Segal : Turkish ney

One winter when I was visiting Istanbul, Meira Segal asked me to help her with her ‘homework’ for her Makam (the Turkish/
Ottoman modal system) class. At that time, Meira was studying Ferahfezâ, a multifaceted, flexible makam with numerous
modulation possibilities. We wrote this piece together, note by note, treating the musical writing in a classical style –a difficult
task despite an inspiring environment: Istanbul was indeed the birthplace of this tradition.
In Turkish, Aralık means December –the month when we wrote this piece– but also interlude or space between two objects.

— 6. اسب سنگ / Asbe sangi. —
(Efrén López - Fuente la Reina, març 2012)
Efrén López : Kurdish tanbur, ud, Persian santoor
Itzhak Ventura : Persian ney
Jérôme Salomon : tombak
Diego López : bendir, daf

This piece is dedicated to Mazdak Ferydooni, an Iranian luthier who lives in Greece and has built the Kurdish tanbur lute that I
have used to write it. Most of the times when I create a new piece, inspiration comes from the sound itself and the places where
the special tone and character of each instrument take me. Mazdak, you will know why I have called it “stone horse” in Farsi.

— 7. Lo boièr / Iria —
(Occitan Trad. / Miriam Encinas, Banyoles, January 2013)
Efrén López : shofar, Gothic harp
Iván López : vocals
Miriam Encinas : dilruba, vielle, recorder

I learnt this song from Maria Laffitte, with whom I shared the stage and other vital moments in the last years of her life. With
her daughter Miriam Encinas Laffitte, we have arranged it with the addition of some beautiful instrumental passages which
Miriam created on her dilruba. These are the kind of melodies that I wish I had written myself.
Ivan accepted my invitation and came to sing on this piece. To enrich the melodic line, we created a thick layer of vocal
harmonies and shofars, the Jewish ceremonial horns.
The lyrics of this song, which has become like a hymn over time, refers to a criptic form whose coded messages are about
the extermination of the Cathar people by the crusaders sent by Rome in the 12th century. In the chorus one can hear the
cry of alarm that the Cathars used: A...E...I...O...U!!!

— 8. Vallsabollera —
(Efrén López - Valcebollère / France, August 2012 / Manises, May 2013)
Efrén López : Persian santoor, bass citole, citole
Miriam Encinas : vielle, recorders
Diego López : bendir, daf, gungru
Meira Segal : Bulgarian gaida

In August 2012, Simone Baurens invited me to her ‘house’ in the French Cerdagne. Actually the brave and stubborn Simone
lives alone in a Cathar castle inherited from her family and located in an idyllic setting towering above a beautiful valley. As
though this were not enough, the site is called Valcebollère, the Onion Valley. Indeed, a type of wild onions grows there,
making it a paradise for all those addicted to these bulbs, as is my case. Simone is a great music lover and she regularly
organises Medieval music concerts in one of the rooms of the castle.
To thank her for her hospitality, I have written this piece inspired by the memory of these splendid landscapes.

— 9. Bourrées de la Carrasca de la Vaca —
(Efrén López - Köln / Germany, January 2013)
Efrén López : hurdy gurdy
Miriam Encinas : vielle
Raquel García : galician gaita
Aleix Tobias : Galician tambourine, square drum of Peñaparda

After more than fifteen years playing one of my favorite instruments, the hurdy gurdy, I decided to pay it tribute by writing
traditional bourrées specifically for my instrument. This type of French dances make up one of the repertoires most often
associated with the hurdy-gurdy –a powerful instrument full of possibilities and headaches for those, like me, who are addicted
to its sound. Strangely, inspiration to create melodies so markedly “European” came to me while touring Germany
with my rabab teacher Daud Khan Sadozai, in a series of Afghan music concerts (in principle quite far-off from the repertoire
of central France), in January 2013.
There is a curious history behind the title of this piece. Given that some of these bourrées are named from the villages where
they are danced, I decided to give this composition the name of my mother’s village. “Vilamarxant Bourrées” sounded good
until I realised that my father might resent the absence of Cabra del Santo Cristo, his native village near Jaén, in the title of
this piece.
Aiming to find a Solomonic solution to a possible Valencian-Andalusian conflict, I used a computer programme that could
locate the exact geographical point halfway between two locations on earth. I therefore entered the addresses of the houses
where each of my parents was born and, give or take a few metres, I fell upon La Carrasca de la Vaca (the oak of the cow),
a monumental old tree in Alcadozo, Albacete. It was the perfect name for my new composition, a name that would not
jeopardize the harmony of the López-Sanz family.

— 10. Azinhaga —
(Efrén López - Mas de Flors, març 2010)
Efrén López : guitarró, llaüt, mandola, Irish bouzouki, bandúrria, palmas
Aleix Tobias : tambourine, udu, bottle, legüero, palmas

In 2010, I was featured in the 7 Sóis 7 Luas Festival as a member of the “official” orchestra that the festival sets up each year
with musicians from the countries of its network (Spain, Portugal, Italy, Greece, Croatia...). The festival coordinator, Marco
Abbondanza, asked me to write a theme dedicated to its honorific director, a man whom I greatly admired: José Saramago,
the first Portuguese to be awarded the Nobel Prize for Literature.
I aimed to create a theme inspired by his book of childhood memories, “As pequenas memórias”, which we would play
for him in his native village of Azinhaga, the starting point of the tour with the festival orchestra that year. I set to work and
a melody came to me in just a few hours, an unusual occurrence in my career: some themes have cost me months, even
years of patient work. I fully surrended to the excercise of writing a ‘custom’ theme. The melody that came about was very
simple, just like the text of this short book and the overall image that Saramago inspires me. As far as possible, I tried to blend
musical elements from my country with other, “Portuguese”, sounds, basing myself on the great Julio Pereira’s ways –with all
due humility. For this purpose, I used a Valencian guitarró, a viola braguesa and a cavaquinho, amongst other instruments.
Unfortunately, José Saramago passed away a few weeks before the date of the event and this theme, simply called “Azinhaga”,
remained on the shelf until I had the idea to include it in the present project. To record “Azinhaga”, my friend the great
bandurria player Juan José Robles lent me his magnificient instruments, a lute and a bandurria. Constantino López did the
same with his no-less incredible mandola and Irish bouzouki. To these instruments I added a guitarró that Tóbal Rentero lent
me about ten years ago and that I have yet to return. How shameful: an entire piece on borrowed instruments!

— 11. Abracadabra —
(Efrén López - Houdetsi / Crete / Greece, August 2012 / Zikhron Yaacov / Israel, January 2014)
Efrén López : ud, banjo, vocals
Meira Segal : kawala
Aleix Tobias : bell, bendir, adufe, tavil, nagara, metal, crakebs, sabar

This magic word of Aramean origin means “to create, to give shape with a word”. I believe this is what many of us musicians
and artists in general are seeking: to give reality to ideas, by means of sound –in my case.
It is obvious that the power of music is huge, and if we cannot appreciate it these days it may be due to saturation, what
with the bad melodies and meaningless sounds we are exposed to daily and unwantingly, in transports and public buidings
or through audiovisual media etc.
I created the first melodies of this theme with my students in one of the composition workshops I give every summer at the
Labyrinthos centre in Crete.


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