by Estela Zatania, deflamenco.com
Just like that, he's gone. An ill wind blew in from the marsh and carried away the fragile bohemian genius named Miguel Vega de la Cruz, son of Miguel el Tomate and uncle of Tomatito, our much-admired Niño Miguel, born and gone in Huelva.
A “niño” who was more like an old man, not just his body, because at 61 most people still have plenty of energy, but his spirit. There was a bright flash of absolute fame – Paco de Lucía would say of him that he was one of the best flamenco guitarists of all time – a promising recuperation and then…the void.
Those were heady flamenco times when everything was moving along quickly. In just about two years, from 1973 to 1975, three ground-breaking compositions had come from three geniuses of the guitar: Paco de Lucía’s “Entre dos Aguas”, Manolo Sanlúcar’s “Caballo Blanco” and “Vals Flamenco” of Niño Miguel left a mark on the history of the genre, and established the viability of instrumental flamenco, so important in today’s music market. The Huelva man, youngest of the three, achieved a level of fame which, due to various problems, he would never be able to develop or take advantage of. The decades came and went…he was neither sought nor found, just lost…aimlessly roaming the streets of his hometown. ...{article continues here}
Just like that, he's gone. An ill wind blew in from the marsh and carried away the fragile bohemian genius named Miguel Vega de la Cruz, son of Miguel el Tomate and uncle of Tomatito, our much-admired Niño Miguel, born and gone in Huelva.
A “niño” who was more like an old man, not just his body, because at 61 most people still have plenty of energy, but his spirit. There was a bright flash of absolute fame – Paco de Lucía would say of him that he was one of the best flamenco guitarists of all time – a promising recuperation and then…the void.
Those were heady flamenco times when everything was moving along quickly. In just about two years, from 1973 to 1975, three ground-breaking compositions had come from three geniuses of the guitar: Paco de Lucía’s “Entre dos Aguas”, Manolo Sanlúcar’s “Caballo Blanco” and “Vals Flamenco” of Niño Miguel left a mark on the history of the genre, and established the viability of instrumental flamenco, so important in today’s music market. The Huelva man, youngest of the three, achieved a level of fame which, due to various problems, he would never be able to develop or take advantage of. The decades came and went…he was neither sought nor found, just lost…aimlessly roaming the streets of his hometown. ...{article continues here}
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