Letter: Facts Regarding Juan Serrano

by David Macias

Originally published in American Lutherie #86, 2006

Hi Tim,

I enjoyed the R.E. Bruné piece on Manuel Reyes, and Cordoba in general in American Luthierie #84. My reason for writing is that there is a bit of misinformation on Juan Serrano. Maestro Juan Serrano’s father, Antonio Serrano, was known as Antonio Del Lunar. El Habichuela was and is someone else. Also the falseta recording played on the town clock is a Solea, and not a Siguiriyas, as stated. I asked Juan a few days ago, just to have my facts straight. He assured me that I was right. Maestro Serrano and I have been close friends for some twenty-six years. He has told me many stories about his life, his family, and his career. I am also very proud to say that Maestro Serrano was my flamenco guitar teacher for many years, and prouder yet that he has been playing his concerts on guitars that I constructed for him.

R.E. Bruné responds:

I appreciate David Macias’ additional corrections and information in response to my article. The quote about El Habichuela being Juan Serrano’s father and the teacher of Manuel Reyes came directly from the interview of Manuel Reyes in Flamenco International Magazine (July–September 1998, p. 19), and at the time I read it, it didn’t ring true to me either, as I know the large Habichuela Gypsy clan to be from the Sacromonte of Granada, not Cordoba. However, as there have been several unrelated artists over the centuries using the “Habichuela” name, I figured the anonymous interviewer’s direct quote would trump my own vague memory. Wrong! Mr. Macias is quite correct. I remember first meeting Juan Serrano around 1966, and he did mention his father was known as Antonio del Lunar (Antonio, he of the mole). I should have remembered this, as he is not to be confused with Perico el del Lunar who played for many years at La Zambra in Madrid and was the accompanist on the first anthology of Cante Flamenco issued by Westminster records in 1955.

Likewise, my memory of the Cordoba clock tower music dates to my first visit to Spain in 1967, nearly forty years ago, and obviously is not as precise as I would prefer. This is the reason why for many decades now I have been photographing and making notes of all the great instruments that pass through my hands, as I knew it was only a matter of time when my sharp memory and dull tools would begin to change place.

Thanks also and best wishes to Maestro Serrano, who is without doubt one of the great flamenco figuras of the 20th century. ◆