Rafael Amador, 1986
Carles Benavent, 1985
Enrique Morente, 1992
José El Francés, 1993
Pepe Habichuela, 1983
Rafael Riqueni, 1986
Ray Heredia, 1991
Tomatito, Juan Carmona, Camarón y Curro Romero, 1992
Ramón el Portugués, 1992
Raimundo Amador, 1986
La Barbería del Sur, 1991
Juan Manuel Cañizares, 1997
Ray Heredia, 1991
Enrique Morente & Pepe Habichuela, 1977
El Viejín, 1999
Diego Carrasco, 2000
Antonio Carmona, 1991
Jorge Pardo, 1987
Un tipo, en definitiva, que era una mina y que consiguió algo extremadamente complicado, una impronta de prestigio con material callejero.
Nota: La mayoría de las fotos fueron hechas con una cámara Rolleiflex binocular 2,8 utilizando películas Ilford HP 4 y HP 5.
Mario Pacheco (d. 2010) was a photographer even before joining the record distribution business although his name is linked to label he created, Nuevos Medios (with a logo designed by famous painter Joan Miró), the true cradle of the new Flamenco when it was still a difficult and reviled formula. Precedents were many, from the seventies gypsy-pop productions to the band Smash (first seed) or the records that revolutionized everything, the first one by Veneno (artist Kiko Veneno and the Amador brothers in their delusions uploaded by wine, hash and pills) or the 'La Leyenda del Tiempo' (which was totally denostated in its time and is now a classic and for wich he did the record cover photograph), a flood that happened in some way or another with the production of Ricardo Pachón. Mario Pacheco took the witness with his wife and his brother-in-law and once ready to throw on with their label, Nuevos Medios, recently dismantled after his decease but for wich he recruited at the time all the talented Gypsies he usually met at night, their families, friends, imitators and all who passed by that circle and had something to contribute, with two pillars, Pata Negra and Ketama, and also the jazz musicians from Paco De Lucia Sextet and some pop bands of the time, aldo distributing some foreign independent labels references in Spain (Factory or Rough Trade among others), in addition to all those compilations that are a must-have one for everyone who passes a season in the South of Spain, 'Los Jóvenes Flamencos', a huge selection of inspired musicians that once recorded for the label. In Nuevos Medios Pacheco not only served as executive head, but he produced much of the stuff, which also was characterized by his photographs for the cover art (some of wich are shown here in this post). All this made him one of the key figures of Spanish popular culture, which in the middle of an efersvescent new pop scene in Madrid had him holding a sort of antagonist tavern and street wise independent business, a path that came to him almost by chance and in wich his wife had a lot of influence.
One type who was a mine and who achieved something extremely complicated, an imprint of prestige in some material that could have stayed hidden and unknown only in the streets and late night private jam sessions.
Flamenco-world: Entrevista (2002)
Efe Eme | Cuando Mario Pacheco nos contó la historia...
Efe Eme | Las Trece Joyas de Nuevos Medios...
El País | Malos tiempos para visionarios
El País | El eclipse de Nuevos Medios
ROCKDELUX: Enamorado de la vida
La foto de Camarón usada para La Leyenda del Tiempo
Camarón, La Leyenda del Tiempo. Foto de Mario Pacheco.
Autorretrato de Mario Pacheco