Read the Full Article - Spotlight: The Leyenda Foundation An unexpectedly contemporary dimension was added to the conference by Matthew Denman, director of the Leyenda Foundation (Leyenda-foundation.com). I would like to bring his presentation to your attention more extensively through a short interview conducted recently via email. The Leyenda Foundation is a platform for guitar education and support for performing guitarists and innovative projects that connect tradition and innovation, in collaboration with Oklahoma City University. It is an educational institute centered around various guitar traditions: Classical Guitar: ‘Celebrating the towering legacy of Celedonio Romero’ and the generations he inspired (Celin, Pepe, Angel, Celino, and Lito Romero); Jazz: The Jazz of Charlie Christian, led by Grammy Award-winner Mark Whitfield and other renowned jazz educators; Fingerstyle: The role of John Knowles, who frequently collaborated with Chet Atkins and Tommy Emmanuel; Flamenco: Led by acclaimed performer and educator Erika Vasquez. O.T: ...quite separated—even if it may not seem so. Is it a risk to publicly manifest different musical genres within guitar? M.D: I’ll never forget the first time Pepe Romero mentioned Joe Pass. Of course, I knew who Joe Pass was, but it was a revelation to learn how close they were. Joe was the one who got Pepe into smoking cigars. He loved the Mozart Variations by Sor, and Pepe said Joe would ask him to play it almost daily. They would often end their shows together — Pepe playing a classical piece while Joe improvised over it. Tragically, Joe died while on tour with Pepe. Before he passed, he asked Pepe to play for his funeral — and then to blow a puff of cigar smoke into the casket. And that’s exactly what Pepe did, with Susan Lamborghini, their tour manager, by his side. For me, that story captures the heart of what Leyenda is about. The idea that musical genres are somehow incompatible is a modern invention — one that has little to do with the way artists have actually lived and worked. The guitar has always been a bridge: between cultures, between centuries, and between people. When we manifest multiple traditions within the same space, we’re not creating tension; we’re honoring a shared lineage. The real risk lies in separating what has always belonged together. O.T: I’m not sure if it is part or a side effect of the foundation goals, but do you see ‘cross-over’ interests within the participating students? M.D: The Leyenda Convention drew guitarists from all over the world. They were diverse in every way — culturally, personally, and stylistically — but what surprised me most was how many could already play multiple styles at a professional level. Many classical players were fluent in jazz, and many jazz players could read and interpret classical repertoire beautifully. And if they couldn’t yet, there was a strong desire to become that kind of multifaceted musician. Several participants performed in both the Romero Ensemble and the Charlie Christian Jazz Ensemble during the same week, often bringing both classical and electric guitars to the stage. Young players were clambering to take part, eager to study with legends across traditions — taking lessons from Pepe, Celino, and Lito Romero one day, and from Mark Whitfield or John Knowles the next. I was deeply moved by Pepe, Celino, and Lito’s stories about growing up in the aftermath of the Spanish Civil War. Though they were very poor, they described a joyful home — always filled with poets, philosophers, dancers, musicians, and artists of all kinds. It was a world where creativity and conversation flowed freely, regardless of discipline or status. At Leyenda, we are trying to recreate that joyful home — a space alive with art in all its forms, where classical and jazz guitarists, dancers, composers, and educators sit side by side, sharing the same air. When that happens, the boundaries between genres dissolve, and what remains is what truly matters: community, imagination, and joy. O.T: Looking ahead: With plans for the Leyenda Music Conservatory and expansion into other disciplines, what role do you envision for the foundation in the broader international music world—say, ten years from now? M.D: This is a serendipitous question, because at this very moment I am exploring the creation of an European headquarters for Leyenda. My goal is to bring the spirit and richness of the Charlie Christian and Celedonio Romero festivals abroad - celebrating classical, jazz, and other musical styles alongside diverse art forms under one inclusive vision. We have also launched the Leyenda Artist-First Music Label and are preparing to introduce our publishing wing — two major steps toward giving artists greater creative freedom and long-term sustainability. Alongside these, we are expanding into other disciplines, beginning with Vásquez Flamenco Dance, a new initiative that celebrates the intersection of movement, rhythm, and storytelling. There are also plans for Leyenda Film, which will focus on creating online certificate programs connected to our institutes and educational offerings. The goal is to make high-level, artist-centered learning accessible to musicians everywhere — expanding Leyenda’s reach while preserving the personal warmth and sense of community that define everything we do. ‘Access to the Arts should never depend on circumstance’ Leyenda’s educational mission continues to grow as well. Our Come Together program provides free professional development for guitar teachers of all styles, while Leyenda Spark offers free music education and opportunities to students aged 12–18. These programs embody our belief that access to the arts should never depend on circumstance. I am currently researching the process of establishing a European nonprofit and identifying a location with a strong classical and jazz heritage. I hope to help guide this next chapter in collaboration with shared local leadership. In ten years, I imagine a vibrant international network of artists, educators, and partners united by our artist-first, community-driven philosophy – a global ecosystem where creativity and collaboration transcend borders. If we succeed, Leyenda will be known not only for preserving artistic traditions, but for reimagining what a music foundation can be: a joyful, inclusive home for artists of every kind. Conclusion This is a wonderful initiative from this individual ‘overseas’ who, out of conviction—and supported by ‘the Great Artists’—attempts to bring together genres (‘worlds’ in popular literature) that usually contend with separate and segregated markets and production. In the Netherlands, it is also considered quite normal for each genre to remain isolated within its specific context. Therefore, it was refreshing to have seen and heard Matthew Denman live regarding the ‘community-driven’ dimension of Leyenda. I am inclined to revise my own views on the ‘jazz police’ or the ‘authentic guitar tradition’ once more. It was an unexpectedly valuable meeting centered around a current theme. In fact, Matthew Denman puts into practice what El Maestro does on paper. The 8th Lake Konstanz Guitar Conference was thus not a festival full of virtuoso solos, but a laboratory of ideas. At the hyper-modern University of Kreuzlingen, with a view of the Bodensee, memories, research, and future visions converged. Three days 'back to school'—and at the same time, enough to last for years to come.