{"id":411117,"date":"2026-11-12T08:00:00","date_gmt":"2026-11-12T07:00:00","guid":{"rendered":"https:\/\/allflamenco.net\/?p=411117"},"modified":"2026-11-13T06:11:13","modified_gmt":"2026-11-13T05:11:13","slug":"juan-diego-mateos-who-he-is-and-what-flamenco-jazz-is","status":"publish","type":"post","link":"https:\/\/allflamenco.net\/en\/blog\/juan-diego-mateos-who-he-is-and-what-flamenco-jazz-is\/","title":{"rendered":"Juan Diego Mateos: who he is and what flamenco jazz is"},"content":{"rendered":"

There is a kind of guitarist who never shows up on the lists of big names, and without whom the flamenco of a particular town makes no sense. In Jerez, Juan Diego Mateos is one of them. You find him leading his own trio, sitting behind a singer in a neighbourhood club, or alone on a festival stage with a dancer. All three things are on film, and all three are in our catalogue.<\/p>\n

This article covers who he is, what he actually does when the label \u00abflamenco jazz\u00bb gets attached to him \u2014a label used a great deal and explained very little\u2014 and what you can watch of him on ALL FLAMENCO: from the complete concert to every piece on its own.<\/p>\n

Who Juan Diego Mateos is: a Jerez touch that went looking for jazz<\/h2>\n

He is a guitarist and he is from Jerez, and both facts matter in that order. He is known as \u00abthe Jerez guitarist\u00bb and \u00abthe Jerez artist\u00bb, and there is one word that keeps coming back whenever people describe his touch: elegant<\/strong>. \u00abThe elegant, personal touch of the guitarist Juan Diego Mateos\u00bb: that is how his concert is introduced. That is not filler: it is exactly what you hear.<\/p>\n

His settled line-up is a trio. Him on guitar, Luis Rom\u00e1n \u00abEl Yiyo\u00bb<\/strong> on saxophone and clarinet \u2014he plays both instruments\u2014 and Alejandro Fern\u00e1ndez<\/strong> on percussion. With that trio we filmed \u00abFlamenco Jazz\u00bb<\/strong><\/a>, at the Cloisters of Santo Domingo in Jerez de la Frontera.<\/p>\n

And there is a second place where you can hear him talk, which in a guitarist is rare and worth its weight: \u00abVivamos el Flamenco with Juan Diego Mateos\u00bb<\/strong><\/a>, filmed at the Teatro San Javier in Chile, where he explains his show with the presenter Pedro Alberto Sierra Espinosa in front of him.<\/p>\n

Flamenco jazz is not flamenco with a saxophone: it is another way of dividing the comp\u00e1s<\/h2>\n

The label goes on easily and is almost always misread. \u00abFlamenco jazz\u00bb does not mean a saxophone turns up where the handclaps used to be. It means two specific things, and in this concert’s repertoire you can point at both.<\/p>\n

The first: the harmony opens up<\/strong>. Classical flamenco rests on a handful of chords that have worked for centuries; jazz puts a far more mobile chord sequence underneath and forces the melody to travel. When that happens without the air going out of it, the falseta still sounds flamenco even though the floor has moved.<\/p>\n

The second: improvisation changes its rules<\/strong>. In flamenco you improvise inside the comp\u00e1s and inside the memory of the palo. In jazz you improvise over the structure of the tune. When a flamenco guitarist plays a standard, he has to decide phrase by phrase which of the two grammars he is obeying.<\/p>\n

That is why a trio like this cannot be summed up in a label, and why each piece of the concert is also published on its own: they are easier to hear one at a time. And if the comparison helps, there is another place on the blog where this crossing is told from the flute rather than the guitar, in the documentary \u00abTrance\u00bb, about Jorge Pardo<\/a>.<\/p>\n

\u00abRespira\u00bb: the album of his own behind three of the twelve pieces<\/h2>\n

Almost half the concert is not borrowed repertoire: it is his. Three<\/strong> of the twelve pieces come from his album \u00abRespira\u00bb<\/strong>, and they are the ones that best explain where he comes from. \u00abRonde\u00f1a y Malika\u00bb<\/strong><\/a> is the one to hear if you are only going to hear one: it is classical flamenco playing \u00abdecorated with jazz melodies\u00bb \u2014 that is, the whole ronde\u00f1a, with the jazz on top rather than the other way round. The other two are \u00abMusgo\u00bb and \u00abKundalini\u00bb<\/strong><\/a>.<\/p>\n

There is a fourth piece of his own, \u00abEsteve y aires de libertad\u00bb<\/strong><\/a>, which opens with the guitar alone before the clarinet and the percussion come in. And there is one more piece that is not his and deserves a mention: \u00abRuega por nosotros\u00bb, written by Antonio Soteldo \u00abMusiquitas\u00bb, where the guitar heads off towards classical technique and towards Latin American music.<\/p>\n

Coltrane and Charlie Parker, played with a flamenco right hand<\/h2>\n

This is where the label gets tested, because 2<\/strong> of the twelve pieces are real jazz standards, not nods to jazz.<\/p>\n

\u00abSoul eyes\u00bb<\/strong><\/a> is \u00abthe song John Coltrane made famous\u00bb. Mateos opens it alone, with a long introduction, and only afterwards do the musicians come in and carry it to middle ground. It is the piece where you best appreciate what a flamenco guitar does to a ballad: the strumming almost entirely disappears and what is left is the thumb.<\/p>\n

\"Juan
Juan Diego Mateos, in the solo introduction to \u00abSoul eyes\u00bb, from the concert \u00abFlamenco Jazz\u00bb. \u00a9 ALL FLAMENCO<\/figcaption><\/figure>\n

\u00abAll the things you are\u00bb<\/strong><\/a> goes the other way: it is \u00aba Charlie Parker version\u00bb to which the man from Jerez brings \u00aba very personal air\u00bb, and the standard comes in where flamenco lets it in.<\/p>\n

And the return journey is on film too. \u00abPuga e Iv\u00e1n\u00bb<\/strong><\/a> runs por buler\u00edas<\/strong> with jazz touches, which is the reverse operation: here the palo is in charge and the jazz decorates. Between those two pieces the whole argument about what this music is fits comfortably.<\/p>\n

Diego Pozo, the guest almost nobody expects to find here<\/h2>\n

The concert has a guest, and it is a name from another world: Diego Pozo, of \u00abLos Delinq\u00fcentes\u00bb<\/strong>. So the concert itself says, from its first line, and in three of the twelve pieces he is named: \u00abKundalini\u00bb, where he plays as guest artist; \u00abMasagua\u00bb, which he performs on his guitar; and \u00abDieguito\u00bb, where he accompanies Mateos.<\/p>\n

\"Juan
Juan Diego Mateos, in \u00abMasagua\u00bb, within the concert \u00abFlamenco Jazz\u00bb. \u00a9 ALL FLAMENCO<\/figcaption><\/figure>\n

It is the kind of meeting nobody programmes for marketing reasons, and it explains rather well what sort of musician the host is: someone who will sit down and play with a man out of street songwriting exactly as he will sit down and play a Coltrane tune. Everything about him on ALL FLAMENCO is here<\/a>, and \u00abDieguito\u00bb is on its own here<\/a>.<\/p>\n

The other Mateos: the guitarist who sits behind the singer<\/h2>\n

A concert guitarist and an accompanying guitarist are not the same trade, and few people do both well. This one does.<\/p>\n

With the dancer Bel\u00e9n Maya<\/strong> he made \u00abNi t\u00fa, ni yo\u00bb<\/strong><\/a>, from the 24<\/strong>th Festival de Jerez. That is exactly what it is: he \u00abcreates a musical atmosphere\u00bb and she performs it with her body. A guitar-and-dance show, with no singing, held up by two people.<\/p>\n

And then there is the less showy and more revealing work: he also plays guitar behind the singer Momo Moneo<\/a> at the Pe\u00f1a Flamenca Los Cern\u00edcalos in Jerez \u2014fandangos, seguiriyas, sole\u00e1 and tientos tangos\u2014 with Jos\u00e9 Rubichi and Manuel Cantarote on handclaps. There is no open harmony there and no standards: there is a pure guitarist accompanying a voice from the San Miguel quarter. It is the same man.<\/p>\n

\"Juan
Juan Diego Mateos, playing accompanying guitar at the Pe\u00f1a Flamenca Los Cern\u00edcalos in Jerez. \u00a9 ALL FLAMENCO<\/figcaption><\/figure>\n

All of Juan Diego Mateos on ALL FLAMENCO<\/h2>\n

It is all together on ALL FLAMENCO<\/a>: the complete concert, its pieces published separately, the conversation of \u00abVivamos el Flamenco\u00bb, and the performance with Bel\u00e9n Maya from the 24<\/strong>th Festival de Jerez.<\/p>\n

If you want somewhere to start, there are two sensible doors: \u00abVivamos el Flamenco\u00bb, to get your bearings fast, or the ronde\u00f1a and then the whole concert.<\/p>\n

The rest \u2014the festivals, the neighbourhood clubs, the full concerts\u2014 is in the ALL FLAMENCO catalogue<\/a>, and to watch it all you just need to subscribe<\/a>.<\/p>\n

Where to watch it on ALL FLAMENCO<\/h2>\n
\n
\n

\n\"Still<\/span>
\nJuan Diego Mateos Tr\u00edo. "Flamenco Jazz"<\/strong>
\n<\/a><\/div>\n

\n\"Still<\/span>
\nVivamos el Flamenco with Juan Diego Mateos<\/strong>
\n<\/a><\/div>\n

\n\"Still<\/span>
\n"Esteve y aires de libertad" (Esteve and airs of freedom). Juan Diego Mateos Trio. "Flamenco Jazz". Claustros de Santo Domingo<\/strong>
\n<\/a><\/div>\n

\n\"Still<\/span>
\n"Ronde\u00f1a and Malika". Juan Diego Mateos Trio. "Flamenco Jazz". Claustros de Santo Domingo<\/strong>
\n<\/a><\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Who the Jerez guitarist Juan Diego Mateos is, what his flamenco jazz trio plays, and what there is of him in the ALL FLAMENCO catalogue.<\/p>\n","protected":false},"author":9,"featured_media":411709,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_af_refresco_fecha":"","_af_refresco_destino":0,"footnotes":""},"categories":[138],"tags":[],"class_list":["post-411117","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flamenco-culture"],"yoast_head":"\nJuan Diego Mateos: who he is and what flamenco jazz is<\/title>\n<meta name=\"description\" content=\"A guitarist from Jerez. A concert where Coltrane and Charlie Parker sound like buler\u00edas. 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A concert where Coltrane and Charlie Parker sound like buler\u00edas. This is what flamenco jazz is.","breadcrumb":{"@id":"https:\/\/allflamenco.net\/en\/blog\/juan-diego-mateos-who-he-is-and-what-flamenco-jazz-is\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/allflamenco.net\/en\/blog\/juan-diego-mateos-who-he-is-and-what-flamenco-jazz-is\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/allflamenco.net\/en\/blog\/juan-diego-mateos-who-he-is-and-what-flamenco-jazz-is\/#primaryimage","url":"https:\/\/allflamenco.net\/wp-content\/uploads\/2026\/09\/juan-diego-mateos-guitarra-1920x1080-all-flamenco.jpg","contentUrl":"https:\/\/allflamenco.net\/wp-content\/uploads\/2026\/09\/juan-diego-mateos-guitarra-1920x1080-all-flamenco.jpg","width":1920,"height":1080,"caption":"Juan Diego Mateos in \u00abRonde\u00f1a y Malika\u00bb, Juan Diego Mateos Tr\u00edo (Cloisters of Santo Domingo, Jerez). \u00a9 ALL FLAMENCO"},{"@type":"BreadcrumbList","@id":"https:\/\/allflamenco.net\/en\/blog\/juan-diego-mateos-who-he-is-and-what-flamenco-jazz-is\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/allflamenco.net\/en\/"},{"@type":"ListItem","position":2,"name":"Juan Diego Mateos: who he is and what flamenco jazz is"}]},{"@type":"WebSite","@id":"https:\/\/allflamenco.net\/en\/#website","url":"https:\/\/allflamenco.net\/en\/","name":"ALL FLAMENCO","description":"El canal para los amantes del flamenco","publisher":{"@id":"https:\/\/allflamenco.net\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/allflamenco.net\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/allflamenco.net\/en\/#organization","name":"ALL FLAMENCO","alternateName":"AF","url":"https:\/\/allflamenco.net\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/allflamenco.net\/en\/#\/schema\/logo\/image\/","url":"https:\/\/allflamenco.net\/wp-content\/uploads\/2023\/09\/logo-allflamenco.jpg","contentUrl":"https:\/\/allflamenco.net\/wp-content\/uploads\/2023\/09\/logo-allflamenco.jpg","width":696,"height":696,"caption":"ALL FLAMENCO"},"image":{"@id":"https:\/\/allflamenco.net\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/allflamenco","https:\/\/x.com\/all_flamenco","https:\/\/www.instagram.com\/allflamenco","https:\/\/www.pinterest.es\/allflamenco\/","https:\/\/www.youtube.com\/@ALLFLAMENCO","https:\/\/www.tiktok.com\/@allflamenco"]},{"@type":"Person","@id":"https:\/\/allflamenco.net\/en\/#\/schema\/person\/2150c4088efe5360f19f157ceff31600","name":"ALL FLAMENCO"}]}},"_links":{"self":[{"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/posts\/411117","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/comments?post=411117"}],"version-history":[{"count":13,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/posts\/411117\/revisions"}],"predecessor-version":[{"id":412128,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/posts\/411117\/revisions\/412128"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/media\/411709"}],"wp:attachment":[{"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/media?parent=411117"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/categories?post=411117"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/allflamenco.net\/en\/wp-json\/wp\/v2\/tags?post=411117"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}