Many critics and audiences consider Flavio Sala as the most outstanding guitarist nowadays. The Italian born virtuoso is in the words of Venezuelan maestro Alirio Díaz “the new Paganini of the guitar…” One only has to listen to his two most recent outings to be convinced of such strong statement to find out it isn’t a mere comment or testimonial.

At 27, he’s collaborated with a vast group of astonishing musicians both from his native Italy and the rest of the world. Venezuelan flutist Huáscar Barradas and pianist Otmaro Ruíz are among those from abroad. Likewise, legendary saxophonist Jorge Pardo, bassist Carles Benavent, and once Miles Davis and often David Sanborn’s bassist Marcus Miller among many others. Flavio’s album “Mi Alma Llanera is entirely devoted to Venezuelan music. His clear affection for the late composers Antonio Lauro, Rodrigo Riera and Vicente Emilio Sojo is stated in this recording he’s entitled “Mi Alma Llanera” (2008). The album showcases 23 pieces from a demanding repertoire to which the virtuoso has added Pedro Elías Gutierrez’s Alma Llanera, a song considered as the second national anthem in the south American country. The album also presents de immortal tune “Caballo Viejo” penned by Simón Díaz, one of Venezuela’s top traditional composers. It also features songs by composers Benito Canónico, Alfonso Montes and Ignacio “Indio” Figueredo.

Flavio’s most recent recording “De La Buena Onda” (2010), Spanish for “From The Good Vibe”, showcases 19 musicians and 13 tunes from the jazz, classic and flamenco music worlds. The album, produced by Flavio himse lf, features classics like Andrea and Ennio Morricone’s “Cinema Paradiso”, John Williams’s “Schindler’s List” and Carlos Gardel’s “Volver”. He also takes from legendary Brazilian composer Pixinguinha on “Um Zero” and jazz icons Michel Camilo and Pat Metheny. The virtuoso highlights classical composers Ravel and Rossini with the “Adagio Assai” and the overture from “La Gazza Ladra”.

Flavio’s charming attitude and unquestionable control over each piece, whether classical or popular, speaks of his ample vision towards music. His impeccable technique and modulation are two of the most relevant elements in the interpretations of the most demanding and subtle tunes. When too many interpreters of guitar music relay on technique, it is Flavio’s candor that brings us closer to his playing. Flavio’s clear passion for Venezuelan waltzes, joropos and songs have surprised Venezuelan audiences who are quite demanding when it comes to guitar music. Flavio embraces the music of the world with humbleness and love, but most of all without the arrogant attitude often found in classically trained guitarists.