Welcome to one of the most active flamenco sites on the Internet. Guests can read most posts but if you want to participate click here to register.
This site is dedicated to the memory of Paco de Lucía, Ron Mitchell, Guy Williams, Linda Elvira, Philip John Lee, Craig Eros, Ben Woods, David Serva and Tom Blackshear who went ahead of us.
We receive 12,200 visitors a month from 200 countries and 1.7 million page impressions a year. To advertise on this site please contact us.
|
|
|
Canorotto Bulerias Duo
|
You are logged in as Guest
|
|
Users viewing this topic: none
|
|
Login  | |
|
   
Arash
Posts: 4495
Joined: Aug. 9 2006
From: Iran (living in Germany)
|
 RE: Canorotto Bulerias Duo (in reply to flybynight)
|
|
|
Cano Roto is gypsy part of a district of madrid.
El Viejin
Jesus de Rosario
Ramon Jimenez
El Entri
David Cerreduela
Jeronimo Maya
etc.
All these guys are from that area.
What exactly is Cano Roto school? I don't know.
Some modern concepts, jazzy chords, some innovative technical details maybe, harmonics, altered tunings, etc.
But actually its kind of a mix of many different styles and music ideas imo and i am not sure if they
developed any new revolutionary concept like Paco. Seams to me like they got influenced by others
(paco, tomatito, gerardo, etc.) and added some of their own distinctive style characteristics.
Acc. El Viejin, it all started with his uncle Nani which he then developed to Cano Roto school.
Well, they love bulerias, tangos, Rondena - if you compare the number of palos they mostly play.
Fandangos de Huelva is not their no.1 favourite palo obviously.
But here is one from El Viejin
You get an idea:
(scroll down, click download)
http://www.sendspace.com/file/npbvzf
_____________________________
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 5 2010 11:13:54
 |
|
mark indigo
Posts: 3625
Joined: Dec. 5 2007
|
|
RE: Canorotto Bulerias Duo (in reply to NormanKliman)
|
|
|
quote:
What defines Cañorotto style - I can only see (<-- no expert) a focus on technical fluency, speed, accuracy and agression. Am I missing something ?
it's just modern flamenco isn't it? That's the way I hear it. But maybe as the later post from Norman shows, the players from this area and scene helped to influence create the modern evolution...
quote:
I can see how this style suits bulerias, but Fandangos de Huelva ? Doesn't something of the essence of FDh get lost ? eg. does FDh really benefit from such a sharp attack on the picado ?
what about PDL FDH like Aires Choqueros, or even the one he recorded before Punta Umbria, or the later ones Castro Marin and Montiño?
quote:
El Nani was influencing the other players
don't forget what Enrique De Melchor said about El Nani;
"When my father worked at "Los Canasteros" there was a guy there that played really well, called "El Nani". We all knew him. When I saw him I was really impressed with his playing. He asked me, "Aren't you going to play like your father?". I just played a little, practically nothing. So I said, "I don't know. I'm studying." So he showed me a falseta and I was hooked."
also that not long after Enrique toured with Paco;
"I was at Los Canasteros, and I used to study a lot. I remember one night Paco de Lucía came by and liked my playing. He was just starting out back then, working around Europe, and he was also very young. He suggested doing concerts together, and I learned a lot with him. We spent a year traveling all over the world, I learned a lot."
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 6 2010 8:47:07
|
|
mark indigo
Posts: 3625
Joined: Dec. 5 2007
|
|
RE: Canorotto Bulerias Duo (in reply to Ricardo)
|
|
|
quote:
In Rito you can see melchor and Enrique together. Enrique was just a kid, teenager, Paco was was well established and his style solid. Enrique was obviously copying Paco's style by that time.
What date is the rito vid?
Enrique De Melchor was born in 1951, Paco in 1947, so Paco is only 4 years older than Enrique.
Enrique says in the interview/article that he was about 15 at the time he met El Nani, so that would have been about 1966. This was before he played alongside Paco, so it's likely that El Nani influenced Enrique in some way, however small, before Paco influenced Enrique, and it is possible that Enrique passed on to Paco anything he got from Nani.
The influence of PDL on pretty much everyone is immense and possibly unquantifiable, but i don't think that makes him the "only innovator in the flamenco guitar", or the only influence on the Cañoroto guys. Paco must have been absorbing influences like a sponge from anyone and everyone around him back in the sixties, and wasn't Paco himself influenced by the Gerardo/Riqueni/Manolo Franco generation?
|
|
|
|
REPORT THIS POST AS INAPPROPRIATE |
Date Sep. 6 2010 17:52:22
|
|
 New Messages |
 No New Messages |
 Hot Topic w/ New Messages |
 Hot Topic w/o New Messages |
 Locked w/ New Messages |
 Locked w/o New Messages |
|
Post New Thread
Reply to Message
Post New Poll
Submit Vote
Delete My Own Post
Delete My Own Thread
Rate Posts
|
|
|
Forum Software powered by ASP Playground Advanced Edition 2.0.5
Copyright © 2000 - 2003 ASPPlayground.NET |
0.09375 secs.
|
Printable Version
