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Best recordings or videos of Cante Jondo?
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Ricardo
Posts: 14797
Joined: Dec. 14 2004
From: Washington DC
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 RE: Best recordings or videos of Can... (in reply to Malthus101)
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quote:
ORIGINAL: Malthus101
Hola
I am really beginning my journey to deep-dive into Flamenco properly to see if I really do like it, or if it's just some passing fad in my head! I keep coming back to it, so there must be something there....
Anyway - I seem most drawn to the Cante Jondo. In particular: Solea, Tarantas, Minera and Granaina.
I am a guitar player so, that's my angle.
What are the recordings that I absolutely SHOULD know all about, with regard to these 4 styles? Are there many recordings for these styles even?
I am learning.
Thanks.
To be clear, the “Cante hondo” is referring to the singing specifically. If you are after the guitar playing, which was originally designed to go along with it as the specific accompaniment, the first guitar solo record by Ramon Montoya (Arte Clasico Flamenco), established the basic forms we still use as a model for guitar compositions. He had already laid the ground work for accompanying the singers for a good 30 years of recordings before that. Taking his and a few other player’s stylistic approach, Niño Ricardo and Melchor de Marchena both expanded the vocabulary of accompaniment and created the blue-prints for what players still use today. Later Sabicas, who basically learned by copying the recordings of Montoya note by note, made interesting recordings with the Dancer Carmen Amaya, whose footwork made for interesting enough audio recordings despite no visual choreography, and created a new set of blue prints that define the dance accompaniments (which although make use of cante during parts of the dance, have a very specific musical structures). Those 4 players make up the core of the tradition whether you are looking for Cante, Baile, or Guitar solos.
The forms you mention constitute but two main branch’s of flamenco, The Solea family and the Cantes Levantes. Many aficionados look at the Cantes Levantes as derivative of the FANDANGO form. The third Main branch is the Siguiriyas. While the Siguiriyas and its songs without guitar (Tonás, Martinetes, etc) might operate with a variety of extremely different tempos, the Solea style splits into new genres or forms upon specific tempo changes or ranges. For example the Buleria is directly related to Solea however takes on a new life with its fast tempo. Tangos is another example, also being in 4 count. The faster forms are often called Cante Chico to distinguish them from the “Jondo” or slower and heavier singing forms. In all honesty the faster tempos lend themselves to often more interesting, sophisticated and even “deep” guitar music. So those external labels are more about personal taste.
The modern players follow the models of the next generation (Paco de Lucia, Manolo Sanlucar, Cepero, Morao etc) and these players all did a lot to bring both Cante Chico and Cante Jondo into new patterns and models that are used still today.
_____________________________
CD's and transcriptions available here:
www.ricardomarlow.com
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