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RE: SABICAS CENTENNIAL
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BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
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 RE: SABICAS CENTENNIAL (in reply to Guest)
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quote:
That said, Ricardo is nowhere as clean a them and that is why Paco was inspired by Sabicas.
Not to diminish any inspiration Paco may have received from Sabicas, but, in fact, early on Paco was heavily influenced by Nino Ricardo.
Cheers,
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
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Date Apr. 15 2012 17:30:14
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BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
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RE: SABICAS CENTENNIAL (in reply to Ricardo)
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quote:
The main "fear" like many many other flamencos in history, was the fear of flying.
Sabicas's fear of flying continued during his long sojourn in the U.S. I don't think he ever flew in an airplane while living in the U.S. Unfortunately, fear of flying limited his travel and exposure to many who would have otherwise associated flamenco guitar with Sabicas, rather than with Carlos Montoya, who, of course, flew all over for concert dates.
Cheers,
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 15 2012 17:37:38
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zata
Posts: 659
Joined: Jul. 17 2003
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RE: SABICAS CENTENNIAL (in reply to Ricardo)
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quote:
at the time Paco met Sabicas (based on his first solo guitar short record of 1964) he was already playing circles technique wise around BOTH guys.
When I was studying with Mario Escudero, one day after the class he told me to come to the studio the following evening, there was a guitarist he wanted his friends to see. I asked who, he told me the name, it meant nothing, I told him I didn't feel like coming (I was a youngster, I wanted to spend time with friends), but he insisted in a way that made it clear I was to be there, period.
I got to the studio...about 20 people or so were there, a lot for the small studio. There were no chairs, so we all stood in the cramped space while Paco, sitting in one corner, nearly in the dark (Mario had the walls painted dark blue) played two or three pieces.
Yes...he was absolutely astonishing. None of us had ever heard anyone play with that precision, clarity and flamenconess all so perfectly combined.
There are also well-documented accounts of Paco's meeting with Sabicas in which the old man paled when he heard Paco play, and his own hands trembled when he took the guitar to play for Paco.
_____________________________
Estela Zatania
www.deflamenco.com
www.expoflamenco.com
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Date Apr. 15 2012 18:55:25
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zata
Posts: 659
Joined: Jul. 17 2003
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RE: SABICAS CENTENNIAL (in reply to Paul Magnussen)
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quote:
There’s more to technique than just fast runs. There are some fairly nasty mechanical noises on some of Paco’s early albums — the Lorca one for example. You never heard that from Sabas.
Some of you may remember the fine guitarist Eddie Santiago from New York, later stationed in New Orleans. He was THE Sabicas admirer, he lived, ate, drank and breathed Sabicas, and knew nearly all the material. I remember when Paco appeared, he would regularly come to my house amazed, depressed, surprised, confused at how Paco was...well...better than Sabicas. At first he was measuring their respective picado speeds with a metronome, but that scientific folly soon gave way to his reluctantly acknowledging "the king is dead, long live the king".
(Not related to the Sabicas discussion... Eddie cut off the tips of two fingers on his left hand with a circular saw when he was working at Juan Orozco's guitar shop. The fingers were somehow repaired, and after a very long recuperation period, Eddie was again able to play).
_____________________________
Estela Zatania
www.deflamenco.com
www.expoflamenco.com
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Date Apr. 15 2012 20:29:39
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BarkellWH
Posts: 3458
Joined: Jul. 12 2009
From: Washington, DC
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RE: SABICAS CENTENNIAL (in reply to BarkellWH)
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I just discovered an interesting and odd phenomenon in the liner notes on the cover of one of my old Sabicas vinyl LPs, entitled "The Artistry of Sabicas." It was produced by the recording division of MGM, and it must be dated about 1961 or 1962. It has some very good pieces, all listed as composed by Augustin Castellon. What is interesting and odd is the liner notes read as if Augustin Castellon and Sabicas are two different individuals. Here is a direct quote from the notes: "Sabicas turns Augustin Castellon's compositions into masterpieces of imaginative shading."
I can only think that the MGM PR folks must have thought that to identify Sabicas by his real name would somehow dilute the mystery and "exotic" quality of Sabicas as a "gitano guitarrista." That's just a guess, but why else would they write it up as if the two were separate individuals?
Cheers,
Bill
_____________________________
And the end of the fight is a tombstone white,
With the name of the late deceased,
And the epitaph drear, "A fool lies here,
Who tried to hustle the East."
--Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date Apr. 16 2012 20:37:53
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