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He has already had his concert career: he started off giving solo performances when he was 14. After a while he turned to accompaniment.
The best group I ever saw was Daniel on guitar for Pansequito and Aurora, with Bobote and El Electrico on palmas. He played in a quite subdued traditional style for Pansequito and quite the opposite for Aurora. Everyone in this group had amazing compas.
thanks for the info guys. I love his playing and his alobum Pozo y Caudal is great. I think he has the fastest picado and intensity but lacks the power and sound that Paco gets. Also, If you notice Daniel has a strage position for his right hand when he plays scales. His right hand thumb is next to the treble strings he is playing.
Nino de pura puts the thumb on the treble strings too when he plays on the first or second string. A really rare technic, but he does it perfectly. Pacos picado sounds so hard coz of the setings of the recordings. Nino de puras album is much edited, too. You cant hear the original sound of their picados. Its too much electronically changed. I like Nino de Puras picado much more than Pacos.
I think Niño de Pura is great but as far as his picado goes, he does not get the agressive picado like Paco does. I highly disagree that Paco's picado sounds the way it does because of his "recording settings". Paco has a tremendous amount of strength and control in his hands, justs as Gerardo Núñez does.
Hello! I just listened to Niño de Pura´s recording that I have. To me his picado is not on the same level as Paco's. Granted, he pretty much has the same speed, but Paco's has a lot more control to it. In Paco's picado every note is equal to another, loud and clear, and when he does accidentally miss a note, it's a big event. The same can´t be said about Niño de Para´s picado: the notes are not very even, and he misses a lot. OK, maybe I have a recording that isn´t the best. Any recommendations from the fans?
Yes it could be that Im wrong. But Gerardo plays very silent. He takes the profit of a good technical equipment. That doesnt mean that hes bad. No hes one of the most advanced players maybe the player with the best technic, but I think that its only possible to do all these technics so fast and brilliant when you play more silent. I have a video of a concert from 05 where paco plays at a jazzfestival in germany. The camera shows his right hand very colse fom the right side. You can perfectly see how he does the picado and all other technics. He plays so creamy that he nearly dont touch the strings. Not hammering like in his past. Maybe in past it was fasion to play like a disel-machine, today they play more silent that they can shape each note. -->(IMO)<--
hmm..it depends on everyons flavour... For me Nino de Pura has the best sounding picado on his actual disk pozo y caudal. Its smooth, clear, not to agressive, its very nice. It fits perfect in his compositions. I mean ok.. he uses it very much, but he uses it in a musically way. Not just bursting a hard passage in a composition as Paco and so many others often did it. Dont understand me wrong. Paco is really great, but I like other players more.
Ups I was loged out. The text above is my modest opinion. Best wishes, Doitsujin
Grisha, your a big Paco-fan right? I can understand your opinion. But i think with Paco many people overdraw the stories about him. Hes great. But others, too.
Doitsujin, you got me!!! I really like Paco. I still think that his picado from the 70s was monstrous. But let me tell you from experience that non-agressive, round picado is a bit easier to play. It's faster and you don't get tired.
one of the main reasons i like flamenco is the aggressive picado, which is very characteristic for flamenco to me. i can not find anywhere else this specific style of playing single-notes. to show what i would consider round/aggressive: zyryab is played round. la barrosa is very aggressive i would say. could you imaginge la barrosa having the same expression with a less aggressive picado? hm... i doubt it.
hmm.. Ok grisha outed himself beeing a Paco-fan. I out myself, too. Im a very big Nino de Pura-fan. But my picado is crap... Hey one year ago I was on his concert. Im lucky. hehe It wasnt big promoted. It was a coincidence that I heared that he´ll give a concert in my range. Im impatiently waiting for his next CD. But I think I have to wait a looong time.
Ivan, I'll post a sample in the uploads section at some point. But I need to record it first.
Doitsujin, I have a friend at the school who can play 2-octave c-major scale at 240, back and forth, back and forth... And he always says that his scales suck! You are in a good company!
As far as Nino de Pura's picado, I studied with Tino van der Smaan in Sevilla for a short while, and Nino de Pura is Tino's teacher. Tino persuaded me to try Nino de Pura's technique, and you can imagine he knew it pretty well. Basically the main thing is that the thumb is not braced on the strings, but hangs loosely but in contact with them. The term he used is "to caress" the strings.
Another student at this school also studied with Nino de Pura, and he claimed his technique was "perfect"--whatever that means... he also said that you use your shoulder muscles a lot to move up and down, and that Nino de Pura's shoulder was very strong. Apparently he is a bit of a fitness fanatic and is always running and working out. "Fartlet", one of his songs, is a workout technique...well you Europeans are more familiar with that I'm sure.
And I think the best recorded flamenco picado is that of Paco de Lucia "En Vivo Desde El Teatro Real". To me, this is the most aggressive, precise, soaring, and majestic picado. Grisha does an outstanding rendition of Paco's Fandangos from Fuente y Caudal, which is also played on this live album.
To me i find that more rounded picado can still be musical and fast and impressive where agressive picado says : "Stop what you doing , it dosent mattaer whats happening in the song check out my speed and i am loud too :-)" ok now back to the melody.
I am not saying one is better than the other i am just saying thats the impression the 2 techniques leave on me.
Rounded, fast but flowing still in context with the melody
Agressive is all about attention grabing, showing off, standing out from everyone else you might be playing with.
At the same time its alot easyer to overuse the Agressive one because it stands out alot more.
I think they both good techniques and u should use them according with your musical requirements. I think is inapropiate to be playing a soft silencio for a alegria that has picado runs trough it and everytime you get to the picado run part you lett it ripp loud and agressive and then you go back to the soft melody
Both are very cool. I think the second falseta with a round picado wouldnt have the same effeckt like an agressive picado. And Ninos sample with an agressive picado wouldnt be good, too. hmm.. It maybe depends on which composition you play, where a round or an agressive picado would fit better.
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