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RE: Most Underrated
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Ricardo
Posts: 14966
Joined: Dec. 14 2004
From: Washington DC
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RE: Most Underrated (in reply to runner)
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quote:
ORIGINAL: runner If ever there was an area where "it is all a matter of taste", it would involve favorite guitarists. For instance, most everyone likes (or says they like) Manuel Morao as an accompanist, but, for me, there are just too many notes! I listen to Morao accompanying Aurelio de Cadiz on the Mairena anthology, when Aurelio's voice was perhaps at its peak of expressiveness, and the poor man is buried alive under Morao's torrent. I think: how great would it have been had Aurelio been supported by someone like Pedro Soler or Roman el Granaino? Donn Pohren made this same observation about Morao years ago; it's certainly not new with me, but the lesson is clear: give me guitarists like Perico el del Lunar, Paco Aguilera, Paco del Gastor, Antonio Arenas--the list is long-- who earned their daily crust by working closely with the cantaor(a) to most effectively draw out the essence of the cante. What else is flamenco guitar for?
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CD's and transcriptions available here: www.ricardomarlow.com
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Date Jul. 1 2013 13:12:18
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estebanana
Posts: 9396
Joined: Oct. 16 2009
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RE: Most Underrated (in reply to runner)
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quote:
I might as well continue down the path of mild (wild?) heresy that I began to tread when stating that Manuel Morao was not well suited to accompany Aurelio (or anybody?)--regarding Morao and La Paquera, I much prefer the team of Juan Maya and Manolo Sanlucar as La Paquera's partners. I feel that Morao did Terremoto no favors either as his accompanist, by essentially enabling the tempestuous Terremoto, when a more controlled, restrained guitarist might have helped Terremoto to better harness and direct his energy (but I could be wrong!) Regarding more recent accompanists, I find Antonio Gomez accompanying Rosario Lopez to offer an interesting, more "modern", toque. I agree with Estebanana about Juan Carmona "Habichuela"; I like Ricardo Miño's playing also. Playing the heretic is a good thing in flamenco. I love to say something outrageous about this or that guitar player and piss off the disciples, then go to my iTunes in the shop and listen the player I just dissed. I have tried for many years to love Sabicas, and I just can't. The reason why is because after you hear modern Jerez players por bulerias nothing sounds better. Sabicas does not swing bulerias like that wonderful Jerez groove, or for that matter the kind of groove they do in Lebrija or like Paco, Tomatito and the other boys in that way. Once you hear that, how can you go backwards? For me, Buleria, Solea and Siguiyira are really the only things going on. The other toques are just to make space and take you away from solea, buleria, and siguriya long enough for you to miss them and wish someone would stop dancing that retarded happy alegrias so the singer would sing solea. The only thing that really is a good distraction from the main three are an ass kicking well sung tangos or martinete. And if the guitarist melts your face with alzapua in tangos and the singer is good, it is almost as good as a dancer doing delicious extra sixes in fiesta por buleria. When I think this way Sabicas seems like a dusty encyclopedia full of Fernando Sor exercises played por solea. Nino Ricardo was better. Feel the hate flow though you Luke, come to the dark side, I am your father.
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Date Jul. 2 2013 1:45:12
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runner
Posts: 357
Joined: Dec. 5 2008
From: New Jersey USA
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RE: Most Underrated (in reply to RobJe)
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RobJe: "I think that Pohren's criticism of Morao shows a rather narrow outlook on flamenco." Please elaborate on that; it is not at all clear what you mean. I think we all have rather narrow outlooks on flamenco--we all have likes and dislikes. Exception: there are those who like, or say they like, "everything" that they choose to call flamenco--"It's All Good!". Hard to have a discussion with such. A fantasy for Ricardo: Terremoto and Morao have worked one another into frazzles, goading each other into frenzies of superheated "emotion". They are both drained, and Morao goes home tired but satisfied, leaving Terremoto still restless and feeling a new, deep emptiness within that he must find expression for. He stumbles in the late evening darkness into La Zambra, where he finds Perico alone, picking a few notes on his guitar--his trademark, spare, world-weary three-o'clock-in-the-morning toque filling the sad cafe. Perico senses Terremoto's need, invites him to his side, and begins to draw out from Terremoto the true, deep anguish within...... Siguiriyas, Soleares, Bulerias..... I think the hardest of the three to get across convincingly is bulerias; there are few that I find wholly satisfactory, compared with successfully executed siguiriyas and soleares. And, after so much emotional Sturm und Drang; it is often very pleasant to just sit back and enjoy the special pleasures and delights of well-sung and -played malaguenas, fandangos, cartageneras, tarantas. Maybe it is all good!
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Date Jul. 2 2013 14:47:16
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runner
Posts: 357
Joined: Dec. 5 2008
From: New Jersey USA
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RE: Most Underrated (in reply to RobJe)
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I have a lot of respect for Donn Pohren: he talked the talk and walked the walk; he knew a heck of a lot about flamenco, and he was a man of decided opinions about what he liked (what he thought was real/good/authentic flamenco), and what he didn't. He knew his own mind. He was definitely not one of your "everything that is, or says it is, flamenco, is good" people. This does indeed make him a man of narrow views. But Pohren always tells you where he is and why he does or doesn't like this or that artist or practice--this is (my view) A Good Thing. I know I certainly do not agree with all of his notions, but over the years I've found him an excellent guide. We must also not forget Pohren's role in bringing knowledge of flamenco into the non-Spanish-speaking world, and in bringing a whole generation of young foreigners to Spain (especially to Morón) to become immersed in this amazing art. RobJe: I think we agree--you, me, Donn Pohren--that accompanists are indeed the unsung heroes, and it is always heart-warming to see and hear the singers and dancers express their appreciation for their guitarist(s).
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Date Jul. 3 2013 0:29:05
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