eslastra -> RE: Did anybody watch Niño Jero? (Jan. 11 2005 0:28:22)
|
quote:
ORIGINAL: Ron.M quote:
It's very difficult to fully emulate the full 'rock', 'r&b', 'jazz', or 'flamenco' experience totally alone I appreciate what you are saying there Eddie, but what I was talking about was just Niño Jero playing with a singer. No others involved, so when he played a falseta, he was just on his own. That's why I said that even stroking a single chord it was charged with "flamenco". When I played the same chord it was not the same. Not even close. Why? I have a feeling that even the amazing Vincente Amigo feels a bit of discomfort hearing those sort of players in the same way that maybe Eric Clapton feels when hearing some of those great Delta Blues players with their roughly tuned guitars giving it heavy thumb with a little bit of tasty fingerwork compared to his own practised and refined stuff. It's not a sound that's easily copied, although seems easy enough. Remember perhaps Niño Jero plays that way because he likes the sound and not because he's not a good enough player to play lightning picado. And when you play that simply for so long, then after decades you start to become a master of the "sounds inbetween the sounds" that makes his style and tone so difficult to imitate? cheers Ron Ron, Just trying to share my 2 cents worth FWIW [;)] I had to reread the entire thread to make sure I didn't misunderstand it. Similar to what you were saying, I was just trying to say too that there is a certain 'magic' I've observed that occurs when certain artists 'connect' that transcends technical perfection and musical style. It's that type of impact you can be hit with and be willing to 'forgive' the imperfections in exchange for 'fulfillment'. I'm one that is more impressed with this aspect of a performance rather than technical capabilities. If I want to listen to technical perfection, I put on a CD recording. I think that is a different type of listening pleasure. In the example of Nino Jero, I don't see him or any cante accompanist as being totally on his own when playing a falseta, because he's drawn in a certain feeling from accompanying the singer and in response, his falseta is enhanced by this feeling. A good singer can really inspire and reach parts of the soul that an instrument can't. So even though it's the same old falseta he's played for years, just at this moment in time, there will be something a little different about it. As you say, it's been 'charged'. And what I was trying to say was that is something that can't be easily duplicated because it belonged to them at that moment. I think we understood the same thing, but from different angles? Forgive me for rambling [:(]
|
|
|
|