Ricardo -> RE: Paco de Lucia's Performance in Washington, DC (Apr. 21 2012 23:12:23)
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Humberto doesn't have a problem with outside influences, but he objects when a particular palo loses its "essence". A good example is the recent trend of speeding up siguiriyas. Personally, I understand why flamenco guitarists do it and HOW exactly they are innovating... and so does Humberto... but he believes that doing this makes it sound like a slightly modified bulerias. More specifically, he thinks that this is not doing justice to the song and dance upon which the palo was based. Humberto also takes issue with particular accents in bulerias -- for example, a bulerias that is primarily counted in sixes is eerily similar to a rumba, and loses the "punchy" feeling of the classic accenting, or even more funky accents. Forgot I wanted to address this point earlier. I agree with his concern regarding the palo identities. Especially now a days guitarists searching for new tonos and sounds biting their own tails with levante sounding siguiriays and solea etc. In other words, the lines between the forms are blurring now we have every palo interpreted for example, in D# phrygian. It for sure takes away a bit of the "essence" that Humberto refers to, for me anyways, and it is a matter of taste if the player choses to take care with clever voicings to "remember" the old toque por medio or whatever...which has been done successfully IMO. PDL's buleria por solea is a perfect example...it runs a dangerous risk being all in the Taranta key plus some brief modulations, not sounding like solea AT ALL. But he was careful in a couple little spots to make it sound "por medio", yet it is still a tricky thing. In defense of modern players having fun with tonos accompanying cante too, I remind of Montoya accompanying Chacon. Most of his malagueñas were accompanied POR TARANTA...meaning what we think of the proper "aire" was not clearly distinguished even for cante accomp....even BACK THEN!!! Also the Cartegeneras and some other cantes were accompanied por "granaina" toque...another strange thing where even nowadays, there might be complaints the guitar is not giving the proper "aire" for the singer of form if that was done. Anyway, the reasoning of Payo regarding COMPAS issues, I am sorry I disagree totally and don't feel like going into why right now. People get real sensitive regarding compas topics, but in general I find people are more comfortable with rhythms they are familiar with, and the more increasing complex level of rhythm and timing can be a quick turn off in terms of taste. As in Arashes example, if he admits or not, repeated listening IS deeper understanding or more thorough learning of the subject. Also why do the deeper listening if you don't like something? Perhaps because others advise it and you trust their opinion? What is wrong with accepting the fact that a BETTER understanding OFTEN (not always) effects the tastes as well. In other words, the more you understand about it, the more you probably will like it or at least APPRECIATE it. The main reason is because in general, people DON"T want to learn...it's that simple. Or afraid that with more exposure to the unfamiliar MIGHT make them lose their love for their current favorite things that bring joy and comfort? Like eating more and more spicy food, suddenly the old favorites are a bit bland. That is why most folks stay where they are at and are happy about it. Laziness plain and simple. I am no different myself, but at least I acknowledge it. Except at it's most superficial levels, flamenco is always a challenge for the listener. I want to challenge myself too, but it gets harder as time goes on, I have to return to my old "favorites" often after venturing out. I don't want to force anybody to "like" what I like. But, I don't think it is fair for a lot of people in general to say something is NOT flamenco just because they DON"T like it. For me Harmonica is like seasome street....sounds like hillbilly music from my neck of the woods. The most bland awful un exotic or sweet sound I can think of....But the guy plays FLAMENCO falsetas on the thing, with such an understanding of compas and form....tons more soniquete then the critics will EVER have or ever be able to express in anyway. I don't like the sound but I can't in good conscience sit here and spout off that it is NOT flamenco, when to my heart of hearts I know darn well what he is playing.
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