estebanana -> RE: Can a white man play the blues? (Apr. 30 2021 9:58:36)
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quote:
ote: I know you guys are being polite, but you know exactly what I mean about the difference. Of course I know the difference. There are also good and bad accompaniment. In this case you are making an assumption based on absence of evidence. I personally only know what I have seen, and as I said “solista” covers it imo. And about certain solistas that bring dancers and singers on tour, sorry that is not the same as being an accompanist. Honestly the only solistas I have seen presenting their show correctly was moraito w Merce and nuñez with Linares ... at least here in USA. As a contrast Sanlucar also brought Linares, total opposite way that was presented. Antonio Rey was with the Farrucos a long time ago, but he was not yet a solista, though he had an album Ok, fair enough, and of course I know that you know that I know you know how to distinguish. The question or the challenge was posed not by me, but by someone else, so the burden of evidence isn’t on me, I merely asked the question be followed up. The person who said asking if a white guy can play blues is like asking us Grisha plays flamenco. That’s a statement that deserves scrutiny because it’s not a simple comparison. But there we worked through it, and you pretty much split the baby by application of Solomonic wisdom saying that flamenco guitar SHOULD in part be judged by value of accompanying knowledge and playing, but some soloists qualify by other criteria within some flamenco framework. And, yes I’ve seen more of those espectaculo block buster shows than I care to admit, and didn’t deeply enjoy them or feel flamenco edified by them. Some are presented better than others. I suppose I’m lucky for spending a lot of time in the Bay Area where small venue flamenco with cante taken seriously. Many singers from Spain have been brought by Yaelisa, Tania, and other dancers, plus the times David Serva came with Pepe Torres and people from his circles, and Nina Menendez bringing many singers for concert series that were exclusively cante without baile. I saw Agujetas twice in Berkeley for example. The list of small company flamenco that’s passed through SF is legendary, including the show in SF in the 80’s that had Farruco and Fernanda for six weeks at a stretch. For me the purpose of a big show coming to town is so you can go to the dinner after the show and not get drunk so you can go with the artists to someone’s house after the dinner and get them comfy enough to maybe begin to sing to ten people after midnight or 2 am. The big show pays them well enough to go on tour, but it can also if planned correctly mean that a core of aficionados can get a few nights of juergafucation and plan an actual paid juerga ( I’ve paid 80 bucks myself on occasions to get Pepe Torres to dance for 20 people in room, I’d pay a hundred easy and more) right. So when these rare things are going to happen and you plan and work with concert promoters and dancers to set aside down time for artists to visit and do a well paid private juerga, you don’t need any solo guitar... except that time Pepe Torres sat in my friend’s kitchen with a few guys and played toque from everyone in his family, it the night...... For me that’s why I’m interested in distinguishing between the various kinds of careers and differences. I want the small room flamenco to stay alive because people NEED to know the difference and learn to pay for those close encounters or be extremely thankful when they happen spontaneously.
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