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Raimundo -> RE: Paco Cepero (Sep. 18 2007 6:10:35)
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quote:
Oh, would someone please translate the interview. Please
I can understand some of it but most of it not. And it seems very intersesting.
This is the translate i use google translate to do that i hope it's ok
The guitarist Paco Cepero (Sherry, 1942) already years ago she left a Madrid in which had remained for more than three decades. Of duro work of tablaos, where he began the past at the end of the sixty of century, to the recording studios, in which he achieved great success like composer and producer, average a shining race in the support guitar, in which the jerezano tocaor was constituted in the essential sauce of all flamenco stews.
A prodigal time in festivales by which a series of figures took a walk of sings, in its majority disappeared, which they found in Cepero the precise and innovating touch, able tempering and of adornments that took olés of surprise.
To enumerate to whom it accompanied would be own work of a tracking by the history of sings in his dignísima revaluation stage: Anica aunt the Piriñaca, Ass, Earthquake, the Per it, Lebrijano or Turronero, the Shrimp first, are just a few names of many that required it.
During this year, in which Cepero will fulfill sixty and the five, there is an event in which the artist puts an emphasis special: its fifty years of artistic race whose starting was dated in a performance in the seat of the unions - vertical, by then of the Seat of the Sherry Sandy ground in 1957. Also there is another date, the one of his first theater - that was Falla gaditano- at the beginning of the 58, a scene in which would dream about also blowing candles.
- Fifty years of race to his age it supposes a precocidad that is quite common in the flamenco one.
- Yes, I began so young that, to the year and tip, the Paquera, that had remained without guitarist, it threw of me because took the Sherry air by bulerías and I was myself with the company of Luis Wonders. It requested to me that it touched a vidalita and I did not know nor what was. But we began thus, very cortitos and you were become in the work. This is a study as a race anyone and you must give time to the time, ponerte in your paper and learn. It is necessary to watch itself in the mirror of that you like, because nobody is born knowing, and to learn. Now, which always I have looked for is to have an own sound and a personality and that, with time, I believe that I have obtained it.
- Watching backwards, doubt that does not fit the things in the art and the business have changed much.
- A barbarism. I believe that those of my generation we have left the land very smoothed to which they have come behind. Thanks to God, the flamenco one is at very good moment, the best theaters of the world, but we had to pass many fatiguitas, doing thousands of festivales and leaving the skin us in the highway. Throwing twenty years in the tablaos, as I threw myself, and doing turnés of here for there, touching back, touching ahead and touching until of lao. Today no, today a chaval begins and to the few years it is of figure. And that I believe that us they have it to be thankful whom we began.
- Centering to us in the guitar, you subsequent to belong to the generation the one of the teachers Montoya, Ricardo, Sabicas, but also to the one of Melchor de Marchena and Diego of the Gastor, to which it likes to mention.
- I he is that I went away youngster to the Basket makers very and sucked much of Melchor de Marchena. He was exquisite and with much flamencura in the guitar. And later I paid attention much to Diego. I sucked of those two sources, but always looking for your personality, your style of rasguear, my pigrim's staffs, my form to itch. In that I have fought much. I believe that also I stepped on the slowest guitar, as in I goad, slowly, that is more difficult because there they notice plus the failures.
- In all that generation - Alpaca of Lucia, Manolo Sanlúcar, Victor Monge… - to whom by age you belong, each one has had a paper. Can that his there is been more in the support guitar? Because when discs and programs of those years are reviewed, the seventy, you accompanied everybody almost.
- Yes, when I have myself bold to touch, he has only been much later. In addition, I have done it by subsistence, he did not have flamenco singer to whom to touch to him, was forgotten and I did not have more remedy than to make use of the guitar that is what I know to do. But of something I am conceited in my life is to have been a good companion. They called all almost to me and until the Mairena teacher it once made me go from Madrid to Ceuta to accompany to him.
- After its generation it comes very consolidated already and now we attended new and, a apparently, very shining one of young people. Which is its opinion of the present moment of the flamenco guitar?
- I what I see much it is that today they eat the guitar and they have a technique that, for my way to see, is that they have arrived at the mortal triple jump. But in the support I see much deficiency because they do not have learning. In the touch to sing it is necessary to be become fond of to sings, aside from which, in addition, he is something that is learned with the day to day and that is not doing it. And with the concert guitar, it passes something of the same. In the technique they have surpassed everything what we have been contributing and this has arrived at a t ope, porque no sé qué se va a hacer más. Pero lo que sí veo es una cosa, es que se está olvidando el legado de los mayores, que si tocas por soleá aquello tiene que tener el sabor de la soleá, o por seguiriyas o por taranta. Y hoy le dan tantos transportes a la guitarra que yo lo veo muy igualado todo. Lo he dicho muchas veces y no me importa repetirlo: esto está clonado como la ovejita Dolly.
-Y el panorama actual del flamenco, ¿qué opinión le merece?
-El panorama actual lo veo muy politizado. El flamenco ahora mismo en España lo están manejando unos cuantos señores y le dan cabida al enchufismo y al amiguismo. Hay una falta de respeto increíble con personas que creo que hemos hecho bastante por el flamenco.
Flamenco por Fermín Lobatón
Raimundo
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