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RE: Sabicas's Advice to Non-Spaniards Playing Flamenco Guitar (August 1982 Interview by Paul Magnussen
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BarkellWH
Posts: 3464
Joined: Jul. 12 2009
From: Washington, DC
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RE: Sabicas's Advice to Non-Spaniard... (in reply to Richard Jernigan)
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quote:
I think the "flamenco atmosphere" is a moving target. To a certain extent it is like any other cultural attribute in that it is affected by the political, economic, and social currents of a given era. In Spain that would have been the case even if the Republicans had won the civil war. Nevertheless, core elements of that atmosphere, while affected, maintained a recognizable continuity. I'm sure that Sabicas was well aware of Spain's history, but I'm equally sure that he would have believed that non-Spaniards must absorb the "flamenco atmosphere," however defined in any given era, in order to play with "aire," which is what I think he was driving at. I suspect Sabicas would not have thought it necessary to absorb that atmosphere only in Spain. There was a very vibrant flamenco community in Buenos Aires in the '30s and '40s of which he and others were a part, and there is no reason to believe the core of what he called "flamenco atmosphere" could not have been absorbed there. The trick, as I understand Sabicas, is to learn, practice, and play flamenco within that "flamenco atmosphere" if one wants to reach beyond mere technical proficiency. I doubt that he would quibble over whether one accomplished it in Andalucia, Madrid, Buenos Aires, or for that matter New York. Bill
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And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East." --Rudyard Kipling
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Date Jan. 17 2017 15:11:06
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Ricardo
Posts: 15165
Joined: Dec. 14 2004
From: Washington DC
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RE: Sabicas's Advice to Non-Spaniard... (in reply to BarkellWH)
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I am pretty sure the "aire" he means is about the way you make the guitar sound, not the environmental surrounding. Meaning, a guitarist that has "aire" can be alone or be the one producing the main authentic flavor, that flavor could be rhythmic or dynamics, tonos or chord useage, etc, a number of technical details that collectively project the right vibe. But he or she needed to have picked that up somewhere at some point, or evolved it along with other artists he or she worked with. I would agree that the "flamenco atmosphere" might have existed out side of spain, however, due to the internal evolution of the art form, it will go a different route than the main stream. Examples have been easy to see, if you know what to look for stylistically. In the old days (watch Rito y Geografia), the aficionados and artists would talk about a singer they approved of that had the right sound and style and say that he or she had "eco". THis is a similar vague musical description that doesn't mean literally that they think the guy's voice was bouncing around a room in a unique way.
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CD's and transcriptions available here: www.ricardomarlow.com
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Date Jan. 17 2017 17:48:27
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BarkellWH
Posts: 3464
Joined: Jul. 12 2009
From: Washington, DC
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RE: Sabicas's Advice to Non-Spaniard... (in reply to fyr4efect)
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quote:
Then there is the Arabic influence of Flamenco. That's a whole other atmosphere to absorb. The Arabic (more precisely Moorish), Sephardic Jewish, and Andalusian Gitano are all elements that have influenced flamenco as a whole and really cannot be separated into distinct elements or "atmospheres" within the genre. Nevertheless, the Zambras certainly bring the Moorish influence to the fore, and Sabicas was a master of the Zambra, as his Danza Mora demonstrates in spades. Bill
_____________________________
And the end of the fight is a tombstone white, With the name of the late deceased, And the epitaph drear, "A fool lies here, Who tried to hustle the East." --Rudyard Kipling
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REPORT THIS POST AS INAPPROPRIATE |
Date Jan. 25 2017 16:54:37
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