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Really cool man! Had not seen those complete arrangements of Falla before! Interesting to note the two rhythm guitars are tuned down a 1/2 step from Paco for the first Falla piece and the Tango, but Paco does a drop D and the two guitars are standard tuned for the last piece. It must be the case this show was pre-recorded live, and then playback synched to the video later. Hard to believe they could have fixed that tuning that fast anyway, but there are some shots that don’t match. The tango is cool because the Rondeña tuning in addition to drop 1/2 step really gives a deep sound to the back up guitar. I have never seen him execute a few bulerias falsetas on that guitar (this arrangement we see parts of with the Trio in 1980), so this must have been right before that guitar was stolen from his car.
Great stuff! Really good joyous energy.-they're all smiling. Ricardo its amazing how you hear the tunings and notice the synching. Paco did seem to change the capo really fast😀. The blinking stage lights is odd, but hey it is the 70s.
maybe im Paco biased , and maybe not know all of the Fallas different ideas interpretations from others , but the Falla songs played by Paco are from another dimension that a classical cant achieve , and i ear a lot from different players that just respect the song as it is. I ear that cd everyday and its incredible how he plays Falla , a lesson in how you can improve a song , a performance with lots of personality, and thats also respect for Fallas.
There is a misleading generalization he makes. That being there is no abstract theory behind the music of flamenco as there is with Jazz. The truth is this. In jazz, there is some damn sophisticated things going on by artists that can’t even read music, much less apply abstract theory. What they are doing that CAN be analyzed that way, is done through an intuition that is developed by working with others that are very advanced. You can never be sure who does or does not know music in that abstract way just from playing with them. And there are some that understand on paper, but simply can’t execute the abstract ideas in a real setting where the rubber meets the road.
Conversely, while it is true most flamenco artists don’t know how to read or discuss abstract theory concepts, when they talk about cante and understand it, even intuitively, it can get VERY cerebral. In the baile as well, many guitarist that don’t get way into it complain about the “mathematics” involved with baile, that even I admit can be a headache. That is until you develop certain intuitions, just like the jazz masters. I got excited about Mclaughlin’s instructional dvd thinking I was headed for a world of abstract theory, but on the contrary, there were many things he did that were funny to me, like innocently glossed over such as enharmonics and such that I was like “wow, this guy is playing circles around me but he doesn’t get the difference between Ab and G#???” And other little things, where the abstract deep theory you think these people have is no different than the intuition that an illiterate gitano street player has developed.
In the end there is very litttle difference between applying a “super Locrian” concept, versus knowing what to expect with “Soleá de Triana”. Both terms are loaded with concepts that one can either apply or not when it matters, but both are abstract. And both can be totally impregnated with emotion and expressions that are deep.
The entre dos aguas is from the album called "Paco" which is the same as Fuente y Caudal but replaced this track only. I have a vinyl copy. It is clear the band is the same one he used on the famous stripped jacket live video, but the performance is a different take.
Nice HD version. I prefer the post 2010 set list. This is the show where Paco announced Montse as his future wife (49:10). She was all by herself and not real confident.
This should inspire you to not only get a T-Shirt, but how about a nice flamenco guitar?