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Thread: Thoughts About Cante Flamenco

  1. #166
    Senior Member Strange Magic's Avatar
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    Default Guitars and Guitar Play

    Room2201974, welcome to this remote corner of TC! All visitors and their thoughts are appreciated. I touched briefly on some of the points you raised in my Post #108. As you know, working flamenco guitarists, especially those accompanying singers and dancers, are seldom without their capos as the need to alter tuning varies constantly among palos--and singers. And the differences in design and construction between flamenco and classical guitars certainly reflects the different requirements of the two genres. It's curious that I chose Morao as my exemplar of flamenco technique in that I do not care generally for his playing ("too many notes") compared with so many other equally skilled tocaores--in my post on Aurelio de Cadiz, I complain about Morao's overplaying, drowning Aurelio in a sea of loud, superfluous notes. Such overplaying seems to have been a characteristic of Jerez flamenco guitar playing. But to each his own. Feel free to contribute to these thoughts of flamenco as you see fit.
    Last edited by Strange Magic; Apr-17-2020 at 11:49.

  2. #167
    Senior Member Strange Magic's Avatar
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    JALEO Newsletter, 1977-1992

    California was a hotbed of enthusiasm for all things flamenco in the pre-Internet era. I have previously posted about the American flamenco guitarist and historian/novelist Paco Sevilla in this thread--Paco's several books on flamenco are an essential part of a library of books on flamenco and its history, and he has his own place in the history of that history. Part of Paco's contribution was for years as the editor and a constant contributor to the typed flamenco fanzine/newsletter Jaleo which came out of a San Diego address for some 15 years as a shared glue binding together much of the American flamenco enthusiast scene. The back issues of Jaleo are now available online and make for interesting and often informative reading on flamenco topics as discussed both among Americans but also including input from Spanish sources as well. I invite all to browse through these past issues to get a sense of the enthusiasm among flamenco aficionados during this period when flamenco was still being enjoyed as a novel artform among devotees sharing the same enjoyment of its unique charms.

    http://www.elitedynamics.com/jaleoma...leo_issues.htm

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  4. #168
    Senior Member SanAntone's Avatar
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    Quote Originally Posted by Strange Magic View Post
    JALEO Newsletter, 1977-1992

    California was a hotbed of enthusiasm for all things flamenco in the pre-Internet era. I have previously posted about the American flamenco guitarist and historian/novelist Paco Sevilla in this thread--Paco's several books on flamenco are an essential part of a library of books on flamenco and its history, and he has his own place in the history of that history. Part of Paco's contribution was for years as the editor and a constant contributor to the typed flamenco fanzine/newsletter Jaleo which came out of a San Diego address for some 15 years as a shared glue binding together much of the American flamenco enthusiast scene. The back issues of Jaleo are now available online and make for interesting and often informative reading on flamenco topics as discussed both among Americans but also including input from Spanish sources as well. I invite all to browse through these past issues to get a sense of the enthusiasm among flamenco aficionados during this period when flamenco was still being enjoyed as a novel artform among devotees sharing the same enjoyment of its unique charms.

    http://www.elitedynamics.com/jaleoma...leo_issues.htm
    Love flamenco - thanks for bumping this thread.

  5. #169
    Senior Member Strange Magic's Avatar
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    Quote Originally Posted by Strange Magic View Post
    Here are 3 selections from an LP of Paco and Pepe de Lucía as the young duo, Los Chiquitos de Algeciras. I note Pepe sounds a bit like the cantaor Enrique Montoya, with whom Paco de Lucía made several albums--it may be that the brothers were close to Enrique Montoya, as Paco was also to Fosforito. Herewith the three selections in a row: a Soleá, Malagueñas, and Tientos.....

    https://m.youtube.com/watch?v=_Y11XVgQnh4
    Here is a video of the brothers Paco and Pepe a bit older than their teen years performing bulerias in the slightly more "modern" style. There is no question that Paco de Lucia was a superb guitarist, and this clip shows the two brothers working together during the time of transition as flamenco evolved in a newer direction.....


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