bill jarboe // Blog

(translated from spanish by babelfish) Federico Garci'a Lorca in the flamenco one Alicia R. Mediavilla Federico Garci'a Lorca, granadino poet of the Generation of the 27 (1927), without being gypsy nor flamenco, has had and continues having an important presence in the world of the flamenco one. Many flamenco artists have approached their work and have tried to recreate the force, the passion and the tragedy of their verses. The flamenco flamenco singers are many who have chosen poems of the great granadino poet: Shrimp, Carmen Linares, Enrique Montoya, Enrique Morente, Juanito Valderrama, Lola Flowers, Lole and Manuel, Manzanita, Black Leg, Pepe Marchena... But it was the own Lorca, long before, one of first in understanding that the culture had to approach the popular thing thus and, he approached the flamenco one. In the first place, the own poet compiled folksongs, between which were gypsy letters and flamencas and that he reunited in his Collection of Old Folksongs. Between those traditional songs they were tonadillas, bulerías, commotions, rollovers... that the own Lorca recorded in 1931 accompanying with the piano the Argentinita. This disc, that recovered and remasterizó in 1995, constitutes the sonorous document more personnel of the granadino poet. In 1965, jovencísimo Alpaca of Lucia offered with its guitar its own version of these same pieces in Twelve Songs of Garci'a Lorca for guitar. Twelve subjects in which the guitarist of Algeciras also appeared accompanied by the guitarist Ricardo Modrego. Also the great teacher of the castanets Lucero Tena interpreted in Lucero Tena and the world of Garci'a Lorca " some of these songs compiled by Lorca. "the great artists of the south of Spain, flamenco gypsys or, or sing, dance or touch, know that any emotion without the arrival of duende is not possible". Game and theory of duende. Lorca. The eagerness of Garci'a Lorca because the popular traditions were not lost, among them the tradition of sings jondo gypsy, took to him to summon next to Manuel de Falla the I Aid of Sings Jondo, celebrated in Granada in June of 1922. The great Antonio Chacón celebrated as president of the jury and participated to figures like Manuel towers, Tomás Pavón, Girl of Peines or Diego Bermúdez. Lorca has received important tributes of flamenco artists. One of first was Enrique Morente in the disc In the House Museum of Federico Garci'a Lorca de Fuentevaqueros, on whom the flamenco singer was based on the work of the granadino poet. Engraving in 1990, soon became a jewel of collectors now reedited. Also Morente has used verses of Lorca in other record works like Lorca, next to Juan Manuel Cañizares, Pepe Kidney bean, Paquete and Carles Benavent; or like Omega, next to the rock group Nick Small lizard. Manolo Sanlúcar, one of the great renovadores of the flamenco touch in century XX, also rendered a sense tribute to Federico Garci'a Lorca in the disc breeze Madness and trino, accompanying to the flamenco voice of Carmen Linares. All a flamenco sample of pure, as much in the guitar as in sings. Shrimp has interpreted in many of its discs letters of Garci'a Lorca: Nana of the Great Horse, the legend of the time or Romance of the Bitter one, that appears in the disc the legend of the time or Casida of the Dark Doves and the Romance of Thamar and Amnon, of the disc I am gypsy. And finally, a collective tribute, the gypsys sing to Federico Garci'a Lorca ". Shrimp, Manzanita, Diego Carrasco, Ricardo Pachón, Lole and Manuel, Leg Negra or Tino I gave Geraldo put in this disc flamenco music to poems of Lorca.

a situation, or lack of result of my attempts at collaboration recently ( the last two or three years) is that either I present something that is finished , complete; and the response is usually: that's nice, I like that. If I present something new , unfinished , in the hopes that someone might hear something , might find room for their soul in my adventure, the almost invariable response is: It isn't finished , it needs work. Sometimes there will be a tactful lack of response. When I used to socialize more in the animalistic , ambulatory sense, I was able to counteract or overcome such problems by taking into account the collective psyche. I was able to listen to others and then decide what I thought was missing , or what I wanted to hear and present that , I was sometimes able to show off; to blast people with very carefully timed , slick and commercially viable sounding nonsense , in order to convince them that I could play, and then play something rather basic and innocuous, leaving room to breathe and listen what they experienced. I can see a potential problem with Indaba Music in that it is tempting to pick and choose between noises and profiles , the way people present themselves , whether we like our people better wearing swimsuits or overcoats , and forget that it is music we are working with here , that there is an essential vibe, and that it isn't just a form of audio graphic design. I'm sure with hi speed connections and the right group of people it's possible to discover the group consciousness. The problem is that right now the people who can work that way are probably more concerned with their connections and their computers than 'that elusive tune'. Rather like the dilemma of meeting up with someone who insists on telling you how great their synthesizer is and isn't interested in much else. Yes, it isn't as easy to bully people with music over the internet , yet this could be very good. I'm not so interested in auditioning people , finding the hottest players. I'm more intrigued by exploring the outer edges of what I think is possible. I like the idea of staying where I am while simultaneously relating to places I have never been. I find that although I live a rather staid and routine life , my ideas develop so fast , and my musical tastes even change so rapidly that looking up a file I recorded three months ago is like trying to get a realistic perspective of day to day life in the elizabethan era. I'm sure that today's production standards, with its focus on nice preamps , vintage microphones , natural reverberations , will seem antiquated and inappropriate comparable to the gated reverbs fashionable in the '80's or the boasts of easy listening orchestral album sleeves in the early sixties. There's also the possibility of someone not telling you what gear they have on their profile since they don't want to invest in insurance and an armed guard to prevent it from being stolen. In light of this revelation , and considering how many soundscapes pass by anyone seriously in production and audio design, it's possible that the most sensible investments in studio gear are really just as frivolous as some eccentric sound composition experiments. What I'd like to see(hear) is not only for people to upload their most raw , adventurous work and for people to listen to those sounds and incorporate them in different contexts; I'd like to be able to run a series of wild audio ideas past someone who does voiceovers , sells radio spots , or has a need for sound design for dramatic productions. I'm writing what I'd like here in a blog entry , rather than in the obvious place because I believe that context is important to desire in music (as anyone who's tried to make an outstanding production by pitch and time correcting will know). I'm requesting that you keep an open mind , whether you're working with me or anyone else , that you remember that it isn't just like going to a party , and choosing someone to befriend because you like their haircut or their t-shirt. Remember that this is music , the uber art form , that we need downbeats and upbeats , that the most contrary opinion might put a composition in perspective and give it depth. A frank comment recorded in a track might purify the production and give it clarity while instantly bringing it down to earth. This is your chance to use people in a way that would seem impolite by non-musical standards , so that they may remain unused. -

http://www.pseudopodium.org/ht-20030112.html