{"id":11085,"date":"2019-03-28T17:40:12","date_gmt":"2019-03-28T16:40:12","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=11085"},"modified":"2019-03-28T17:40:12","modified_gmt":"2019-03-28T16:40:12","slug":"where-is-the-flamenco-guitar-going","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/where-is-the-flamenco-guitar-going\/","title":{"rendered":"Where is the flamenco guitar going?"},"content":{"rendered":"

Lately we\u2019ve been witnessing something quite interesting, particularly in the realm of flamenco guitar. I mean those who record an album inviting other guitarists, cantaores<\/em> and musicians from other genres, under the pretext of it being a gathering of friends, while the actual goal is to promote the album sales. Just imagine that I\u2019m a terrible cantaor<\/em>, which is absolutely true, and I invite Miguel Poveda, Pedro el Grana\u00edno, Antonia Contreras, Arc\u00e1ngel<\/strong>\u00a0and Pansequito <\/strong>to sing and record with me. Would this be my album, or theirs?<\/p>\n

I understand that there are not many concert guitarists in our days who are able to record a solid 10-track CD. Yet, this is not just happening with albums, but also with live shows. A good way to be included in great festivals is doing just that, presenting projects with other renowned artists as hooks, and that sometimes works. I won\u2019t give names, because I\u2019ll end up getting in trouble, but if you give this some thought and review the programs of these festivals, I\u2019m sure you\u2019ll find something to better understand this perspective or complaint. All we hear these days is \u201cthis is an era of great copyists\u201d or \u201cthose things happen\u201d.<\/p>\n

Not all flamenco guitarists are good concert guitarists, but almost all give concerts and record albums, as soloists or with other reputed artists as hooks. Almost every week a new album is released, but most people seldom listen to them more than once, because they don\u2019t offer anything new. \u00a0I have to confess that I only listen to a couple of tracks in most CDs I get, and that\u2019s the reason I seldom review CDs: few interesting things are released. If I then speak out with sincerity, saying what I really think about the album, then I get asked where I got my degree in music, as if it were necessary to have a degree in music to know if a guitarist is playing flamenco or not, or if the album is full of ojana<\/em>.<\/p>\n

I remember when Manolo Sanl\u00facar<\/strong>\u00a0presented\u00a0Tauromagia<\/em>, possibly his best flamenco album, at the Lope de Vega theater in Seville (1988). I attended his performance and I wrote a review in the Correo de Andaluc\u00eda<\/em><\/strong> newspaper. He wrote me to give me thanks for my review, and when I called him back to thank him for his kind gesture, telling him I had never studied music, he told me the following: \u201cWithout knowing music, you\u2019ve allowed me to see things in my album I hadn\u2019t even noticed. Sometimes, music experts know nothing about flamenco, and I\u2019m interested in the opinion of someone who knows about it, and also has a soul\u201d. We became friends after that.<\/p>\n

As I\u2019m confessing things, I\u2019ll also add that sometimes I don\u2019t know what to say about a guitar album. Not because I don\u2019t know music theory \u2014 which I don\u2019t \u2014 but because I just don\u2019t feel it. Flamenco must be felt, it must say something. Even if there is an outstanding technique, without soul there cannot be good music, even more so in in flamenco.<\/p>\n

To wrap up, we have the obligation to support those guitarists and cantaores <\/em>who don\u2019t focus just on the technique but express the freedom to play or sing with their souls. Unless they are revolutionaries who create their very own technique. Regarding the last album of Pedro Sierra<\/strong>,\u00a0Llanto de la guitarra<\/em>,\u00a0Cristina Heeren<\/strong>\u00a0stated that this guitarist has created his own technique. The guitar critics haven\u2019t figured that out yet, apparently.<\/p>\n

Translated by P. Young<\/span><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Flamenco must be felt, it must say something. Even if there is an outstanding technique, without soul there cannot be good music, even more so in in flamenco.<\/p>\n","protected":false},"author":6,"featured_media":11051,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-11085","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new"],"yoast_head":"\nWhere is the flamenco guitar going? - Archivo Expoflamenco<\/title>\n<meta name=\"description\" content=\"Lately we\u2019ve been witnessing something quite interesting, particularly in the realm of flamenco guitar. I mean those who record an album inviting other guitarists, cantaores and musicians from other genres, under the pretext of it being a gathering of friends, while the actual goal is to promote the album sales. 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