El "Don Cortes Maya" de Rafael Cortés es la primera granaina de la historia, y "Parando el tiempo" el primer rondena de todos los tiempos, para siempre en el mundo de la guitarra flamenca. "La meiga" es su farruca y está entre las diez mejores de la historia ,. En mi opinión, y para muchos en todo el mundo, Rafael Cortés es un nombre que quedará en la historia del flamenco para siempre.
Рік тому+5
No soy ningún experto en nada y menos en Flamenco , sólo soy un apasionado oyente de Flamenco desde hace más de 40 años , y sin ser experto si sé lo que el Flamenco me hace sentir hasta la última fibra de mi ser , y lo acabo de escuchar es una gran versión de la inmortal “Entre dos aguas” en dónde se puede ver el amor de estos músicos por esta pieza y la manifestación de admiración por Paco de Lucía ( la misma admiración que yo tengo ) , y más allá de si Paco lo hacía mejor o cosas así ( quien en su sano juicio podría tener dudas sobre eso ) , lo que veo es la gran estela de guitarristas que rinden , cada uno a su manera , un homenaje al más grande de todos los tiempos , o cómo digo yo , el guitarrista más grande que ha parido la humanidad , mi admiración , respeto y agradecimiento para estos guitarristas por esta aportación , un saludo desde México. !!!
esta mal editado el sonido PERO RAFAEL CORTES ESTA DICIENDO CON SU GUITARRA QUE EL MAESTRO PACO DE LUCIA ESTA VIVO insisto que mal el que edito el audio!!!! injusto para su hijo
@@lf6352 Well, it's not just the speed - it's also the rhythmical perfection and clearnes of the sound of Paco de Lucia (or Al Di Meola) which is on another level. And don't get me wrong, nothing against the performers in this video, they are both very able musicians, it's just that when a performer choses to play a piece of another musician a spectattor would expect to hear something new not just a simple try to copy the original performance And going fast is really not the most important part of perfoming the music but it does mean something (much more than nothing)
@@alf8718 Paco de Lucía is God. As Manolo Sanlúcar said, he's the definition of what a star is. Those who don't understand flamenco love him, but those who do understand it, go crazy with him. Al di Meola shouldn't be in this conversation. He's a great guitarist but flamenco has a completely different approach from other music genres. You don't exactly play songs, but "palos". The duration of a performance is never exactly the same because no one is counting bars. It's more flexible. Palos are dozens of different identifiable rhythmic or harmonic patterns (tarantas, bulerías, alegrías, granaínas, soleá...). You choose one and stick with it for several minutes. You might as well switch to another "palo" to finish, for the sake of the performance (tientos-tangos, alegrías-bulerías de Cádiz and so on) but you don't usually switch more than once. Regarding their origin, the majority of "palos" stem from the singing or "cante", not from the guitar playing ("toque"). This is very important to understand. The singing goes first. In addition, you can have several short "songs" within a single rendition which are called "falsetas" in the guitar and are to be played in a specific moment unless you're performing alone (for instance, before and after one or more sets of verses from the singer or during dancing stuff). Singers usually sing several songs that are very short and don't necessarily need to be connected. If you know a little about poetry, it's like dropping unrelated haikus out of the blue and expect the guitarist to be able to accompany you with no prior rehearsal. That's why it is so spontaneous and authentic. This means that in traditional flamenco there really isn't improvisation as you would think of it in jazz music. Neither Al di Meola or John McLaughlin are able to play actual flamenco. When it comes to improvisation (which Al and John do great) it was Paco de Lucía who introduced it into flamenco fusion. But if we're strictly talking about traditional flamenco, there really isn't that much improvisation. Now, about technique: if your playing is dirty and messy, it doesn't make you a less decent flamenco guitarist. Check old flamenco videos and you won't find anyone playing as clean and smoothly as Paco. They only lacked technique, but had the expression. Paco had both. He set the bar so high that it's hard to accept this when seeing other people perform. People work hard on their technique to try to match Paco's, but lose authenticity on the way. I agree with what you said about playing other people's compositions: if you're doing it, bring something different to it. I'd like to endorse Rafael Cortés though. The beautiful "granaína" he played (the rhythm-less composition at the beginning) is his. He's a great composer but unfortunately people who hire you just want to hear "entre dos aguas". He's criminally underrated. And yes, he can rely too much on technique sometimes, but I've seen him in other videos and he's got that "duende" (groove, or feel). Sorry for the long message. I hope everything I said is clear. English isn't my first language and speaking about flamenco in English is incredibly hard to me haha. Best regards.
Was für eine Hommage an Paco de Lucia!
Orabuena abuelo, la niña va a ser una artista
El "Don Cortes Maya" de Rafael Cortés es la primera granaina de la historia, y "Parando el tiempo" el primer rondena de todos los tiempos, para siempre en el mundo de la guitarra flamenca. "La meiga" es su farruca y está entre las diez mejores de la historia ,. En mi opinión, y para muchos en todo el mundo, Rafael Cortés es un nombre que quedará en la historia del flamenco para siempre.
No soy ningún experto en nada y menos en Flamenco , sólo soy un apasionado oyente de Flamenco desde hace más de 40 años , y sin ser experto si sé lo que el Flamenco me hace sentir hasta la última fibra de mi ser , y lo acabo de escuchar es una gran versión de la inmortal “Entre dos aguas” en dónde se puede ver el amor de estos músicos por esta pieza y la manifestación de admiración por Paco de Lucía ( la misma admiración que yo tengo ) , y más allá de si Paco lo hacía mejor o cosas así ( quien en su sano juicio podría tener dudas sobre eso ) , lo que veo es la gran estela de guitarristas que rinden , cada uno a su manera , un homenaje al más grande de todos los tiempos , o cómo digo yo , el guitarrista más grande que ha parido la humanidad , mi admiración , respeto y agradecimiento para estos guitarristas por esta aportación , un saludo desde México. !!!
y yo
The finger control is unbelievable, respect 🙏
Great guitarist
el mejor cover que he visto y escuchado
Fenomeno del Flamenco...
Gracias bonito..
息子さんとこんな日が来るなんて…hallelujah ！ありがとう😊
Beautiful.
Божественно!!!
Pacoooooohhh ❤
Um génio que já venho seguindo a algum tempo no youtube, maravilha, maravilha!...
...una " granadina.."...
..con su " atmósfera." , siempre mágica.. , majestuosa , de pronto ! desaparece, .
Interrumpida., ., .con..
. ".? rumba"../!!?,
...
it's wonderful.
you are profitional player
🙏🙏🙏👏👏👏💖💖💖
Bufff, precioso tema y preciosa interpretación..
Fantastisch
Grande chitarrista
How lucky his son rafael cortez is his father the great maestro anazing
Fantastic both of them
Like the beautiful red guitar
From the movie "Thrash Altenessen" 1989? 😯🤔
YES, that brought me here too :)
Que poder!!!...🍻👍
素晴らしい!!
Пако бы тобой гордился!!!
Paco de Lucia no ha muerto, Rafael lo sabe
Maestro
Great job 👏
Gitare trzeba kochać żeby tak zagrać a u mnie to jakoś już chyba nic z tego
esta mal editado el sonido PERO RAFAEL CORTES ESTA DICIENDO CON SU GUITARRA QUE EL MAESTRO PACO DE LUCIA ESTA VIVO insisto que mal el que edito el audio!!!! injusto para su hijo
Sorry people, try to listen to old recordings of Paco and Al instead, this sounds like a slow motion without any passion
1. You didn't even bother to watch the whole video
2. Rafael Cortés can go as fast as Paco
3. Going fast doesn't mean anything
@@lf6352 Well, it's not just the speed - it's also the rhythmical perfection and clearnes of the sound of Paco de Lucia (or Al Di Meola) which is on another level.
And don't get me wrong, nothing against the performers in this video, they are both very able musicians, it's just that when a performer choses to play a piece of another musician a spectattor would expect to hear something new not just a simple try to copy the original performance
And going fast is really not the most important part of perfoming the music but it does mean something (much more than nothing)
@@alf8718 Paco de Lucía is God. As Manolo Sanlúcar said, he's the definition of what a star is. Those who don't understand flamenco love him, but those who do understand it, go crazy with him.
Al di Meola shouldn't be in this conversation. He's a great guitarist but flamenco has a completely different approach from other music genres. You don't exactly play songs, but "palos". The duration of a performance is never exactly the same because no one is counting bars. It's more flexible. Palos are dozens of different identifiable rhythmic or harmonic patterns (tarantas, bulerías, alegrías, granaínas, soleá...). You choose one and stick with it for several minutes. You might as well switch to another "palo" to finish, for the sake of the performance (tientos-tangos, alegrías-bulerías de Cádiz and so on) but you don't usually switch more than once.
Regarding their origin, the majority of "palos" stem from the singing or "cante", not from the guitar playing ("toque"). This is very important to understand. The singing goes first.
In addition, you can have several short "songs" within a single rendition which are called "falsetas" in the guitar and are to be played in a specific moment unless you're performing alone (for instance, before and after one or more sets of verses from the singer or during dancing stuff). Singers usually sing several songs that are very short and don't necessarily need to be connected. If you know a little about poetry, it's like dropping unrelated haikus out of the blue and expect the guitarist to be able to accompany you with no prior rehearsal. That's why it is so spontaneous and authentic. This means that in traditional flamenco there really isn't improvisation as you would think of it in jazz music. Neither Al di Meola or John McLaughlin are able to play actual flamenco. When it comes to improvisation (which Al and John do great) it was Paco de Lucía who introduced it into flamenco fusion. But if we're strictly talking about traditional flamenco, there really isn't that much improvisation.
Now, about technique: if your playing is dirty and messy, it doesn't make you a less decent flamenco guitarist. Check old flamenco videos and you won't find anyone playing as clean and smoothly as Paco. They only lacked technique, but had the expression. Paco had both. He set the bar so high that it's hard to accept this when seeing other people perform. People work hard on their technique to try to match Paco's, but lose authenticity on the way. I agree with what you said about playing other people's compositions: if you're doing it, bring something different to it.
I'd like to endorse Rafael Cortés though. The beautiful "granaína" he played (the rhythm-less composition at the beginning) is his. He's a great composer but unfortunately people who hire you just want to hear "entre dos aguas". He's criminally underrated. And yes, he can rely too much on technique sometimes, but I've seen him in other videos and he's got that "duende" (groove, or feel).
Sorry for the long message. I hope everything I said is clear. English isn't my first language and speaking about flamenco in English is incredibly hard to me haha.
Best regards.
Ir's a really good interpretation !
El sonido no es bueno,la guitarra del padre se oye más y están solos sin Jorge Pardo,ni Carles Benavent, ni Ruben Dantas, ni Tino ... ea! Pa que?