@@DamjanAndonovski Because it isn´t. It has a slightly similar rythm at the beginning but thats all, not much in the melody. Probably by coincidence, probably not, who knows, but "taken from" is a bit of a stretch.
@@asmodevsluxuria “not much in the melody”? did you check the chorus melody of Skating Away? it’s B-A-G-A (etc.) in D major and these are the same notes in Paco’s main melody, not even transposed to different key
Bello tema compuesto por el Maestro Paco de Lucía en homenaje a la Catedral de Sal de Zipaquirá, en Colombia, dos obras universales. Beautiful tribute to the Salt Cathedral in Colombia by the Master Paco de Lucía. Two universal masterpieces.
El tempo que lleva es endemoniado, lo que multiplica el asombro ante un tema que de por sí ya es difícil tocar a velocidad de "humano". Más que Paco, debería llamarse Capo de Lucía. Ö
nunca dejara de sorprenderme de Paco el temple y la naturalidad con la que toca , fijense en el aforo de ese auditorio , es como si estuviera tocando en un tablao pequeño ,eso fue en el año 81 , yo entonces contaba 10 años , ahora tengo 40 , desde luego que es una figura universal , como catalán me siento orgulloso de que el resto del mundo mire hacia España con la admiración que miran al Maestro
Pues eso, los que tocamos un poquitín de nada sabemos lo que ocurre en el minuto 2:40. Ocurre una animalada de las de Paco, creo que ni con mil millones de años podría tocar eso con ese volumen y velocidad, y que está en directo con mil personas delante joder...
hace 7 años me compre el disco entre dos aguas donde venia esta colombiana...y a diferencia de otras cosas que tanto he escuchado esto aun no me aburre...siempre descubro algo nuevo en esta genialidad del maestro.
Just adore this piece, love the complexity of its composition and sheer beauty. For me it has a haunting magic to it. Paco's technique is particularly phenomenal here (though it's always phenomenal, this particularly stands out for me!).
At first I was listening audio version of this and thinking there was definitely some bas guitar genius (maybe Jaco) and when I saw this video where Paco plays alone this song I could definitely say he is truly the best guitar player in the world.
@HJF091173 Una de las cosas que me llaman la atención del maestro es que ahora se ha vuelto mucho mas flamenco que antes, como que volvió a la raiz...nunca ha dejado de tener esa escencia, él mismo lo ha dicho, pero no hace tanta música fusión como antes.
siempre que miro a paquito tocando esta me desespero jajajaj es casi imposible tocarla igual, es un hombre extraordinariamente modesto, quisa por eso toca la guitarra con tanta belleza
Look at his hands- holy hell. When they change positions, its instant, and they don't move one bit after the blur of the position change. Like a robotic arm.
@pianotarra ... Incluso cuando hacía fusión tocaba flamenco... La manera de agarrar la nota, la pegada rítmica era flamenca. Esa fuerza, por mucho que metiera notas forasteras era flamenko... Y por eso sonaba como ningún otro
@pianotarra pisha esto no es de ´entre dos aguas´ ... eso era sólo un recopilatorio. Es del 81, de ´Solo quiero caminar´ ... Lo que te pasa con este tema pasa con toda la música de Paco ... No te hartas nunca de sacarle cosas ...
A ver si alguien me puede ayudar. Una vez escuche (creo que fue en Temple y Pureza) una version de monasterio de sal, cantada por una mujer. Un trozo de la letra decia algo asi:`` Sobre la arena de una playa desierta, se encontraron mis huellas, paseando intranquilas, esperando tu vuelta´´. Si alguien conoce la versión, me gustaria tenerla o escucharla.
Yeah it's astounding that you can reach this level of proficiency and not have proper knowledge of theory. No wonder he found it hard to keep up with McLaughlin and Di Meola, hell he retired from a tour once from headaches!! It did fascinate him greatly jazz theory though and I believe in the late 70s and early 80s he did learn a great deal as you can find a lot of high-end jazz influence particularly in his later 80s stuff. Somebody who knows bugger all about theory doesn't know when to add a C 9 sharp 11th before B minor 7 put it that way!
James Anderson I dont think someone can compose like this without the proper knowledge, maybe at some point he wasn't knowledgeable about jazz but for sure he knew his style very well.
+James Anderson I disagree that he found it hard to keep up wit McLaughlin and Al Di Meola, yes I'm sure it was a new journey for him and stressing out about it is very natural thing for anyone who had dedicated his entire life for his music but on the other hand on stage he totally owned them.. his technique and musicality definitely owned the stage and the crowd and you could easily see that in McLaughlin's face as he was watching Paco playing his parts.
+ror sara You're wrong. Paco himself said in an early 80s interview " "Some people assume that they were learning from me, but I can tell you it was me learning from them. I have never studied music, I am incapable of studying harmony-I don't have the discipline, playing with McLaughlin and Di Meola was about learning these things." He said that he found it a struggle to get what they were playing and understand the theory behind it. Obviously technically though, a superior player.
James Anderson Yes what you are saying is true and he said that but to me as an audience I say my own opinion of what I saw on stage and many others saw too.. yes inside him he felt that he was lacking the systematic and academic knowledge behind these two legend guitarists skills but that doesn't make his performance any less proficient.. I understand exactly what he means because I play the Oud by ear and I by nature couldn't care less about theory and studying music systematically but I'm not saying it's wrong to study music it's just how it happened with me as a personal experience and if I sit down with musicians who are more knowledgeable I feel the same stress Paco talked about but when we start playing you can't tell that I'm lacking anything in fact in many occasions I prove to be more skilled than those who know about theory and stuff.
+ror sara As far as I'm concerned, Paco is the greatest guitarist to ever grace the planet, a true genius. Joe Pass is the only other guitarist I revere almost as highly. See my latest comment on the Paco de lucia From a Belgian TV program (1981). A superior player IMO to both McLaughlin and DiMeola. But those guys were educated at Berklee and knew a lot of theory. Paco was very much the learn by ear natural player. To anybody not well versed in high-tech jazz improvization it sounds exotic, bizarre and difficult to understand. Obviously Paco had accumulated a lot from late 60s onwards from jazz, he was hooked after attending the Berlin jazz Festival in 1967 I think, but such was the advanced theory knowledge of the others he still learned a great deal being with them. Paco remained deeply attracted by advanced jazz improv and one of the main reasons he worked with those guys to advance his own playing and contribute to the development of "Nuevo Flamenco" as a whole. He said in another interview he tried to incorporate more flavour and jazz concepts into flamenco and better it (which he did). I was certainly not implying his performance was in anyway "inferior", but the late 70s and early 80s he was learning a lot at the same time as playing masterfully, so it's not immediately obvious that he was learning jazz.
