Excerpt from a television documentary about Paco De Lucia - ' Light And Shade'. The tune being featured on this and which has been often asked about is 'Black Orpheus / Manha De Carnaval', a Luiz Bonfá compostion.
@Gennady Golovkin whoa thanks for that!!! Haha he looks totally out of his element. Man paco was so cool even humble to admit he had no idea what was going on. Haha
@Gennady Golovkin Haha nice man. You must have a cool and intelligent dad. I was unfortunate to have had to discover all this on my own. Playing guitar helped me discover a lot of music and even though I got tons of incredible friends they didn't always share my tastes Haha.
So? That sneakily implies that that takes away from his legacy. But how many artists can say they reinvented a genre of music? He basically went from being just another guitarist to being a true artist in every sense of the word. For a player to go back and deconstruct years of rudimentary playing habits and evolve is next level
the master here was Mclaughlin opening Paco's mind to fly like just a few can and he love it. Pure magic! it's not about technique, it's about expression, the real root of any art in my opinion
I mean, if by natural talent you mean that his father made him practice 8-12 hours a day from a very young age, then I guess you’re right. But the way I see it, there’s nothing “natural” about it. He worked ridiculously hard to get that good.
@@michaelalexander9386 Johnny Greenwood from Radiohead once said: Anybody can play guitar, but writing songs is a far harder challenge. From my own experience i can say that i totally didn't know what to do when i picked up guitar, the more you practice the better you are, i barely play any covers i learn a riff or half of a song and then get bored, 90% of the time im improvising, pretty much mastered majority of guitar techniques and if you'd see me playing you'd say i have talent but i don't believe in talents :P you can master a skill but without passion there will be just showing off. Personally i think Paco had the passion in his playing btw great musician :)
Paco, maestro, cuanto se te echa de menos... lo que daría por verte en el escenario... 😭😭😭😭 cada entrevista tuya es un máster... que gusta da escucharte hablar... aunque ya no estés entre nosotros, tus palabras y tu sentimiento es un aprendizaje de la vida... es un verdadero honor ser compatriota tuyo, que orgullo da decir yo soy español, como el maestro Don Paco de Lucía, que maravilla de ser humano... Dios y los ángeles estarán disfrutando de tu música, de tu calidad humana... hay personas que no deberían de faltar nunca... descansa en paz, que Dios te guarda en su gloria ♥️♥️♥️️😭😭😭😭😭😭😭😭😭😭😭😭😭😭
The funny thing about all this is that he was an incredible improvisational talent. One of the best. He was like the guy who realizes how good he is at a thing because his friends guilt him into trying it. I'm very glad they did.
I remember Paco once said all that show of playing with these two dudes with fast scales and excesive shredding made him feel like in a circus lol.. at the end he got sick of it
yea because of the randomness of it. it has no direction. its just improv for the sake of improv. if they do it for 2 hours or 72 hours, it doesn't make a difference. it's still the same speedy nonsense.
Not saying that didn't occur but that observation seems more than incongruent from his comments in the clip interview -it seems to fly in the face with what he is conveying. You'd think he would be the last to feel that way having just opened his personal door with improvisation on his terms.
@@johnmacqueen3811 well he also once said did not wanted to play guitar, that playing guitar is to demanding, that he after the shows ended in pain, he also said he played for guitarrists cause only they know what is really going on in his music but if someone else like it is welcome. Paco was very special, he gave everything for his music and that ended up consuming him ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-QPafC3Q6YJw.html Translation: -journalist: ¿Have you ever played a 7 string guitar? -Paco: no -journalist : You want to? -Paco: What? if I want to play? I don't want to play any guitar, neither the six one nor the seven-string one, the guitar is very difficult. It is a lot of effort that is done .. when I finish playing it hurts here. The guitar is my passion but at the same time it is the one that kills me. A lot of responsibility, you always have to be brilliant and that is very complicated. Grande Paco!
@@hectortorres8188 Tendrias que tratar con mas respeto a nuestros hermanos latinoamericanos, en latinoamerica hubo mucho mestizaje (solo hace falta ver quienes fueron las grandes figuras de la independencia latinoamericana y la poblacion en general en comparacion a norteamerica, y aunque mucho se impuso a la fuerza la gran mayoria es el fruto de la fusion de dos culturas). Por sus venas corre nuestra sangre asi como la sangre de gente a la que tratamos injustamente (aunque no todo fuera malo no se puede negar el daño que se hizo), piensa antes de hablar con ego inflado. Edit: Por si acaso, entiendo que latinoamerica engloba varias culturas, que aunque similares en muchos aspectos pueden variar mucho en otros. Aunque no tan a gran escala, en España pasa lo mismo, cada comunidad autonoma tiene caracteristicas culturales propias pero por cercania/osmosis hay una cultura general.
@@encomunismo El problema es el siguiente no todo es tecnica y Paco por sus propios labios declaro que el no sabia improvisar. Dimeola y Maclaughlin si sabian improvisar y son maestros de improvisacion y teoria de Jazz. Paco por sus propias palabras declaro que este mundo de Jazz era diferente para el. El no conocia este mundo hasta que comenzo a aprender por medio del intercambio con John Maclaughlin y Dimeola.
Yo creo que Paco, que si notan es por mucho el de técnica más limpia de los tres (esa mano derecha da miedo), quedaba un poco anclado a las progresiones y modos flamencos (ehh... porque tocaba flamenco? 😁), pero entonces se ve obligado a escuchar, e improvisar antes y después de, dos músicos con una paleta un poco más amplia. Creo que lo volvía muy nervioso, sobre todo en el contexto de tocar con McLaughlin, el más jazzero de los tres. Sospecho que Paco hubiera hecho un trabajo excelente mezclando otros modos y progresiones, pero él mismo no se imaginaba haciéndolo sin cierto grado de estudio previo... y acá, no había estudio previo que valiera. Era hacerlo y ya. Pero Paco era, y sigue siendo, un talento de una vez en dos milenios. Hace muchísima falta.
@@fiquitoyunque El asunto de tecnica mas amplia respecto la comparacion de Paco con McLaughlin no creo que aplique por el simple hecho que son dos tecnicas totalmente differente. A Mclaughlin pudieras compararlo con Strunz y Farah. Jorge Strunz para mi tiene una tecnica superior a la de Mclaughlin o Dimeola pero eso es irrelevante por el simple hecho de que este asunto de rapidez es mas como una especia de acrobacia. Pero el conocimiento de McLaughlin y Dimeola respecto el lenguaje de Jazz era mas amplio que el de Paco cuando comparamos a ambos con Paco. Pero Paco logro aprender la improvisacion en poco tiempo y sin estudios universitarios. Esto no le quito nada a Paco por el simple hecho de que el Flamenco era el mundo de Paco no el de Jazz.
Creci escuchando a Paco. Esta entrevista me muestra su gran humildad y sensibilidad .tambien su ansia de seguir creciendo. Se lo extraña. Saludos de Neuquen Patagonia Argentina
This really is an eye opener. Someone who is considered one of the greatest guitarists of all time talking how he initially was afraid performing a new style. Think of Paco the next time you hesitate to take the next step.
I saw these three at the Front Row Theater Cleveland and Steve Morse warned up for them and then joined them. Great show. Morse had Dimeola shaking his head in amazement. Morse warmed up with Bach and it was good as any one Ive heard.
I also saw a concert where they played with Steve Morse . Morse played the intro as a consolation for being invited to join the trio when Al Di Meola decided to quit the tour but then the offer was withdrawn when Di Meola changed his mind. He had 2 Ovation guitars and joined them on the encore number Splendido Sundance and just about brought the house down even though most of the audience had never heard of him before. As they left the stage Paco De Lucia came and put his arm over Steve Morse.
palabras sabias de un maestro , experto es su arte, sin embargo humilde porque reconoce que aunque seas el mejor siempre deberas mejorar y ser mejor te va a costar
Cuando Paco les preguntó como se improvisaba en ese estilo, ellos se reían, y con mucha razón.... Es la misma sensación que hubiera sentido un alumno de básica si un día llegara Albert Einstein a preguntarle como se resuelve esa ecuación que tiene en el cuaderno.
When you listen to “Friday Night in San Francisco” you can tell who’s who’s just by hearing it. Di meola with all his palm muting, pacos lighting fast picados and John’s rhythmic picking..
Much as I enjoy their collaboration, each has his own sense of time and his own culture. This makes it hard to imagine they could ever get into the same groove.
Simplemente, el más GRANDE, y vivirás siempre en el recuerdo de todos los que hemos escuchado y seguimos escuchando tus maravillosas obras en guitarra flamenca, Paco, tu guitarra será eterna siempre🎼
An incredibly talented musician and guitarist... but still has great respect for his peers and their skills as well. Paco, your humbleness matches your godly talent perfectly.
Its good that he started improvise lately. Thoose difficult songs he learned before, made his techniq and fantasie above to thoose who just improvise all day, and playing thoose boring scalrles back and forth :D
What a fantastic interview and display of genius....I admire his honesty. I come from the opposite perspective which is improvising since childhood so it’s a very enlightening experience to listen to his journey into improv. Bravo!
This video explains a lot - when I watched Meeting of the Spirits, Paco played Entre Dos Aguas fantastically of course, and Meeting of the Spirits he treated like a Tarantas and handled magnificently, but he seemed hesitant in improvisation in the other more jazzy songs.
Mahavishnu80 Just see it logically: Improvisation IS composition. It is the starting point of composition. It is the reflex of creativity I would say. So I believe every composer/creative person improvises a lot, especially the moment you dont think about it.
Yo pensaba que la mayoría de la música flamenca era improvisada, ósea no hay música escrita, por ejemplo la Granadina que toco el de joven se siente improvisada y muy feliz bien tocada! Un gran genio. El iso que la música cantaba con su facilidad de tocar la guitarra.
Paco like the high end Flamenco players is ridiculously fast and precise with such expression with nothing more than the fingers on his hands and a guitar.
4:22 5:22 5:43 FANTASTIC!!! He was the best there, because he can shred with right hand fingers technique, like Mark Knopfler. Oustanding. R.I.P. Maestro Paco de Lucia.🎸🎵❤
I find it interesting how much Paco respects these other musicians while everyone in these comments seems to be trying to tear these guys a new asshole, as though doing so is showing respect to Paco.
Lol,3 of the worlds top guitarists,you can compare styles and approach or you may have a personal preference for one but these 3 have achieved a level that mere mortals like me can only dream of despite 45 years of playing and I could not pick the best because there isn't one,they are all great
They don’t know better. Im sure Paco would respect any guitarist at any level. Even god himself was a beginner at one time. Listen to ”Los chiquitos de Algeciras” He sounds like any kid playing guitar. I think he’s 10-12 years old or something. I think it was more like at the age of 16 he had ”lift off” and left us mortals behind😁, even at 19 you can hear him struggle when he plays over his limit. But at 20 he’s complete. Just compare La fabulösa guitarra and Fantasia flamenca. It’s like 2 diffrent pacos.
Tip for new guitar players: start improvising with just two chords, something like IV-I or V-I (in the key of C major that would be F-C or G-C), actually you can do any combination you want, like IV-V or II-VI (again in the key of C major that would be F-G or Dm-Am). To begin you can try to focus on the triads of the chord you are playing on, if you play them there's no way you will sound "bad", but if you only play them then you will sound very boring so try other notes besides the triads. For example, if you are improvising in a harmony that goes like Dm-C on the Dm chord you can play the notes D, F, A and C; and on the C chord you can play C, E, G, B. It's not hard, but it's not easy, but it sure is fun!
It is a good idea to be aware of common tones between succeeding chords, for example the note C is shared between the chords C and F. Another thing to look for is differences of a semitone. For example the third of the C chord, E, is a semitone below the root of the F chord.
Mind blowing and wht humbleness of Paco que en paz descance RIP..Wow What a courange to jump into the role of just improvising on the stage with Giants like Mcallughin and Meola...Fuck
For not being able to improvise it felt like he played the best solos. Mclaughlin plays fast for the sake of playing fast, just like Meola but for Paco the sheer speed was just like a tool to express himself.
One of the best things about De Lucia's playing (and I'm not talking about this excursion with DeMeola and McLaughlin) was his taste. He could absolutely shred. . .the guy probably had as much sheer flamenco/nylon chops as anyone whose ever lived. . .yet despite that, he played with great restraint, never "shredding" just for its own sake. I'm quite sure that a big part of this was spending so much time as an accompaniest to the best.
Dizzy Guitar That's an oversimplification..DiMeola is Mr. Improv, and I think he felt the need to fit in with Paco in some way... And I think John was just on an ego trip. Both of our opinions are pure speculation, of course...
Paco, un monstruo, rodeado de dos monstruos. Me imagino que a pura personalidad pudo superar la frontera del flamenco y expandirse hacia el jazz. Aunque, el término "improvisar" es algo relativo en los tres, porque tienen sus frases, que repiten constantemente. Tienen algunos momentos de novedad, pero, para tocar tierra firme, vuelven a su biblioteca de "frases hechas". Eso, lo notamos, en este mismo video, como viendo varios otros que hay de ellos. No desmerece en nada su talento y virtuosismo.
Disculpa mi español no es mi lengua materna, sabes si lo que toca a 4:17 es una parte improvisada o si proviene de uno de sus composiciones mas conocidas? Muchas gracias.
Well, there is plenty of room for improvisation within flamenco, but that doesn't mean its always happening. Any given piece likely contains pre-written parts (eg falsetas) that aren't improvised. Its somewhat like jazz where the head isn't improvised but the choruses are.
Ahora me doy cuenta de que aparte de ser un excelente, prolijo y talentoso músico, también era un ser humano. La humildad que desplegó al relatar las tensiones de no saber improvisar lo demuestra.
It's a fantastic observation that Paco de Lucia was so trained ,he forgot about improvisation. Still think a rigid frame, as flamenco, IS the best frame to improvise upon and it would fly faster ....he's always been free and seen to have been improvising in any case but not in this way from what i can tell
thanks a lot but i want to see this particular full performance, i loved this improvisation particularly please tell me the excat performance detials like entre dos agous 1981 etc or improv with ramon de algreias and paco like that.
I'm impressed, never ever I would've thought that a flamenco guitarist (arguable the best ever), a genre whose musicians are know to be highly skilled and talented despite they're lack of a formal musical education, wasn't able to improvise! This is a big new for me! :O
@@OurBrainHurtsALot That is actually not true. In classical music improvisation used to be common. People have forgotten about this. All the great composers were able to improvise in the same way in which they composed. I personally had the great honor of meeting a master who taught me the basics of classical improvisation. He also told me that people had forgotten about the improvisation. He could even improvise fugues on themes and would just do that for 10 minutes straight. It would sound just like a classical piece but it came straight out of the moment. Amazing.
it´s cause in the flamenco world and classical guitar world improvisation is not used, you create your own falsetas, wich is a kinf of lick, you can play a bit diff those falsetas but not change them. Omprovisation in flmenco? only when you composing, and paco composed incredible stuff
the best ever. As a spanish guy, born in south of spain, I've been listen to flamenco and playing all my life and I think I know what Im talking about. Paco was the best, no doubts.
Para improvisar (al menos con guitarra), tienes que saber como dice Paco el tono en el que estás (do, mi #, fa 7, etc), pero también es importante saberse mínimo las escalas armónicas de los acordes para saber el rango en el que puedes improvisar cada vez que se cambia de tono. Si esta sonando una rumba solo en re y tu tocas por encima punteo, tienes que tocar todo el rato notas de la escala de re para que suene bien. Grande Paco!
He's talking about free-form improvisation. Within Flamenco there is the Palo, but within that, there is freedom, and adjustment to the cantaor, which is a form of improvisation. Falsetas can be different every time, and I guess that counts as improvisation too!
@@CT2507 OK. I'm not going to argue, the "Prof" part of my handle is not related to the "Flamenco" part anyway. They represent an interest, and then a nature as designated by others. I thought I recalled reading tales of 19thC players who the French Classical composers tried to copy, but the players would never play the same thing twice, and that was what I was going by. I had the idea that a falseta was any unaccompanied fill by the accompanist that could be pre-set, or improvised.
@@flamencoprof to my knowledge a falseta is pre-set as u say. there maybe some hardcore flamenco players who would say that within a falseta there is some room for improvisations aswell. but u can tell that that is not the norm by this interview, that Paco had to learn improv when he started playing with Mclaughlin and Di Miola. Paco had been playing falsetas all his life but knew nothing of improvisations.
@@CT2507 I think we are in agreement but perhaps crossing in direction. There are a lot of aspects. Paco was as I understand a highly disciplined and formally trained player, so maybe he didn't feel he was empowered to improvise as much as others. However, I think the struggle he describes here is with working with guitarists outside of the Flamenco tradition and having to abandon the Flamenco structure for more free-form performances. I hope what I write brings us closer, rather than conflicted :-)
@@flamencoprof im sorry, i can't agree to that. i have played a bit of flamenco myself and all the falsetas i was taught were quite fixed and rehearsed. Paco like all great players invented his own falsetas, but never on stage. if Paco says he didn't know how to improvise i believe him rather than interpret his words. cheers.
