from Jose' Sepulveda, the Kid From Brazil........Kazuhito Yamashita is so good that I almost feel that I don't need to ever watch any other classical guitarist play. Nobody living today can surpass what he can do.....he is touched by God.
I was in their concert in Osaka which took place a few days after this filmed concert in Tokyo. The fast scale played by Yamashita in Osaka was even more felocious than this. The whole audience went into complete silence after this movement as if we were all struck with lightening.
from Jose' Sepulveda, the Brazilian....El Hermeterec.......to everybody out there who heard and watched this video......you have just witnessed the greatest classical guitarist in the world, Kazuhito Yamashita! Larry coryell notwithstanding, this performance is amazing and there is nobody on planet EARTH who can surpass the great Kazuhito. Yes, even I think he sometimes plays things too fast , but it is simply a testament to his amazing technique! All hail Kazuhito, the leitmotif.
i guess, at least Larry had the confidence to play with the GOAT. he ended up looking like a fool though. if Kazu wanted me to play with him, i'd say "thanks, but no champ, you're better off without me".
@@mischahayek3473 Next to Yamashita, I suspect almost anyone does. And jazz doesn't requite the extreme precision that classical music does. Wynton - who has played both - once talked about his trouble with switching back and forth: - After he'd been playing jazz, his classical playing sounded rhythmically sloppy and his tone was raw and inconsistent. - After he'd been playing classical music, his jazz playing didn't swing and his tone had no feel or vocal quality.
This was one of those strange musical matches that who knows what producer proposed to make money. I always get the feeling that Yamshita, new to western glamour and fame, might have walked into this one unknowingly because something (like everything) was lost in translation. Larry Coryell was on an off night, playing music which isn´t his speciality and with a player who, not even in your wildest dreams, you´d expect him to cross paths with. I´m sure Coryell, a very well respected guitarrist probably regrets this, but which artist doesn´t go through embarassing moments? Oh, yes, also constant comments to "the guy on the left." With Yamashita, one doesn´t feel ego or the fact that he wants to blow Coryell away. I don´t get that. He´s just doing what he knows how to do: play the heck out of the guitar, and he certainly did that here, from the opening (those building chords in the Vivaldi transcription) to the fiery passages. Music suited for him, not for a guy with a pick and a steel-string guitar. At any rate, one should forget the bashing of Coryell as this is history and may still be enjoyed. How would an artist like to be judged by his worst moment continuously decades later? There is still music here, and the ridiculousness of the whole affair is just a curiosity. If it happened to me, I´d be laughing. No the producer of this little fair deserves to be in one of the circles of Dante´s Hell.
I feel what you’re saying, but I also see this as a meeting of two perspectives. Anyone who’s been classically trained knows how much harder tone quality and speed is on steel strings, and especially with that technique, it becomes harder to apply strength on each finger to match the classical guitarist. Similarly, steel strings being more tensile in quality makes playing them allow for dynamic sound and aggressive brashness, which just isn’t fit for intricacies of the piece, but the contextual harmony, as he did play to part. I think while some might be wondering why he’s on the stage with a steel guitar, one who knew well enough might consider instead the mash-up of modernity and classical playing
This was not a strange match at all. They were recognized as two of the top players in the classical and jazz fields, who were enthusiastic about playing classical orchestral music on guitar. Before this stage and album release, Coryell had approached classical music in succession, such as Bolero (1981) and The Fire Bird (1983), so he was recognized as a fusion jazz guitarist who was positive and capable of playing classical orchestral music with a guitar. In addition, he was known for his virtuosity, having formed a trio with Al Di Meola and Paco de Lucía, replacing John Mclaughlin. For the producer, combining him with Yamashita, who had played Pictures at an Exhibition with a guitar (1981) and was arguably the most skilled classical guitar player, was a very natural idea to make guitar music fans' dream come true. Also, for both sides, this crossover might be a great promotional opportunity to expand the fandom to each other’s fields. The problem was that there was actually quite a gap in skill between the two. Though there were probably many jazz listeners who went to this venue to hear Coryell's performance and were attracted to Yamashita's play, I doubt if there were examples of the opposite.
It becomes evident, while watching this video, that Mr. Coryell's technique is really deficient compared with that of Kazuhito Yamashita's. Yamashita is a genuine guitar genius; very few in the classical guitar world, up to this point have been able to match his musical prowess.
Paco (may he rest in peace), could play the same speed if not faster....while improvising....never truly having studied....he was a true genius born with a talent and self taught. Even at times he played classical all by ear and made it sound like crystal clear. He was a flamenco guitarist and had taught himself the technique that these spent years studying in school, and this is without mentioning all the other classical guitarists who spent years studying and came out better than Yamashita. So, to say that no one has been able to match his ¨musical prowess" shows your true and genuine lack of knowledge.
@@JoseGarcia-gy5zo You think Paco can do pictures at an exhibition at the same level? I'm a fan of Paco, and we can debate musicality all day, but I don't think anyone has reached or surpassed Yamashita in pure technique.
@@JoseGarcia-gy5zo what other classical guitarists came out better that Yamashita? This is not a aggressive question... I'm really want to hear some of them!
Classical guitar, on a technical level, will always beat most other genres. Fingerstyle & Flamenco come close, but the discipline classical musicians have, from learning how to sightread, to clarity of notes, etc. comes second to none.
Not really. I don't think Yamashita can play Flamenco better than Paco de Lucia or Grisha Goryachev. Also, I don't think Yamashita can play Brazilian music better than Yamandu Costa or Alessandro Penezzi. And I am referring to technique when I state that (take a look, for instance, on the set of guitar techniques used by Flamenco guitar players which are simply absent in the repertoire of classical guitar)! It all depends on the chosen repertoire. I really don't know any guitarist that excels in all main instrumental genres, like e.g. classical, Flamenco, Brazilian/Latin music, and jazz. You can point out some distinguised guitar players in each of those genres, but I really don't know a single instrumentist that mastered all of them simultaneously. Here we have not the most accomplished jazz guitarist in terms of technique, playing a classical piece alongside with a very skilled classical guitarist. The result would be different if it was instead Al di Meola or Joe Pass playing with Yamashita. Moreover, can Yamashita play jazz?! I simply don't know, since as far as I know he has never taken a walk outside the sphere of classical music.
Análise excelente e certíssimo. Claro, para tocar Vivaldi...aqui o Yamashita é dono do pedaço. Mas quanto ao estilo do Yamandu ou do flamenco ou do jazz...ele poderia até aprender as técnicas digitais (preparo para qualquer dedilhação, ele tem...haja vista suas transcrições de "Quadros de uma exposiçã"...) mas o "feeling" a "cultura" dessas musicas vãoi além. Sem dúvida, ele toca coisas musicalmente muito mais complexas do que as do Yamandu ou Antonio Rey, mas a música erudita é isso, música mais elaborada..embora sem as inflexões ritmicas na musica do Yamandu ou do Grysha ou Joe Pass. Todo um swing ou uma pegada...não acho que seja a praia do Yamashita como não seria do Pepe Romero (Você imagina Pepe tocando Bossa ou choro? Seria uma coisa estilizada, algo se perde na "tradução" do espírito da coisa que não se reduz à mera técnica).
Although Larry's parts didn't sound quite as good as Kazuhito, I think the performance was still good and I really love the moment Larry still keeps a smile on his face at 3:03 as he's finishing the song.
Quite as good? These were light years away from acceptable, let alone good 🙂 And that smile was a sign of a stroke he had after realising the epic f*ckup he unleashed upon the world.
Remember when you were a kid and you used to stick playing cards to the bicycle forks that would slap off the spokes to make you sound cool! I’d forgotten what it sounded like 😀
Just came across this, had never seen this with Larry Coryell (very much missed) I first recognised his beautiful Ovation that I first saw him play with Paco De Lucia and John McLaughlin in the first Guitar Trio Brilliant playing, Yamashita plays with such passion and Larry is great as always.
Concierto tan hermoso, no puede ser que Yamashita haya permitido tocar con el tipo de la izquierda!! Vaya manera de darle en la madre a concierto tan bello y mejor aun, transcrito para guitarra :3
