Uh-oh... Again another expert... This time is Mr. Ken Jo who wrote in a YouTube comment to this video youtu.be/XD-UYnIbeI4?t=14s as follows: Early in Pacos career, he played a Ramirez. No matter how you slice it, Paco mainly played and recorded with his Conde. On his Cositas Buenas, album he played a Vicente Carrillo blanca. I dont recall he ever recorded or played in public with an Andalusian guitar as you are eluding to. My answer was: Mr. Ken Jo N.1 Please PROVE that those recordings were factually done with those guitars you mentioned. (I am afraid that just the credits on the covers of those albums as sold credits to product placement are not good enough prove of anything... at least not for anyone who has a little brain) N.2 I never said nor elude that Paco did use AG guitars in his public performances, in fact my best guess is that you dont understand English well...hence I havent said that on this video nor on any other of my videos. In fact as from the following link from El Pais Newspaper elpais.uy/divertite/musica/guitarra-desagradecida.html You can unequivocally read that what he was actually saying is: that he at home he played with the guitars he liked better, and those guitars he did prefer and cherish to ply on are not the guitars that he ever played on the stage where he did use just normal functional gear (guitar) to perform, therefore this interview from El Pais (newspaper) leaves no room for doubt about the fact that he did make a distinction between guitars to just play the gig and guitars to create from artistic intimacy at home. Here is another video to explain further on this subject (Guitars to Compose vs Guitars to Perform rdiaz.org/rdvideo1354.html ) Here is a part of that interview: {Paco de Lucias answer: ...I have many different guitars and very good ones actually, but I always have one with me... Its like a women you live with but who dont really like much... because I really do not like this guitar too much but on the other side I know how this particular guitar will respond me on stage. The saying `best known evil than an unknown good` applies here. In fact at home my guitar it is a rough and hard to play guitar, when Im relaxed at my place I cant play this guitar at all... But when adrenaline is there (on the stage) I need a certain comfortable pulsacion of which I get used to, and thats why I use it for playing on stage.} N.3 (a) I am perfectly aware that Paco did also occasionally try to play on some 60s cypress Ramirez Guitars as you can see at the following picture rdiaz.org/rdmagazine53-28jul14.html or from the following video youtu.be/SBc3jwhkYno?t=2m37s (b) In this video ( rdiaz.org/rdvideo1353.html ...Actually I Don’t Like the Guitar I Always Play on Stage... ) I am not talking against nor in favor of any specific guitar brand (if anyway you think so the following video is for you rdiaz.org/rdvideo1370.html ) hence I know myself from the 28+ years in vicinity to him that Paco did own and appreciate not only several Andalusian Guitars guitars but also some Marcelo Barbero guitars, just like the one he is playing at home on the following link where you can see a picture * rdiaz.org/rdmagazine.html#news (c) Apart from those guitars of his private collection and some more which I would like to call his marginal guitars at home he also played from time to time few specific special Argangel Fernandez guitars custom made, guitars similar to this one at the following link christies/lotfinder/musical-instruments/arcangel-fernandez-a-flamenco-guitar-madrid-1969-5356759-details.aspx N.4 Again this channel is not a USG Uncles Sam Club where one is just speaking cheap arguments but rather a place for those who aspire to get real knowledge about Paco and his innovations on the guitar field. Paco was a very non-conventional person and here is an example: On the following link you can see a very special picture, maybe one of the few ones of Paco with Sabicas. Its a very symbolic picture because it reflects the course of history. If you are acquainted with “reading pictures” and the significance of bodily language you will understand the hidden message of this particular picture of Paco de Lucia been aloof (regarding his physical position in the picture) from Sabicas and the rest of the group of traditional flamenco artists therein including his own brother Ramon de Algeciras. See how the signal leading to the stage leads to Paco himself as the future of flamenco was leading to him too rdiaz.org/rdmagazine55-05oct14.html#news N.5 If you are open mind enough to listen from your heart some between the many things which I learned from and through him regarding the direction to which flamenco innovative modern guitar making and its research should go towards, here you have some educational videos on that subject 1) https://youtube/watch?v=padGxcG7nyg 2) https://youtube/watch?v=DELy6W9ExII 3) https://youtube/watch?v=deKDnCb1H7o N.6 I kindly request you with all respect to please prove all what you are saying, and show some respect to me, to Paco, and to our subscribers, by sending along with your next answer to this YouTube comment a video of you playing a couple of minutes so that we can see your level of understanding of this style which is the central thing which we want to discuss herein. To start with the right foot here is my prove rdiaz.org/rdvideo1390.html (If you disagree with me this video is for you... if not just skip it /Ruben Diaz & Paco Lucias t.) When you send us your video we will proceed to: 1) Consider the worthiness of your opinion on this subject. or 2) Ignore your comments to avoid wasting our priceless time. Conclusion: Talk is cheap...but to earn the position of been considered an authority on this field is not. Have a nice day! Ruben rdiaz.org/rdfoto98.html
Posted on: Sat, 15 Nov 2014 20:34:02 +0000
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