#61
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Many fine young players comming up, but surpassing Bream and Williams will be a task and a half,,, Wendell |
#62
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Dave |
#63
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We're all in this together!!!
No need to apologize (not to me anyway). We've all read and believed stuff online that turned out to be wrong or inaccurate. I appreciate your presence and comments on this thread and sincerely hope you'll reconsider and continue to keep the conversation here alive.
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#64
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otherwise i would not know about them,,, Im a guy who has trouble walking and chewing gum at the the same time. W |
#65
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As a classical guitar major at a guitar program headed by Parkening in the mid-1980s, I remember not getting a warm and fuzzy feeling about the Maestro's (Segovia) teaching methods based on the stories I was made aware of . But I still own many Segovia recordings and respect him for what he did to further the instrument. I always preferred Bream and Williams' playing, but they stood on the shoulders of Segovia to reach higher. Just like younger players are doing with them. Still, I don't think I've heard any younger players who's tone and interpretation I enjoy more than these giants. And my favorite older player has been Manuel Barruecco for many years. His "300 Years of Guitar Masterpieces" has always been one of my favorites. Specifically his renditions of great works by Albeniz and Scarlatti.
Also, regarding the Hendrix thing... I got obsessed with all things guitar in the 80s. So I missed the Hendrix boat. For that style I always preferred the huge tone and less sloppy playing of SRV. But when I put myself in Hendrix' era, where guys like Clapton, Page and Beck would go see Hendrix live... I can see why Jimi blew everyone's doors off. He was coming from another place and really turned the rock guitar world on its head. Same goes for EVH, and later-on Yngwie Malmsteen (who's always been my personal "guitar god" and ultimately the reason that I chose to study real classical guitar). Anyways... I'll never be fond of Segovia's teaching methods, but he was a giant as a player and that can never be [successfully] argued against. I would trade a lifetime of anonymous internet pontificating for a moment of time on a major concert stage at his dizzying heights. And I don't get the inferences that he was a soulless technician. I always felt that he was the opposite of that. VERY toneful and expressive, but lacking in the technical skills of many/most of those concert greats who've come after.
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http://soundcloud.com/jwflamenco |
#66
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Quote:: But when I put myself in Hendrix' era, where guys like Clapton, Page and Beck would go see Hendrix live... I can see why Jimi blew everyone's doors off. He was coming from another place and really turned the rock guitar world on its head.
I cant really comment,, I hate distortion so much, any benefit of the contributions of the above guitar players mentioned , would go over my head. W |
#67
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Oh... and two more words... Chris Broderick. You may not like his style or tone, but the guy is very competent at many styles. http://www.youtube.com/watch?v=HScho...=RDq-ze51lEt3w http://www.youtube.com/watch?v=4epN_moygOg
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http://soundcloud.com/jwflamenco |
#68
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[QUOTE=Red_Label;3779812]Two words... different strokes.
Oh well , at least i have good taste in guitars www.johnnywalkerguitars.com W. |
#69
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I am struck by the difference between Segovia and Tommy Emmanuel when it comes to helping other musicians gain exposure.
From Barrios World Wide: "In June, 1920 Segovia was giving concerts in Montevideo. At the same time Barrios returned from Brazil to Montevideo, but not once during the five weeks that they were both in Uruguay did the two meet. It was not until 1921 that they met at a concert in Buenos Aires, introduced by a mutual friend. They spoke privately and Barrios proposed to visit. Barrios was the one who took the initiative and visited Segovia. Miguel Klinger declared of this encounter: ‘Barrios played a cascade of musical gems for the great Segovia who was surprised… but yet he was floored. One particular work he liked very much and indicated he would play in his concerts, he never played, and logically so: if he had played it with the extra ordinary abilities he possessed, he would have elevated Barrios to inaccessible heights thus distracting from his own artistic prestige.’ The work to which Klinger referred was La Catedral; of course Segovia only heard the first two sections because the third was not added by Barrios until some years later in Cuba. |
#70
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You are correct Herb,,
I read the exact same thing in the authorized biography of John Williams called Strings Attached,, It goes into detail of Segovias snubbing of Barrios.. W |
#71
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Barrios died at 1944. Segovia had no reason not to record Barrios music after his death , if he liked it.
Last edited by Paikon; 01-17-2014 at 11:15 PM. |
#72
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First he would have had to admit to himself that it is okay to like contemporary music.
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#73
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He played Villa Lobos.
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#74
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What does Tommy Emmanuel have in common with John Williams? Ok , they are both Australia ? ? ? W
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#75
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Simple. They are both very fine guitar players.
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Martin 0-16NY Emerald Amicus Emerald X20 Cordoba Stage Some of my tunes: https://youtube.com/user/eatswodo |