Here’s part two of David Collett’s interview with flamenco guitarist Grisha Goryachev. Here they discuss the gap between the modernists and the traditionalists and the importance of tradition in flamenco.

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13 Responses to “Grisha Goryachev Interview (Pt. 2)”

  1. Ian Sinclair says:

    Hi that’s a really interesting interview with a talented guitarist who has made his mark as a non-spanish flamenco. Inspiration to us all!
    Now speaking as someone who works in television, can I suggest your interviewer should mike himself with a second microphone? Otherwise his questions sound too off mike and there s a loss of intimacy.

    Try it. you’d be amazed at the difference!

    But thanks for going to the trouble of posting this fascinating material and keep it up!

  2. Aaron says:

    I think it would have been nice to hear questions from a flamenco player (ie. Kai or another) for part of the interview.
    Thanks for interviewing him and ditto on the microphone comment above.

  3. cuchares says:

    The cante defines flamenco.Modern flamenco is like ottmar liebert.
    It has nothing to do with the cante.
    Solea in the key of minera is not solea; it’s just a fantasy exercise.
    (Manitas de Plata played Bulerias in tarantas key in the early 60’s does that make him the father of modern Flamenco?)
    Al de Meiola and john Maclauglin made flamenco more popular?
    How by playing in the fast scale Olympics with Paco in San Fran?
    Paco albums evolved?They all contain the same predictable chordal harmonies.
    Paco is to flamenco guitar what Pepe Marchena was to Cante Jondo.
    Paco invented “Western jazzy Flamenco” as Pepe Marchena invented “Opera Flamenco” Lots of people liked the Westernization of flamenco by Pepe Marchena(ie. all fandango)Paco has repeated the same feat.
    The cante remains the same ,there is no “Modern cante” Just guys jazzing up the accompaniment with odd results.(Check out pedro Sierra changing the accompaniment of Antonio Mairena’s Solea)It would be heresy but it’s funny how seriously they take themselves.(And how silly it sounds)
    Nino Ricardo wasn a contemporary of Ramon Montoya. Ramon was 20 years older but they were contemporaries.
    Grisha seems such a nice fellow ;too bad the facts in the interview are so unique to him.

  4. All I know is the modern flamenco does not raise the hair on my arms. For me, it has no duende. It sounds like background music. Also, modern flamenco guitar does not sound good unless there’s a bassist, flautist, other string instruments, and percussion playing in the background. With traditional flamenco guitar, all you need is the guitarist and it sounds amazing.

  5. elcabronazo says:

    I agree that flamenco is based on cante , and some of Paco’s music has strayed from “flamenco” , but he did as much for flamenco in the dozen or so albums that he made accompanying Camaron . Having just seen the Benial in Sevilla i can attest that there is no “gap” in flamenco , but it has evolved to some extent while remaining true to tradition . It is only guitarists who wish to be like Paco who talk of these things – everyone else should just get on with the business of learning flamenco as a whole . It is worth noting that Paco is respected by just about everybody in Spain, young or old , traditional or modern .

    • cuchares says:

      Paco’s a “monstruo” everyone that copied him is hunchback(hangs out with and copies the Monster)
      When i hear what his copyists have come up with it make me laugh and cringe.Check out kai’s “Siguriyas”.
      Kai ,that’s not how it goes.Stop the drone.kill the windchime.
      cheer up.

  6. Kai says:

    Here’s the offending falseta: http://www.guitarsalon.com/media/MapleDay2.mp3

    I didn’t even think it sounded that modern. Ladies and Gentlemen: Your Gap!

  7. Kai says:

    I love that stuff, as well. I played nothing but old-school for years, and I have nothing but respect for the masters who came before Paco. But I believe that Flamenco is alive and that it will always evolve, and I like a lot (certainly not all) of what is happening in flamenco. I think that Paco really did change everything, and you can even hear his influence in, say, Juan Habichuela, who is about as all-about-the-cante as you can get today.

    I agree that my little falseta may not have been recognized as a proper seguiriya by Melchor de Marchena (probably the best accompanist ever, in my opinion), but Enrique Melchor, his son, or anyone else in flamenco today, would say it’s a simple little seguiriya falseta and that there’s nothing super modern, out-there, or special about it.

    And I love that you can hear the past and the roots in all of the good modern stuff. I’m not trying to take away your appreciation of the flamenco we love, but I think it bears remembering that when Ramon Montoya stepped on a stage alone with a guitar he changed things radically, and he borrowed non-flamenco techniques to do it. I’m glad he did. But that was radical, and now we accept it as the real thing.

    I also cringe at some of what I hear, but then I hear stuff that really moves me. I think I share your concern that many are forgetting where flamenco comes from, but it came from somewhere before the recordings we know, and we’ll never know exactly what that sounded like, so what we might think of as real flamenco is really just a brilliant moment in time that I agree is worth preserving.

    And in the meantime, I’ll take whatever tiny bit of Paco rubs off on me. I only wish it were more.

    • cuchares says:

      I agree w/ your thoughtful post.(However give me Nino Ricardo and Diego ,in lieu of Melchor, for accompaniment)
      Ramon’s famous Rodenas solo is said to have come from Tarrega through Miguel Borrull.(Ramon’s hero)
      Classical and flamenco were alot closer, than today, a hundred years ago
      Paco changed the guitar and many think of this as progress.
      Progress (to quote Aldous Huxley) has 2 forms ;vertical and horizontal.Paco ,i think ,has gone horizontal.
      The cante is the same.That is the evidence.The cante doesn’t have a similar “Progress”
      and since flamenco is the cante…….


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