Eloy Cruz
Sat, 26 Jan 2008 21:27:02 -0800
Dear Bill All I can heartily say is that you are absolutely right: with this music and in that Laberinto CD, I, we, are just having fun. For the first time in my life, after all these years, I can say I'm out of school, I can say I forgot about academy, I just let go and enjoy music and the company of great musicians and great friends. Let me tell you how we made this CD. I didn't know any of the jarocho players and had never seen them, it was my friend Enrique who proposed their participation. I met them on Friday morning and we had a day-long rehearsal; next day, Saturday, dress rehearsal and concert. Sunday was off to allow everybody to get rid of the hangover, and on Monday we started the four-day recording session. Some of the final versions were devised right there at the studio, some of the verses were improvised there. Enrique came out with the final cadence of la lloroncita when we had finished recording it, we had to re-record... I've never been in a recording like that one, it was like if everybody had played this music all their lives, and I think that was true... The Codice saldivar Fandango and the jarocho fandanguito are just one and the same thing, and so do la Jotta and La maria Chuchena, so nobody was on foreign land. Lee is a spectacular musician who connected in 3 minutes time with the jarochos and they had a great deal of musical conversation all the time although they couldn't understand the other's spoken language.... And I absolutely agree with what you say > they are simply reveling in the music of their > grandfathers ... their grandfather's grandfather and more. All the time I keep finding the old in the new. One night, at a jarocho fiesta, a fandango, I heard this verse: Ora si china del alma Ya no nos condenaremos Los infiernos se acabaron Y los diablos se murieron I really had a chill, because in the inquisition archives there's a 18th cent. denunciation of a son called pan the jarave with this verse Ya el infierno se acavo Ya los Diablos se murieron Haora si chinita mia Ya no nos condenaremos And I also agree that the music of the Son came from the other side of the Atlantic, and some of the pieces, why not, probably went from this side to the other... Thanks a lot! Cheers eloy El 1/26/08 6:24 PM, "bill kilpatrick" <[EMAIL PROTECTED]> escribió: > as stated earlier, i've been dancing around the kitchen lately with the > "ensamble continuo" and their new world baroque offerings. don't know what > you prepare your evening's meal with but this has been "top of the pops" with > me for un bel pò. > > it occurs to me - as i listen - that they (eloy et al.) are having fun. > > imagine that ... > > they are not exploring a musical tradition alien to a british or north > american tradition; they are simply reveling in the music of their > grandfathers ... their grandfather's grandfather and more. > > there are those, i'm sure, who will suggest that the son (sone) tradition is > uniquely american and is only obliquely related to music tradition of the > old(e) world. but if you will only place yourself in the position of a music > loving émigré to the new found land (circa 1500 and something) who happens to > influence those around you to the extent that they pass on that influence to > succeeding generations ... it is not beyond the realms of probability that the > music produced in subsequent modern times relates directly to the music that > has passed before. > > this point ... this aspect, i suggest (sigh) relates to their instruments as > well. > > what is it about a 4, 5 or 6 course new world instrument that (per forza) > excludes it from the old world repertoire? > > - bill > > > > > > > http://www.youtube.com/profile?user=billkilpatrick > > --------------------------------- > Sent from Yahoo! - a smarter inbox. > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html