Cycle Andalucia
Manitas De Plata – Flamenco Guitarist or not?
Manitas de Plata is an incredible improviser. Nobody can deny that he put everything he has into his music. He is a showman and an artist with an energy that just draws you and forces you to listen. He sold millions of records in the 1960s and '70s and entertained sellout crowds throughout the world. In 1964, Pablo Picasso is said to have exclaimed after seeing him act "That man is more precious than I am!" and proceeded to pull the guitar man. I dare say this guitar is now worth a fortune worn. In 1968, he performed in the presence of the Queen at the London Palladium. He also represented Europe in the United Nations annual gala that celebrates the International Declaration of Human Rights. Not bad for an illiterate man who was born in a gypsy caravan and could not read music to save his life.
However, Manitas de Plata has a legacy older than the records left as testimony to his talent. In its way, helped lay the bases of the Gipsy Kings, who were formed by the children of Jose Reyes (vocalist) and other family members Baliardo. Tonino Baliardo Notably, one of my guitarists favorites is the son of Manitas de Plata.
So why not gain the respect it deserves among aficionados of flamenco?
There are a couple of reasons for this, which may not be immediately obvious to anyone not familiar with traditional flamenco.
First, is a French gypsy. This in itself (Being a non-Spanish) should, and does not necessarily preclude an artist to be described as a flamenco artist by the Flemish co-Spain.
The reason principal is not mentioned is because he is rather loose with his compass. Basically, time is a recurring cycle of coups analogous to a bar of music. In the rhythms Flamenco, the rate cycle may be 2, 4, 6, 8 or 12 times, depending on how rhythm. For traditional flamenco of Spain and fans alike, who do not adhere bar is strictly equivalent of blasphemy. While the guitarist Paco de Lucia can be described as extremely thin and full of creative insight, playing Manitas de Plata is as harsh as you can get. Anyone who plays a beat like 12 is bulerías Soleares or whatever, and totally ignores the dynamics of the compass, turn is ignored by traditional flamenco community in general. It's that simple. They just do not take it seriously because although he plays what is considered by fans good imitation, or the flamenco sound alike, is not strictly flamenco, by definition, because it lacks the commitment to beat.
Their music also lacks cohesion, which means that there is no clear structure for much of his music. It's more like a random collection of musical ideas created on the fly and without refer to the bits before and after. In other words, little or no musical coherence "flow."
Basically he does things on the ground and accelerates and slows down too much when you could expect a steady rhythmic tempo. While this may be fine with the disc buying public is not well with someone who knows flamenco. There are certain dynamic and structural "rules" with most traditional flamenco styles all performers in a given group are known and adhere to, including parts that do not really accelerate and brake. Otherwise action would descend into chaos. These "rules" can be changed but never ignored as Manitas de Plata, ignore them. His speed variations tend to follow their whims instead of any ordered pattern such as significant speed variations that are dictated by the flamenco tradition.
In short, his music can not be followed by a dancer or another guitarist, it seems to be in their own world and plays mostly to himself. As much as I enjoy the energy and spontaneity of Manitas de Plata recordings, I must confess I can not follow. All you have to do is start counting the 12 strokes in one of his soleares, and before getting very far in the piece, which has a compass 8 hits and 10 hits and another 14 strokes.
No student serious flamenco flourishes could use their (musical variation) word for word. Interesting, because they may be, which require major modification before they could be used to accompany a dancer for example. It is not a composer or a musical "choreographer" in the same way as Sabicas Paco de Lucia or would be. It more like an instant "crazy fingers" doer of random music that sounds like flamenco and flamenco have titles attached to it, but it is flamenco.
This does not mean it's not a performer and guitarist inspiring. By saying these things, I'm not calling him or trying to put her down as an artist. Simply I am repeating the usual critical in explaining why it is so respected as a guitarist in Andalusia, the heart of traditional flamenco. Am sure he was well aware of such criticism, but I am equally sure that he could not give two screams.
In a way, the extraordinary success of Gipsy Kings is a testament to his cousin, "go for it" style. Even his harshest critics who have difficulty denying the fact that Manitas de Plata was a of the big names of internationally renowned flamenco in the 60s and 70s that were instrumental in exposing the art of flamenco to the world at large, and most importantly, the public general purchasing registration.
About the Author
Sal Bonavita’s website, “Sal’s Flamenco Soapbox” has been instructing beginners since 1998. Download free tutorial ebooks, guitar lesson videos and articles relating to flamenco. Visit www.herso.freeservers.com
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