 |
|
|
|
|
|
|||||||||||||||
 |
|
|||||||||||||||||||
 |
 |
 |
 |
 |
|
|||||||||||||||
 |
 |
|||||||||||||||||||
| ||||||||||||||||||||
|
UPDATED AUGUST 11, 2010 |
| ||||||||||||||||||
   |
This month's articles Witold | Eyes Closed | Communication | Fronteras | |
 Dalí: The Late Work |
||||||||||||||||||
Dali Ticket Contest |
Fronteras 2010 Photos & Videos. See and order >>
UPDATED ON 08.04.10
Sound out Atlanta! Send story ideas, apply to be a jaleolé.com
contributor, or volunteer as traveling flamenco correspondent.
UPDATED ON 07.12.10
Sync up with exciting flamenco shows and valuable workshops,
in addition to regular classes in the Atlanta area.
UPDATED ON 06.08.10
Sell and buy flamenco gear, find a practice pal, or just window shop.
These
ads are free of charge and free to browse!
UPDATED ON 08.04.09
Find
classes offered by various teachers in town.
Member of the Atlanta Coalition of Performing Arts
Witold Releases CD
Local guitarist Witold Tulodziecki celebrates the release of his new album. By Julie Baggenstoss, Reported by Rina Menosky
Tulodziecki says his self-produced album blends jazz-inspired guitar with exotic qualities of world music, and of course, flamenco guitar. The result is, "Passionate music for passionate people," says Tulodziecki. But, it is much more than a debut of Tulodziecki's recorded music. It is the public's first look at his care to detail and desire for perfection that Tulodziecki takes. The importance of these notions is evident throughout his two-decade creation process.
"My Heart for You" was inspired 20 years ago. Writing the music was the easy part for this talented musician. But, Tulodziecki says he labored over the process of eliminating tracks, tweaking sounds and picking titles. "The image you create and titles you put are as important as the music. That's what people see first. So, the asthetics over all -- title and graphics, as well as music-- have to be congruent. And, they have to be the essence of what (the album) is all about," explains Tulodziecki.
He composed all the music on the CD, not just the guitar portions. "I also created every other instrument that is on every track, to enhance the music by using the highest quality sounds and sampling technology," explains Tulodziecki. "For the listener's experience, lots of thinking was involved -- even to the pause between the tracks... Each track has different story and I made sure each flowed into another -- the order was meticulously and consciously chosen."
Since the album is self-produced, Tulodziecki devoted six years to sound engineering and mastering: two important parts of music creation that make the end product sound brilliant to the ears. "I knew I couldn't get the quality of the sound I was looking for just from anyone. (In general,) the sound engineers have their standardized method, but that's not what I'd wanted," Tulodziecki says. That is why he says he invested time and resources to purchasing and learning software and equipment to do this all himself.
All this comes from a man who first arrived on the Atlanta flamenco scene in 1999, as guitarist for a cuadro called Pasión Flamenca. It was originally was composed of four artists: singer Carmen Deal, dancer Ulrika Frank, base guitar player Mike Cady, and Tulodziecki. After a while, percussionist Jerry Fields joined, and the group performed together for about three years, gaining much recognition, including Creative Loafing's award for Best Entertainment in Atlanta.
Now, Tulodziecki says he enjoys performing solo guitar with background music or a percussionist. "I am not interested in cuadro flamenco because it has such a challenge: finding the location and time for rehearsing (with a group of people). And, the reach of the cuadro is too limited locally. So, you would have to go on tour, but it's too hard," says Tulodziecki.
Live flamenco being in his past, ideas of experimenting with new instruments and electronically-created texture in his future, Tulodziecki calls "My Heart for You" a reflection the current stage of his creative development.
Now that we're hearing Tulodziecki's music, he'll let us see it next. "I am now working on the video editing. I am planning to make a multi-media production for the video promotion," says Tulodziecki. No doubt, he is giving the same attention to detail to that video as he has the rest of his work associated with this CD.
Tulodziecki's CD is for sale at his website, www.atlantaflamenco.com.
Open Mind, Narrow and Deep
A radio report spawns thoughts of flamenco -- with eyes closed. By Rina Menosky
"Hey! I want to be performing at age 82 and improvising with my eyes closed!" That was what I blurted out by myself in the car during Tuesday rush hour as I listened to the story about jazz saxophonist Lee Konitz on the National Public Radio (NPR) prgram "All Things Considered." From afar, I am sure I looked like a lunatic cursing at the horrible Atlanta traffic. However, to the contrary, I was smiling ear to ear shouting "olé!" as the story continued on the radio.
Of course, the comparison of the relationship between jazz and flamenco musicians is nothing new. In both genres, artists improvise. "The key is listening" isn't a new "a-ha!" concept either. However, what caught my ear was Konitz's comment, "...my goal: to not repeat what I did that felt nice the night before or whatever. Just to try to build a new row of meaningful tones."
Feeling nice the night before, but intending to do better with something new the next day for some 60 years is inspiring to me. That's right, 60 years! But Konitz is not going after any abstract format -- no inventing new ways in sax playing, or revolutionizing tones, or trying to play something outside of his field. Instead, he crafts his knowledge and skills within the boundary of the movement coined "cool jazz," being inspired by what is around him, and by inspiring others in the given moment at each gig and each recording. "...Some people say, 'When are you gonna swing?' It's not a competition to me. I just like to sing my little song, and hopefully get a reaction from the people I'm playing with and the people that are listening," Konitz told NPR reporter Tom Vitale.
That's right, tell 'em Lee! Go for nothing complicated or out-of-your element, but for your pure enjoyment and comfort zone. Keep on making what you know well unique and better each time. "Nice" to "Wow-good." "Wow-good" to "Wicked!" Que arte. You will get my "olé" for sure.
All things considered, I don't think it's a bad thing that Konitz has to close his eyes now when he plays so he's not distracted due to his aging. Even if we are not in our 80s, I actually think we should all close our eyes (at least every so often) to concentrate and to look into what we already know with ears wide-open. No matter what each of us does in flamenco: dance, sing, or play, we should find the value and richness in a narrow and deep sense, instead of one that is wide and shallow for years to come!
Transcripts of Lee Konitz: Still Something New, 60 Years Later, reported on NPR by Tom Vitale are available at www.npr.org
Up in the "aire"
Part 3: Communication "views" from a higher altitude on the flamenco ladder By Erica Poole
| Speaking of Communication | ||
|
Read parts 1 and 2 of Erica's communication series: Part 1 >> Part 2 >> In the jaleole.com archive: "Let's Get Cooking" >> And, get a chance to study this concept with the upcoming workshop, Flamenco Completo, on Oct. 2-3 in Atlanta. Details in the jaleole.com calendar >> |
||
For this series, we began with examining where synthesis is on the communication scale, followed by how to begin to move up the flamenco ladder with our "improvisational tools," and now, we will take a look at a collection of reflective perspectives from accomplished and active dancers, singers, and guitarists to direct us towards "Flamenco: dance unscripted."
Having taught second-language adult education as well, a common question students often asked me was, "When will I be fluent?" There is no definite answer because embedded within this question lies too many factors true for both language and dance to prevent you from appearing as an "outsider": natural giftedness, exposure, practice, self-discipline, acute listening, attention to detail, personal musicality, experience, absorption, immersion, and retention. As I've encountered non-native, convincing flamenco dancers, the common length of study is at least 10 years. However, this fluency comes about by not just being a professional student attending every class and workshop that money can afford, but rather by seeking opportunities to implement learned concepts outside of the classroom within a flamenco climate.
I have an expression in my classroom that I constantly say to my students when something we learn is included within a verb, or to be retained and contained in our minds: "It's Prego!" Just as the spaghetti sauce commercial boasts that the ripe tomatoes do not need any extra basil or oregano because they're "in there," 20 muddy pasos will never measure up to 5 clean ones that are "Prego," because they are "in there," because they are in us! Quality over quantity still reigns true.
The following tips all come from noteworthy artists who have had an impact on Atlanta. The tips are in keeping with a focus on communication angles spanning all of the participants within a cuadro:
"Both the dancer and guitarist should be well-versed in the terminology of baile, cante, and guitarra. It is important to study flamenco in general, just as it is to study one's own element of dancing and guitar. The overall knowledge of the art form and of cante is what provides the artists with theory and the basis to communicate. Study, study, study, which involves listening to other people speak, listening to cante, watching and playing to many dancers and singers, learning the terminology, basically doing one's homework before throwing oneself into a setting that he or she isn't ready for. Of course, there are certain moments when being unprepared teaches us more than anything else, but preparing and studying with people who know more than you do is an absolute necessity for flamenco development."
"Well, what is important for me is to know the structure of the palos, so you can ask the dancer how the choreography will be that he/she will dance. It's important that the dancer know the structure of the dance; if he/she doesn't know, we will have problems. For example, if we are [performing] por alegrías, I, as a guitarist, need to know if the dance is with a salida, how many letras, with silencio, with castellana or not, if there is tapao, etc. This is even more important if we are in a tablao and we don't rehearse anything! This is before dancing."
During the show, the communication is like a language; sometimes I communicate better with some dancers than others. Of course, the guitarist has to be very focused and hanging on to what the dancer needs, llamadas, cortes, falsetas, etc. Also, one improvises a lot, more so if not rehearsed. I always prefer to rehearse to come out secure of what will happen. Of course, if one can't, here is where the experience and knowledge of the three -- singer, dancer, and guitarist ---come to light, and generally all comes out well if they are professionals."
Guitarist - Must read the dancer's body language and strum in the exact place of her llamadas. The right hand mimics the dancer; the left hand follows the singer.
Singer - Most times, it is the guitarist and dancer who follow the singer. The exception is the "silly section," por bulerías.
Dancer - Must be super-clear of intentions; no one should confuse the "12" with the "1."
Palmeros - One person utilizing contratiempo can help pull back compás to prevent the tendency to push it [too fast]. Always, always put your foot in with golpes & jaleos to help the dancer know where he/she is.
"It's hard to summarize my 35 plus years in flamenco. My "discoveries" are in the teaching. I've been doing, helping others to understand the structure of a "vuelta por bulerías" (for example) and the structure of a letra of bulerías and how to rematar.
Then, practice, practice, practice! Get back to working with guitar, spend some time paired up, listening and watching YouTube together to try to even play and dance along. Then, work letra by letra. Once you have one of the letras learned in a workshop, look for another with the same melody and structure and practice dancing to that on tape and with live guitar. There are hundreds of letras that all have the same melody. Then look for another letra with a different melody and figure out the A-B-C structure and where the letra ends, then figure out how to rematar. Work in small chunks, systematically!"
Flamenco is like a wheel constantly rotating to pick up new learners, circularly framing us to remind us that the basics are always recurring and revised, and steering us towards higher elevations of personal growth. One day, you could even be a "big wheel!" "Up in the aire"...the ultimate dialogue among flamencos!
Atlanta On Stage
More than a show, Fronteras 2010 weaves a strong flamenco community. By Julie Baggenstoss
  |
|
Above, Natalia D'Angelo takes the circle during a fin de fiesta, performed by students of Rina Menosky. Below, Stephanie's students strike a pose in a bulerías. Photos by Edward Zeltser. Photos of Fronteras 2010 are available now. See the pictures by photographer Edward Zeltser & Eugenio Beltran >>. DVD order forms are coming soon! |
The show is the sixth annual flamenco student expo on the theater stage, produced by jaleolé. Each year, Fronteras aims to bring together flamenco aficionados, students, and professionals, with students of all teachers in Atlanta invited to participate. With so many performers on stage, Fronteras has also become an annual showcase of teachers' choreography and artistic direction, as well as student achievement.
In 2010 the show also reflected the great amount of crossover taking place -- students studying from multiple teachers; accompanists working with different groups of dancers; teachers appearing on stage with one another to support students. Every thread of collaboration and cross-study weaves a flamenco community that is stronger in spirt, richer in talent.
© jaleolé.com 2010