The following is completely useless for anyone looking for guidance on how best to go about attempt emulating Yamashita. But, it's an opportune juncture at which to submit these conversational extracts from a discussion thread that occurred on another form almost ten years ago:
On Oct 16, 11:50 am, Andrew Schulman <and...@abacaproductions.com>
> On Oct 16, 5:06 am, JPD <googlegroo...@*** Site blocked for copyright reasons ***> wrote:> Does he (i.e., Yamashita) deliver or what!
> >(link to audio sample on a now non-existent blog)
> > (Playing "La Boda de Luis Alonso," if you must know.)
> Yes, he is spectacular! I looked up the piece and found this mp3 > version by Sabicas, worth a listen to also:
> (link to a site now unavailable)
Yes, well worth a listen. However, with Sabicas I can envision the path to follow. The territorial landscape of guitar potential within which one orients oneself contains a road, from where I am situated to where Sabicas was. I can look down that road to contemplate and assess the plausibility, remote though it may be, that I too may traverse that road. What is impressive about Sabicas is, that the travails of that travel are visibly anticipable, that he withstood and whereby he proved his mettle.
But with Yamashita, an apt quotation that comes to mind is an often cited humorous anectdotal response, of a native inhabitant of the territory where I grew up, given in befuddling response after a show of seeming due consideration, to the "flatlander" who stopped and asked for directions to some other locale: "You can't get there from here."
On Oct 17, 9:11 am, Charlie <gtr...@tds.net> wrote:
> Maybe it's the recording quality but, in my estimation, this piece is
> not very musical to my ears: faster than i can play, now that's for
> sure, but, well who cares? I couldn't even find a thread of melody to
> hum. To me it's just a tour de force of speed without much point to
That makes me think of Carolina banjoist Frank Proffit's famous reaction upon first hearing Earl Scruggs- "I'd like to be able to do that and then not do it."
I've heard plenty of fast playing that struck me as Yamashita's did you. But what I hear is that what ever is the ineffable compounding of felicitous physiology and concentration of which his playing metabolism consists, its energy hasn't been wholly consumed by the effort of rocketing through. He still retained a reserve, unsupplanted, of attention capacity to devote to delivering the material with finesse and subtle modulation. Me, I'd like to be able to do that and then do it.