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This inoffensive image, is accompanied by a reserved voice that invites calm, and a humble discourse that makes the person he is speaking to forget who he is, or what he has accomplished, and in this way, you barely notice him. In the first place, from a perspective of freedom, not being afraid of improvisation, the personal touch, the studio.
Also, not being afraid to make mistakes. We made the record in one week at my house, just like that, chatting and sharing. For this reason, when I listen to my compositions, I realize there are many different touches, different kinds of shading compared to who Dorantes was when I began.
More maturity, greater knowledge of the musical language and greater freedom. I think all that shows. In addition, I now compose in a more conscious way, with an objective, that of communicating what I feel and what is happening.
The worst part is the psychological. Although I even like this masochism. It will never fall short, not for me or anyone else.
And the more I relate to other kinds of music, the more I realize how rich it is. How did he influence your career? Sitting around after dinner there were flamenco lessons, the history of our family, and even now this continues every time we get together. I liked playing guitar, but the piano put me into a trance, it made me feel amazing things. Not much. I was at the conservatory playing Bach, but even then the flamenco inclination could be detected because, obviously, I would accent everything and bring it to my space in a natural manner.
What I do is enjoy my work, day by day. I try to concentrate a lot on myself, in my preparation, in order to suffer the least on stage. I like the piano to take up its rightful place in flamenco, of course, but more for the good of flamenco than for the piano. Consciencia Galera Desamor Zambra Abandono Siguirilla Tangos carreteros Tangos Fandangos con Pepe Habichuela Fandangos Home Revista Entrevistas. Comparte en Facebook Comparte en Twitter.
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«At this point I play Orobroy like something borrowed»
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