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Pedro Ricardo Miño
(foto: Daniel Muñoz) |
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What do you think about the new flamenco
piano scene?
Good things are being done. If the guitar had stopped with Ramón
Montoya and Niño
Ricardo, it would've died. You need people who fight, who work and who make
music with affection and truth. I believe there are things which are being done
very well, but too many different types of music are filtered. I don't know if
jazz is being talked about or La Paquera who, for me, that's flamenco.
The number of piano albums released last year was impressive. Why this boom?
There are good things out there, but the concept's getting lost. And that hasn't
come about in just the last three or four years. I've been in it since I was little.
Four years ago, there were only two of us: Dorantes
and I. Now the instrument's been really opened up and that's very good, I think
thanks to Chano
Domínguez... I really like one thing about him, that he says he's a
jazz player who plays the piano. I'm one of those who prefer to catalogue things,
to know what I'm listening to. And he's a jazz player. If I were one, I wouldn't
say I'm a flamenco pianist; that'd be disrespectful.
When you talk about flamenco piano, it's true that an association is made
with jazz...
After having spent some time in the United States, I learned to respect jazz
a great deal, though I don't feel it. I'm from Triana; my environment is different.
In London and New York there are jazz geniuses who eat up the piano. Abroad you
see that when you play pure soleá is when people get interested, when they
tell you "I don't know that; I like that". Ravi Shankar asked me to
play more flamenco. Going abroad helps you not only to appreciate flamenco more,
but also to appreciate more the way they have of organizing things abroad. People
go to concerts not knowing who's playing; they go to enjoy the music, they have
season tickets and that's it. It's a question of education.
Are you already working on new projects?
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"There's nothing more modern than singing pure and with
personality"
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I have a handful of ideas. I like working on music day by day, creating, rehearsing.
I have ideas that I'd like to make reach people. Following my personal experience
abroad, what I'm most interested in are the roots, which are our heritage. And
we have to fight for it to be valued; that's the line I want to keep going along
and no other. I'm looking for purity...
And what's that?
I divide music into two types: that which comes across and that which doesn't
awaken anything in you. There's still a lot to be done in flamenco piano. Traditional
flamenco is a place to search. There aren't any great novelties, there's nothing
more modern than singing pure and with personality. Fusion isn't necessary, though
it can be an alternative like any other.
Pedro Ricardo Miño (photo: Javier Hurtado)
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