‘Trance’: How is the life of the musician described in a single moment with Jorge Pardo?

The scene is part of an episode. documentary with this title trancedirected by Emilio Belmonte (Almería, 1974) was released in cinemas this Friday and can be viewed in different cinemas in major Spanish cities. Belmonte accompanied Pardo for two years following the preparation of a concert. Describe the life of a strange musician. Since this instrumentalist (flute, saxophone) moved between two styles (flamenco and jazz), he was a member of a group (hand). Paco de Lucia sextet) 20 years but today at 67, still active with about 250 gigs a year (he says he spends about five or six days a month on average) at home and yet, Turning his back on the industry, he always tried to live in the moment. and popular recognition foreign. “I’m very productive,” she says. “I’m getting into all the puddles I can“.

“Jorge sees the world as a sniper, your speech is almost as important as your music and that, with this interest in ego, individuality, and self-reference, seems essential to me in a world like the present world,” explains director and screenwriter Emilio Belmonte in a video interview from Paris, where he lives. explain this worldview through film, with the arts and industry and the musicians themselves, as well as capturing a particular vital moment through some performances and speeches.

makeFear of falling into the stereotype of bohemian musicians Who is living the moment? Belmonte never had it. “George a honest man; a modest person who do their job well, who know that they do their job well, who do not say no to a good contract, but don’t chase money“He plays as he lives and he lives as he plays, nothing more,” he says.

Not a biopic to use, And maybe that’s exactly what interests you most. George Brown while participating in the project. He explains this in an interview he gave to EL PERIÓDICO DE ESPAÑA, a newspaper belonging to the same group as this media, at the cinema where the film will later be shown to the press. “Documentaries are always like topics“explains the musician.”I didn’t want to get too involved This is Emily’s movie. But, I think, in the film, we artists managed to solve the problems that are not usually told, which are present in the film. backstageLike our emotional relationships, with work, with money, with all that stuff.”

THE DREAM OF PACO DE LUCIA

Belmonte, after a screening trance Before the gala with Jorge Pardo, A viewer asked Dolores, the first band the musician was a part of in the late 70’s, then something experimental and pioneering and today considered one cornerstones of the fusion of flamenco and other music like popular, jazz or rock. At that moment, an hour-long conversation about the group began. Dolores is not mentioned in the documentary. Nor the main role the group has Pardo’s relationship with Paco de Lucia and that made him the musician he is today. “I love this Paco de Lucia is a shadow this hovers over the whole movie,” says the director. “We didn’t even include his archive footage. The movie is not like that. I didn’t want to do a biography or anything didactic. Didacticism does not go with me”.

The documentary opens with a narration by Jorge Pardo on the subject. A dream where he went to touch Mars with Paco de Lucia. Pardo remembers him as an older brother. PhD in Flemish, but without the nostalgia of the moment. “What we did with Paco de Lucia was like our game, we saw it as a game. No one was aware of its importance It could be, we hadn’t thought about it,” he recalls, adding: “I always approach my work with the same unconsciousness. You fall in love with this idea you’re working on and you want to see it reflected, nothing more.”

This is exactly one of the daily struggles of that. musician living in the present. “I’m not attached to things because I’m a phenomenon,” she says. “I’m like a newcomer.” But he admits that one of the worst things about being a musician is not being able to showcase what he has at the moment, not at concerts, but what was created a year or two ago. “It’s complicated, it’s like a stone you throw in the middle of a pool, and in the centre, you’re in the stone. It takes time for the wave to come, it’s normal.”

“You’re a master of compass and rhythm, I tell you,” the Jerez-born kantaor says excitedly at one point in the footage. Fernando de la Morena Who would die shortly after the shooting of the documentary in 2019. “Flamenco is starting to get rich with you,” he comments. Diego Carrasco. “Because now, what he’s been through,” he said, pointing to Fernando de la Morena, who was nearby, “now it’s gone, the most beautiful thing is the columns. Ole. But now flamenco needs to be open to the world, And you, and you, in this case, teacher, you can’t imagine what he’s pulling at the reins of this.” Jorge Pardo smiles and falls silent in the reverse shot.

A respected musician but documentary your definition of purityA concept that flamenco is constantly discussing. “All purity is a forgotten blend‘, says Pardo in a narration of the documentary. ‘Of course’, he explains in the interview. trying to describe something that cannot be defined. Aren’t you looking for that duende sung in flamenco? The goblin is nowhere. There are elf moments. Don’t you understand, do you understand?”