I wouldn't call 'flamenco blues' a subgenre, even. If someone every played blues in flamenco compás, then we'd maybe have something to talk about (hint: I will probably do this sometime in the next year, just to see if I can get a song out of it).
I understand the frustration with newfangled/arbitrarily coined genres, though. The vast majority of musical genres that end in "core" tend to make me roll my eyes a bit.
That said, magical realism is so much bigger than Gabriel Garcia Marquez, so I'm not sure where you got that from. MAYBE what you're saying has some validity in relation to English language literature (but even then, it's a towering 'maybe'). In Spanish language literature, there's plenty of magical realism and proto-magical realism that predates him and that is trying to do different things from him. Borges comes to mind, as does Vicente Huidobro's epic poem "Altazor."
Ditto for gypsy jazz. A wiki search informed me that while Django Reinhardt was its most famed exponent, there were numerous gypsy guitarists in France who were playing similar stuff to him at the same time. This confirms my original assumption, since I lived with some people in southern Spain for a couple months who played a lot of that music, and their repertoire wasn't heavy on Django at all.
"magical realism is so much bigger than Gabriel Garcia Marquez, so I'm not sure where you got that from."
I got it from reading Marquez, Bernieres and probably Allende. I remember owning a book by Allende. I assume I read some of it.
I think you need to read that Wiki page more slowly, and also ask if it was written by a gypsy jazz fan.
Maybe garage flamenco blues would have the edge we're seeking. ---------- Andrew. -----------------------------------------
Last Edited by Andrew on Jan 16, 2018 4:36 AM
We'll agree to disagree about magical realism/gypsy jazz.
But in any case, I'm pretty sure putting "garage" in front of any musical fusion is an automatic recipe for finding an edge. Is the flamenco guitar running through an overdrive pedal?
Here's a really creative use of blues harmonica techniques--deploying them in a jazz fusion context. The solo starts at roughly the 1:30 point. What's I find amazing is how natural the fit feels between the instrument, the bluesy licks, and the jazz fusion harmonies and melodies. This is what blues harmonica modernism sounds like:
