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This spelling Spanish musical genre has fascinated and even captivated generations and generations. The mystery, the enervating energetic flow, the visible sensuality, the suggesting figures and fascinating bewitch seem to nestle in your spirit once you have ntoya 's playing is filled of imagination and elegant phrasing, he plays flourish on the guitar with nuance and far to create fireworks with his instruments, he builds sonorities.Go for this album and obtain close to the globe of Carlos Montoya. You won't believe it.
Carlos Montoya (13 December 1903 - 3 March 1993) was a prominent Flamenco guitarist and a founder of the modern-day famous Flamenco style of los Montoya was born in Madrid, Spain, unto a gypsy family, on December 13, 1903. As the nephew of renowned flamenco guitarist Ramón Montoya he seemed to have been born to play Flamenco, but it was his uncle who would be his largest obstacle, as he refused to teach Carlos the tricks of the trade. He began studying the guitar with his mother and a neighboring barber, Pepe el Barbero, a.k.a. Pepe the Barber. By the time he was 14 years old he was accompanying dancers and singers in the cafes of Madrid, the 1920s and 1930s he performed extensively in Europe, North America, and Asia with the likes of La Teresina. The outbreak of Globe Battle II brought him to the United States where he began his most successful days as a musician, and frequently toured with the dancer La Argentina. Settling in Fresh York Town during Globe Battle II (circa 1941), he began touring on his own, bringing his fiery style to concert halls, universities, and orchestras. During this period he created a few recordings for several major and independent labels including RCA Victor, Everest and ntoya toured year round but always returned to his homeland, Spain, to spend the Christmas holidays with his ntoya's playing style was idiosyncratic. He once said, according to Brook Zern, "I do not play the method I do to please the public, though it certainly does, on five continents so far, and no other flamenco guitarist will ever fill the Houston Astrodome as I have. No, I play the method I do because to me, that is exactly the method the flamenco guitar should sound. It seems strange to me that the unknowing public should agree, while the true flamenco aficionados clearly do not...but that's the case."His style was not particularly appreciated by serious flamenco students, who considered it less brilliant than a lot of others, including that of Montoya's uncle Ramón. Carlos's own favorite flamenco guitarist, it was reported by Zern, was the obscure Currito de la Geroma. That he was unpopular among aficionados owes largely to the fact that Montoya learned in a non-traditional method and that he abandoned the compás which has evolved within flamenco over hundreds of years. A lot of of his works do not even hold excellent tempo, increasing and decreasing in speed almost whimsically. He was admired for the speed of his picados and undoubtedly found popularity on the international scene as a effect of this technically impressive pace. However, Montoya's playing is often criticized by flamenco traditionalists for having more flash than musical substance.He was known to play with a capo on the 3rd fret and on really loose strings. It is suspected he tuned down and then compensated with the capo to increase his ability to apply ntoya died in March 3, 1993 at the age of 89 of heart failure in the little Long Island, Fresh York city of Wainscott, Fresh York.His special style and successful career, despite all odds, have left a amazing legacy for modern day Flamenco. It is because of his pioneering work in famous Flamenco melody that have allowed other amazing modern groups such as the Gipsy Kings to take keep in all parts of the world. A few of his video recordings can still be found on YouTube.
I have to correct the previous reviewer, Pepe Romero was NOT 17 when he created this recording. Pepe has 2 CDs from his teen years entitled "Flamenco Fenomeno!" and "Flamenco" originally recorded in the late 60's which were guitar solos only. But this CD was recorded in the late 80's and features a singer and r enjoyment of this CD will depend greatly on how much experience you have with authentic flamenco melody and recordings. No question, Pepe Romero is gifted with awesome speed and accuracy and in terms of flamenco technique and feel, he lacks absolutely nothing. And those who are familiar with his history know the reason for this is no accident, for Pepe Romero started his career as a flamenco spet who only gradually shifted his focus to playing classical works over some ever, I'm told by a lot of flamenco "purists" that for all of Pepe's mastery of the instrument, he fails to express the true soul (duende) of flamenco... for I'm told flamenco nowadays has been reduced into a pile of superficial clichés thanks to mass commerm of this genre. This is not to say Pepe Romero here is just superficially playing, far from it. But they say once you listen to the past flamenco greats, thier sound is edgier, rougher and more geared towards raw feeling instead of producing excellent sounding notes. (By the way, what has frequently been said of Pepe Romero is that he plays "Classical melody as if it were flamenco, and flamenco melody as if it were classical").I'm not sure I agree with all that myself. I'm no flamenco expert and the performances here are simply awesome and I enjoyed it.
A totally awesome Flamenco performance by Pepe Romero! If you are looking for a CD that will change your look on life and totally astound you with it's beauty and greatness, then this is the one! When listening, it is very hard to believe that Pepe Romero created this recording when he was 17. Listen to it in a dim, candle-lit room, and it will leave an experience that you will never forget...
This nicely-balanced double-CD set comprises Azahara and Montoya/Ricardo — i.e. one album of Paco's own material, and a tribute to his roots.I refer you to the individual albums for my (and others') reviews.UPDATEI wrote the booklet notes for Azahara, and Nimbus has (I'm told) perpetuated here a poor error that somehow crept into those notes: the accents of "Soleares" are on beats 3-6-8-10-12, not 2-6-8-10-12 as stated. Apologies to anyone this has confused, but I never saw the proofs; hope the rest of it is helpful.
I own all three of Maestro Cordoba's recordings. All are fantastic. This is pure, traditional, solo flamenco guitar. The selections represent a diversity of styles, which allows one to appreciate the rich cultural and musical influences that have melded over the centuries to make this attractive art form. The pieces on this recording are evocative and stir a wide range of emotions in the listener. Every song on this recording is a masterpiece. Puro Duende!!
Rather than say Montoya is the best or without duende it might serve the potential buyer better to discuss the qualities of this particular disc. In an attempt to do so I will start with an examination of the highlights of this older melody that has been sonically remastered. First of all, as is the case with much of the older music, espeially in the flamenco genre, it still sounds old by the standards employed today. The original recordings can only be cleansed so much. So, there is a certain hollowness that creates the illusion of void of any emotion but if you listen carefully you can hear how amazing the player is. If you concentrate on the melody and the masterful technique then the melody speaks for itself as being very good. Take "Malaguena" for example, the introduction running up and down of the strings is flawless but because of the original recording quality almost sounds like a mandolin at times and detracts from the technique. In the latter stages of the song the fast fingers reveal the real artisry and superb talent that was Carlos Montoya. On "Variaciones" the plucking of the guitar is at hyper-speed for a demonstration of agility and style. "Caribe Flamenco" is a song not without merits but seems at times to be aimlessly roving the guitar like a ship lost at sea. "Farruca' has a bit of hand clapping and dancing that adds ot the dimension of melody but detracts from the guitar playing. The recording is uneven at best in terms of recording quality. If you compare the latest track entitled "Fandango De Huelva y Verdiales" you hear what this disc should sound like throughout but unfortunately doesn't. The pitch and clarity of the notes is so much better than the rest of the CD that it is a real pity that more songs with this original quality weren't chosen. The accompanying 16 page booklet is a lttle bit of fluff with amazing pictures but a not good text. The print gives a brief history of flamenco and a biography of Carlos Montoya that could have been done on one page if the print were smaller. I think this "Gold Edition" disc is nothing more than gold plated. Overall I would not recommend this particualr disc unless you can obtain it at a discounted price(used) but rather you should look elsewhere for true, high quality sounding flamenco . Other artists that you might have fun are Paco de Lucia or Manitas de Plata. If you go for some of the older Andres Segovia CD's you might run into the same sound issues that are on this disc. In the end I'd have to say that his technique isn't poor it is just that this is not the best sound reproduction.
This CD set has some of my favorite guitar pieces, flamenco or classical. What an awesome guitarist and composer he is. Los Veleros, Mantilla y Peina and Cancion are three especially attractive pieces I like. I listen to his melody every day, just for the sheer joy of it. Even better when following the sheet music.
This is an exquisite CD. SO much has been said by the others that reviewed this CD that I will simply say that it is a work of art that leaves your spirit ardent with inspiration and fire. I play this CD in my Belly Dance, Tribal Fusion Belly Dance and Flamenco classes. All my students love this CD as do I. Every single chop is a winner. Teachers buy this CD and prepare to obtain inspired!GiGi FayedArtistic Director Gypsy Fire
True, Ottmar Liebert isn't the most accomplished of guitarists. I own three of his CDs and can certainly see a repetitive factor. But then - I didn't buy "Nuevo Flamenco" to be a melody critic. I bought it because when I listened to it the first time it went straight to my feet! This is rythmical & passionate melody - whether labeled Flamenco or Fresh Age! And I can honestly say that more people have asked me "What CD is that? " when I played it than any other of the a lot of albums I own. However: In my opinion this is by far the best Liebert album. The others aren't too hot...especially not "Borrasca" (IMHO)...
For the Gipsy Kings fan who has been touched by their melody for 25 years, or the first-time listener; this CD is sure to surprise and e instrumental "Tiempo del Sol" is an exquisite masterpiece of timing and lyrical genius; with such subtle nuances of tenderness and feeling, leaving one astonished. A attractive duet of flute and guitar."Sueno" is a touching lull-a-bye, done flamenco style."Savor Flamenco" is a amazing tango flamenco that will compel one to clap one's hands to the rhythm."Como l'Agua" is a soul-grabbing flamenco spiritual; if I can coin a fresh e fresh CD proves that the Gipsy Kings still have it, after all these years, and always is CD is a delight!!P.S. It doesn't damage also, that Tonino Baliardo has a rivetingly excellent sense of flamenco compas.
If you're interested in the melody of the amazing Manitas De Plata, buy another album. The melody on here is wonderful, but the sound quality is awful. So overdriven at times that it is hard to listen to. I should probably give it less stars, but I don't wish it to reflect on the music.
This is a sampler from Le Chant du Monde's 24-volume Grandes Figures du Flamenco/Great Masters of Flamenco series, probably one of the best collections of Flamenco ever nce I have the complete series, I don't possess this sampler. However, since no one else has reviewed it as yet, and Amazon's track listing doesn't specify the performers, I venture to add that information:01. Pepe de la Matrona (with Román el Granaíno on guitar).02. Pepe de la Matrona again.03. Niño de Almadén (Pedro Soler).04. La Niña de los Peines (Melchor de Marchena).05. Terremoto de Jerez (Paco de Antequera).06. Ramón Montoya.07. Carmen Amaya (Sabicas)08. Manolo Caracol.09. Manolo Caracol (Melchor de Marchena).10. Manuel Agujetas.11. Antonio Mairena (Melchor de Marchena).12. Pepe Marchena (Paquito Simón).13. Niño Ricardo.14. El Borrico de Jerez (Paco Cepero).15. La Perla de Cádiz (Manuel Morao).16. La Perla de Cádiz.17. fact, only the first 14 volumes of the complete set are covered. The missing artists are:• Camarón de la Isla• El Sordera• Beni de Cádiz• Rafael Romero• Tía Anica la Piriñaca• Juan Talega• Porrina de badajoz• La Paquera de Jerez• Cejas de Puerto Real• Pepe PintoI create the total time 69'37".For a list of (and links to) all 24 albums in this series, see my So You'd Like To... Listen to Amazing Masters of Flamenco Guide.
Amazing CD- Paco is clean and clear. Like any other Flamenco CD, if you choose to listen to it from beginning to end the songs start to all sound the same. This CD has a amazing dozens and there are three or four songs that will have you grabbing for your guitar and cutting your nails!
Paco Pena produces the absolute best combination of classical technique with flamenco music. He is truly a one-of-a-kind guitarist, and this is one of his best CDs. He provides an overview of flamenco melody by playing a piece of the most well-known styles. With this CD and his Fabulous Flamenco CD, you will have hours of pure flamenco bliss that is the duende of Paco Pena.
This album is an interesting project involving Hossam Ramzy, an Egyptian musician who specialized in Arabic flute and tabla, among a lot of instruments, and Rafa El Tachuela, a flamenco guitarist who has interests in the roots of flamenco.Flamenco, the melody of Spain, is not purely Spanish, of course. The Moorish influence is there, a North African thread, and the guitar is a descendant of the oud or Arabic lute, and there is also the huge, if not overwhelming influence of the Rom (Gypsies), who originated in India and settled all over Europe. The Rom have a deep tradition as musicians--and the Spanish Rom or Gypsies of Andalusia are known for their influence on Flamenco, actually more than just "influence"--the Andalusian gypsy and Flamenco are inextricably entwined. There is also a theory that some of the singing is a parody or adaptation of plainsong (Gregorian Chant)--music that the populace would hear during church--possibly adapted as entertainment during parties or get-togethers. The word "Flamenco", strangely enough, stems from "Flanders", though it's hardly Dutch!So, a fusion of Arabic melody with Spanish Flamenco should work--but, on this CD, I found the Arabic flute sonorities strangely at odds with the guitar. Rather than being blended by their common threads, the two strands seem to contrast each other and never quite develop a hybrid. I found the flute, in particular, to be quite jarring versus the guitar--the one soft, playing fluidly and huskily between the notes as does Arabic music, versus the percussive, harp-like guitar and its more Western harmonies. The violin did work better to blend with the guitar--perhaps it was the fact the violin is stringed, or perhaps it was the Gypsy sonority of this expressive instrument, so like a human voice, that succeeded.While I enjoyed this CD, I really didn't search that it was a total success. Some of the tracks were quite pleasing--Track 5 "Rafaga De Viento" was delightful, featuring more guitar. The final track "Juntos" was the most successful in blending the Arabic and Spanish sounds. My take on this CD--fascinating music, certainly not a clone of classic flamenco. The Arabic flavor makes this unique. Listen to some samples and see how it sits with you.
All I can say to fans is the obvious, buy it! For others wondering about the magic of the GK, check out some of their videos and melody (with a amazing sound system damn it, I can't tell you how a lot of people still listen to concerts or melody on little headphones and little speakers) and hopefully you will become a fan as well. Songs I recommend for first time listeners of the Gipsy Kings are (and I'll list the album as well): Moorea (Gipsy Kings first album), Salsa de Noche, Mira La Itana Mora and La Fiesta Comenza (album Compas), Lagrimas (Este Mundo), A Ti A Ti (Tierra Gitana), Majiwi and Magia del Ritmo (Somos Gitanos), Tampa (Roots), Si Tu Me Quieres, Café, Amor (Pasajero), Nina Morena, Viento del Arena (Mosaique), Madre Mia, Michael, (Love and Liberte). I recommend everything GK, check out their concert at Kenwood House as well, it is really a amazing concert and a song called A Mi Mora (which has not been released as far as I know) is incredible. The people in the audience really got excited after this one.
I have been a fan of the Gipsy Kings for about fifteen years and either own or have heard everything they've produced that's been released in the US. I am a eir fresh (September, 2013) release is vintage Gipsy Kings items ... flamenco, samba, and amazing instrumentals with Tonino Balliardo up front.Having said that, 25 years is a long time to be singing at the volume and intensity that Nicolas Reyes brings to his performances, and it shows in places. So while this is "vintage" in more ways than one, it's amazing to see a group like this producing fresh material rather than just touring to their greatest hits and repackaging what they've produced in the past. If you're a believer, as I am, this is for you.
So I have to admit up front that I am lucky enough to be a student of Mariano. However that doesn't mean that this isn't one of the best traditional flamenco CDs I've ever listened saico Gitano in particular is one of my all time favorites. Sometimes it will bring tears to my eyes. Same with the Soleares and the Peteneras. The celtic piece from Galicia at the end of the CD is a nice change of pace and a fun piece, the simulation of bagpipes and snare drums on the guitar is very is is really roots flamenco music, not nuevo flamenco or a fusion style. If that is what you are looking for, this may not be for you but if you wish to obtain to the essence of the soul of flamenco you have to check this eck out his other CDs while you are at it.
Nothing could ever praise the awesome work of Manitas DePlata, and if you cannot search this melody anywhere else and can equalize the treble down and somehow search bass in this CD, then obtain it, but I would not recommend it if there is any other CD with related Manitas on it. I have been listening and studying Flamenco since 1965 and this is the first Flamenco album I place in a box in the attic. It is technically bad. Cheap sounding.
Manitas de Plata, a special guitarist in his own right. More so because he seems to create up his items as he is playing and very loosely follows traditional flamenco compas. He is, without a doubt, technically gifted but like mentioned before, Manitas is in his own world, whether it be flamenco or not. His sound is special and has all but been rejected from flamenco aficionados. I have fun his melody but if I were to obtain up and dance or provide palmas to his music, I wouldn't know where to start or proceed. There really isn't any structure to his 3 star rating is not based on the melody of this cd but rather how it was recorded. I child you not, it sounds exactly like it was recorded with a low budget camcorder. The audio is not full or rich, it lacks the lower frequencies and there is absolutely no impact. All you hear is treble and midrange in the upper registers. Listen to samples of each song on iTunes and decide for yourself if you can live with the audio.
Amazing sounds and groove. No mechanical sounds which makes this very special compared to all the others. I like the sound variations between each Palo and tempo settings which means you obtain a various sound variation each time. Congratulations to the developers for creating something simple to use and with the best sound options of any application out there. Just amazing to practice to. My first android device application purchase. Works effortlessly on my tablet. Perfect app.
What a unbelievable mixture of flamenco songs created famous by the amazing Camaron and the powerful pulse of Cuban son. I've never heard quite this combination before, but it's perfect. Both musical cultures are respected, while the effect is something new and exciting. Well worth the trip, whether you're coming from flamenco Spain or son Cuba.
I won't go into much detail about the content of this album -- other reviewers have done so already (though beware, a lot of nonsense gets talked by the ignorant). Suffice it to say that Arab rhythms are the driving force behind Flamenco music, and that when a percussionist of the calibre of Hossam Ramzy (one of Egypt's foremost recording stars) gets together with a guitarist as fiery as Rafa El Tachuela, one has the highest hopes for the this case they are spectacular. Rafa El Tachuela's playing is just unbelievable on this album, endlessly inventive, never missing a beat or a note, a torrent of passion in the purest Flamenco style. But it is the genius of Ramzy that really makes this album great, reaching into his own Classical Egyptian roots, as well as other North African, Indian and Persian traditions, to produce a delightful journey on a flying carpet of music.Ramzy is a genius at working with musicians from other genres, from rock to classical. The fantasy suite which is the climax of the album, "Silk Road," is one of the largest treats of all, seamlessly bringing together diverse performers from half a dozen various is album continues to grow and grow on me. It is so multi-layered that it takes a lot of listenings to really begin to appreciate its depths -- even if you are slightly baffled at first, take my word for it, it is worth leaving in your CD player!I would recommend this very highly to anyone who loves North African or Flamenco music; but it is also a fabulous fusion album that will delight all those with adventurous tastes, and will satisfy the most jaded Fresh Age fan.
At first, I was a small turned off. Their style has morphed a little. I felt like they were trying to the time I listened to it the third time, I couldn't stop listening to it over and over.Favorite upbeat tracks: 1, 7, 8. The instrumentals are excellent. Song 10 is a essentially a lullaby. Stunningly s not their best album - but I love all their albums and this one is solidly in the mix.
This CD kept showing up in my list of recommendations , so I finally broke down and ordered it. At this pricewhat did I have to lose? From the name, I expected true "screaming" guitars. If you're a fan of Carlos Montoya or Sabicas, you'll have fun this disk. The melody is quite lovely and well performed. I was disappointed that the cd notes don't credit the performer(s). This is one of those rare bargain CD's that truly is a bargain!
Lead singer's voice is nice, the melody is actually attractive and good... but it's just WAY too much together. By the third song, I was thoroughly irritated. The overly-unnecessary girly background singers just crammed it into the wall and I couldn't bare it anymore. Very powerful and classic styles combined harshly. With some thoughtful arranging, I think they could've smoothly blended them together.I love flamenco music--especially sung by powerful women's voices, and I grew up with latin music, and it's all a nice idea, but they must've been so in love with this "high concept," it just bashes you over the head without tempering it with a light small kiss. You know, like amazing jazz. They had to take it further than just a amazing rry to say I was disappointed. I wanted to love it.
I tried to order this recording of Pedro Iturralde, whom I had the pleasure to meet in Madrid, and the future Paco de Lucia and Amazon gave me the runaround for 6 months and never shipped the cd. I don't know why they're even listing it for sale if they won't do the work to obtain it to ship. Amazon has a long method to go to earn my respect when it comes to the arts.
Ottmar Liebert puts together a collection of Spanish guitar style melody which is introspective, romantic, and joyful. Close your eyes and envision the Spanish landscape, the people, the passion- or your own dreams and experiences. Although produced in the 1980's, the melody is timeless.
Where to go after Gypsy King? Well you've come to the right place. This has got to be the best single-cd "introduction to " that I've ever seen. Assembled with intelligence and taste, it casts a wide net over the sea of flamenco and Andalucian folk music, and comes up with nothing but pearls. Each chop is a masterpiece done by a singer renowned for that particular form -- La Perla por alegrias, Fernanda por solea, Toronjo por fandango, and El Pali por sevillanas. No limp jazz-fusion like so a lot of other such anthologies ('Duende' comes to mind), but no geezers either. These are real classics -- old songs that rock just as hard now. In particular "Fiesta en el barrio Santiago" is probably the best recorded buleria of ALL e inclusion of Andalucian folk like campanillero and villancico is unorthodox but brilliant -- it helps establish context for the non-Spanish listener. A lot of of the artists included are hard to search otherwise (e.g. Fernanda)In a word, BUY IT!
I love this CD and I'm so glad to have recordings by Sabicas, Nino Ricardo, Manolo de Huelva, and Melchor de Marchena. I'm very glad indeed, especially since all of these legendary artists of flamenco puro have been dead for several decades. This CD, "Masters of Flamenco Guitar" allows these artist's work to live on so that future generations can have fun their bonuses to the world.I think this CD is simple to listen to, even if you're not a flamencologist or aficionado. The cante (singing) which can be hard to listen to if you're not into flamenco, is palatable even to the casual listener.I think it is necessary to patronize the arts to hold them alive, so I recommend purchasing this CD. In fact, at $9.18 I might even purchase a 2nd CD as a back-up. Thank you, Amazon, for carrying this CD.