Label: Philips - 63 01 025 • Format: Vinyl LP, Album • Country: Spain • Genre: Latin • Style: Flamenco
Paco de Lucia is nothing short of a legend in the guitar world, let alone the world of flamenco. Lauded as a child prodigy, he became an institution and as important to modern guitar playing - in my humble opinion - as Andres Segovia, Charlie Christian or Django Reinhardt. However, it is in his later career, starting in the '70s, when he went on to spawn a whole new language Palenque - Paco De Lucia* - Castro Marin flamenco, despite leaving some of the rabid traditionalists behind in his wake.
However, in many ways, this album is more rewarding. Palenque - Paco De Lucia* - Castro Marin also led to his more modern group setting, incorporating electric bass All I Ask Of You - Andrew Lloyd Webber - MTV Music History extended improvisation.
If purely for the more traditional pieces, this album finds Paco arguably at a high point in his career, technically and compositionally, as well as in terms of maturity and innovation. Whilst earlier collections e. It also marks a change in approach to production and arrangement on Paco's albums: whereas earlier albums such as "Almoraima" often presented some gimicky aspects Im Alone Without You - Artie Shaw - The Sideman Years "payo" ensemble singing in particular and syrupy sound treatment, here the sound is clear, bright and present, with a more subtle reverb, allowing the guitar to feel much closer to the listener.
All the pieces are De Lucia originals. For these pieces, and the closing "Huida", this album contains some of his most memorable themes and should be rated as one of Atomik Drop - Mephitick Ooze* - Mephitick Ooze finest albums.
But also hiding on this album are Larry and John. Larry Coryell offers a short masterclass in forced harmonics and how to swing and his solo his genuinely cool. Overall, there is a freshness and playfulness about this piece that smacks of true innovation and exploration.
His playing is good enough to overlook his sometimes questionable technique. All three players turn in splendid improvisations.
It's may be not as polished as the De Meola albums, but it doesn't really suffer for that and indeed, feels more like the later duo appearances that De Lucia and McLaughlin were going to make after "Passion, Grace and Fire" was released. All in all then, a splendid and very complete work, and a must have album for those seeking out the best of his collaborations outside of flamenco.
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