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41. Ken Burns JAZZ Collection: Dizzy
$10.99 $8.43 list($11.98)
42. Cuban Fire
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43. Soul Sauce
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44. Gato Barbieri's Finest Hour
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45. Sabor Flamenco
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46. Cal Tjader - Greatest Hits
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47. Soul of the Conga
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48. Solo Piano
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49. Passion and Fire
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50. Salsa Dura
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51. Sittin' In
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52. El Sonido Nuevo: The New Soul
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53. Distinto Diferente
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54. Fina Estampa
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55. Cuba Linda
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56. Stan Getz with Guest Artist Laurindo
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57. Passarim
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58. Siroco
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59. Lo Mejor de la Vida
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60. Almoraima

41. Ken Burns JAZZ Collection: Dizzy Gillespie
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Asin: B000050I3P
Catlog: Music
Sales Rank: 78372
Average Customer Review: 4.67 out of 5 stars
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Although Dizzy Gillespie was one of the great architects of modern jazz and its most famous personality, his trumpet style has rarely been imitated successfully. His high-speed runs, twisting phrases, and upper-register leaps are just too difficult to duplicate. This collection begins by placing Gillespie in the big swing bands in which his career began, his complex arrangements and advanced harmonic imagination gradually heralding the coming of bop. There are superb versions of some of his most famous anthems, like "A Night in Tunisia" and "Salt Peanuts," and meetings with altoist Charlie Parker, co-leader of the modernist revolution. Gillespie successfully translated the bop idiom to a big-band format, and his magnificent but short-lived bands are heard on the surging "Manteca" and "Birk's Works." His creative range is apparent--from the gorgeous "No More Blues," from his early discovery of bossa nova, and from his famous gospel parody, "Swing Low, Sweet Cadillac." While his formats would change, it's the Gillespie trumpet that's central here, an instrument capable of both rocketing invention and muted, insinuating sweetness. --Stuart Broomer ... Read more

Reviews (9)

5-0 out of 5 stars Excellent
As with a lot of the Ken Burn's series of cds, this was my first real exposure to the music of Dizzy Gillespie. This album covers many different record labels through the years 1940 to 1967, and showcases his many different styles. From small groups to big band, his interest in latin music, as well as his terrific sense of humour, as witnessed in the fun "Swing Low, Sweet Cadillac". The 12 page booklet includes photos of Diz and an interesting essay. Recommended.

5-0 out of 5 stars A good way to start
This is my first Dizzy album but certainly not my last. This CD turned me into a Gillespie fan. If you aren't familiar with Diz, you should listen to this CD because you're missing out on good stuff. I have to say that some of his work with music from other cultures is not really to my liking, but for other people, it may hit the spot. GET THIS CD!

5-0 out of 5 stars Great collection of Gillespie tracks
This collection spans the years 1940-1967, and the sound quality is good throughout the entire disc, which is over 70 minutes long. If you dont own any Gillespie albums, then this is the best way to start. Two other excellent Ken Burns collections are his Thelonious Monk and Charlie Parker CD's.

5-0 out of 5 stars Best of the Bunch by Jazz' Foremost Entertainer
Thanks to the interest kindled by the Burns series (how curious that the canonical, "party-line" jazz history delivered by Burns and Marsalis has led to their demonization by poorly read, self-appointed critics), I've been collecting these anthologies as preparation for teaching jazz history. Thus far, this Gillespie collection is the most satisfying--more consistent than the Armstrong, more representative than the Ellington, more musically engaging than the Goodman. I'm tempted to say that it's not merely a good introduction to Diz' recorded output but an adequate complete holding for most listeners--the notable omission being the famous "Jazz at Massey Hall" date which included Bird, Bud, Mingus and Max.

Unlike Miles, who exercised calculated control over his recording projects and chose "sidemen" with a watchful eye to both their creative and "image" value, Dizzy was laid-back and even careless about his ensembles and recording projects, frequently appearing as a sideman himself on the sessions of lesser musicians. As a result, it's much harder to think of an essential album by Diz than it is by Miles, Duke, Coltrane, or Bill Evans.

In fact, Diz could be regarded as a more genuine "entertainer" than either Louis or Miles. The latter two were clearly aware of their "image" (in his bio Miles mentions Orson Welles as one of his main influences) and consciously worked on "acting out" the persona they knew audiences had come to expect. Diz, on the other hand, was simply having fun--a great artist, perhaps the premier trumpet player in the history of jazz, in "spite of" as well as because of his always playful temperament and childlike approach to music and life. His recorded career is literally "all over the place," but Burns has done a creditable job of selecting and consolidating isolated moments that document the man as well as the artist.

Diz' star arguably declined after the fifties whereas Miles' continued to ascend. I predict that the passage of time will even things out, enabling us to see the irrepressible John Birks as a supreme "player" of the language we call jazz. Its possibilities--even within the parameters of so-called "bebop"--are infinite, variable, serendipitous--fully available only to the personal consciousness of an inimitable human being whose approach to life might justify a nickname like "Dizzy."

4-0 out of 5 stars Solid Comp, but not the Best
Of course, no jazz musician can pack the energetic wallop that Dizzy could. His trumpet can only be described as HOT, and hearing his music makes you think of people dancing their legs off with garbage cans burning all around and smoke in the air. This man's music has LIFE in it. Unfortunately, the REAL energy to Dizzy is in his Latin Jazz work, and a more complete compilation of that style would be the Compact Jazz series. Ken Burns' collection here is more versatile, but just not as lively as Dizzy's music can be. Proceed with caution. ... Read more


42. Cuban Fire
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Asin: B000005HH0
Catlog: Music
Sales Rank: 14979
Average Customer Review: 5 out of 5 stars
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Composer-arranger Johnny Richards created the music for this concept album, recorded in 1956. It required a very large band for its execution, combining Stan Kenton's usual brass emphasis with five Latin percussionists led by Willie Rodriguez on bongos. The results are admirable: music filled with heat and energy and sudden sharp contrasts in moods and voices. There are excellent solo contributions from a band that included trumpeter Sam Noto, trombonist Carl Fontana, and saxophonists Lennie Niehaus, Lucky Thompson, and Bill Perkins, but the real stars are Richards and the collective ensemble, who bring extraordinary precision and energy to a highly demanding score. The results are among the finest moments of Kenton's career, not only for the authentic use of Latin rhythmic elements but also for Richards's success in integrating extended composition techniques with jazz improvisers. The CD also includes five pieces by Richards and Gene Roland recorded in 1960 by the "Mellophonium" version of Kenton's orchestra. --Stuart Broomer ... Read more

Reviews (11)

5-0 out of 5 stars Outstanding and addictive
While I have only recently become a Stan Kenton fan, I would recommend this album to ANYONE who appreciates jazz. It combines the hard-hitting brass that was Kenton's signature with the Latin rhythms (mentioned above) that swing nicely. The Johnny Richards arrangements and compositions really create an album that you will want to listen to all the way through -- LOUDLY! Critics held mixed views of some of Kenton's work, but I have yet to hear of anyone who would give this less than five stars.

If you have not yet listened to Stan Kenton, this is a great place to start. 'Cuban Fire' is energetic and innovative without going off the edge of experimentation. I have come to seriously enjoy Kenton's music on many albums, but this is good enough to be one of my 'desert island' selections. Even the bonus tracks are welcome, as they essentially maintain the style of the original album. Highly recommended.

5-0 out of 5 stars One of Kenton's Best
Along with "Adventures in Jazz", this has to be one of Kenton's best albums. Jonny Richards comes up with a challenging, complex, and mindblowing score. It is just wonderful to listen to, the classic Kenton sound. There are some excellent soloists on the album as well; what I would give to be able to play like Carl Fontana does on Recuerdos. Just buy the album and listen for yourself.

5-0 out of 5 stars Whatever happened to Johnny Richards?
I bought this album in 1957. It's better today than it was almost 50 years ago. It's probably the only Kenton/Richards collaboration where the former relinquishes control.Richards makes his main statement here but he also shines on two other currently unavailable items; Something Else and Wide Range Cuban Fire is not only Kenton at his best but music at it's best. It's an inspirational piece.

5-0 out of 5 stars Lawdy, that's good stuff
I bought this based on the previous reviews. To call them just faint praise is gross understatement. Even if you didn't study to Stan while in college (on vinyl no less), you will enjoy this CD. Given the opportunity whilst my wife was out shopping and the neighbor was gone, the Bose system was cranking out fabulous sounds (the cat did go hide under the bed). Absolutely a must-have if you appreciate Kenton.

5-0 out of 5 stars a must have
if you own one kenton album, THIS IS THE ONE. i wore out 2 vynyls of this before it became available on cd. jim ... Read more


43. Soul Sauce
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Asin: B0000046TJ
Catlog: Music
Sales Rank: 12197
Average Customer Review: 4.8 out of 5 stars
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Reviews (5)

5-0 out of 5 stars If You Aren't Familiar With Cal Tjader...
...this is a really good start. How a white guy from Chicago became the king of Latin jazz in his day is a whole other story, but talent had something to do with it ;) My favorite on this CD is Tanya, the title track and Ming have been mentioned in other reviews; several of the tracks are a little slower and cooler (Leyte, Somewhere in the Night, Spring Is Here, for example). All in all a good roundup of Tjader's styles.

5-0 out of 5 stars Feel the vibes...
Two things influenced my decision to buy this CD. 1) The tobasco sauce cover art and 2) The title. I wouldn't recommend most purchase decisions being made in this manner, but this one worked out for me. Hey, I liked it so much that I adopted the name as my Amazon nickname!

Cal Tjader's name comes up pretty often in the lounge/bachelor pad style of music. This CD's tracks feature Cal Tjader on vibes over infectuous latin beats. Donald Byrd, Kenny Burrell, Willie Bobo and others mix on this album to brew up "Soul Sauce" - too mellow to really "cook" - but it is definitely "smokin'." These tunes are perfect for chill mode or a trendy cocktail party.

If you like vibes, latin jazz, or just something cool, give Soul Sauce a listen.

5-0 out of 5 stars Start your Tjader collection here
This was the first Cal Tjader cd/album I bought. I think my Uncle recommended it from when he was a kid (he's got good taste). All of Tjader's music is very easy to listen to, very rhythmic, very hip, very chic. A friend, though, did say that he only likes Tjader in small doses (maybe he doesn't care for the vibes or maybe thinks it's too lounge-y). Regardless, Tjader is in fine form here on this mid-60s session. This is a popular album and is a good place to start for people who do not own any Cal Tjader cd's. Buy Soul Sauce first, then try out others if you like it.

4-0 out of 5 stars Soul Sauce and Sonic Tonic
I'm 40 and missed this music while I was listening to nursery rhimes on my close and play. I read where Steve Kahn jazz guitarist extrodinare said that SOUL BURST changed his life. I needed to buy 2 cd's to make the shipping worthwhile so I got SOUL SAUCE as well. The 1st 3 tracks are very good and indespensible(sp) listening. The next few tracks literally put me to sleep. I think its the warbling ethereal(sp) sound of the vibes that does it. And then along came MING. A track originally left off the album release. Straight ahead jazz, not samba, plenty of brass, perfect tone, an incredible sounding track. It woke me up and had me listening hard. This track will now be in my permanent demo repetoire along with SARA K...Brickhouse and Jeff Berg...Saturday Night at the Cadillac Club. Essential listening along with SOUL BURST.

5-0 out of 5 stars A classic
Recorded in 1964, this is an often overlooked latin jazz classic. This is a perfect summer disc to relax to. This is definatly not a challenging listen, but that is a large part of its appeal.

Perfect for cooking dinner to. ... Read more


44. Gato Barbieri's Finest Hour
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Asin: B00004XSQ5
Catlog: Music
Sales Rank: 91133
Average Customer Review: 3.5 out of 5 stars
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Gato Barbieri possesses one of the most potent tenor saxophone sounds ever heard, a personal mix of throaty gravel and sweet, singing overtones that can grind its way through thickets of pulsing rhythm or soar overhead. The tracks here come from 1973 to 1979 and cover both Barbieri's years with Impulse, when he was emphasizing Latin polyrhythms and heated improvisation, and the increasing pop emphasis of his years with A&M. "To Be Continued" and "Marissea" are the earliest performances, recorded in Barbieri's native Rio de Janeiro with the saxophonist ecstatically honking his way through a forest of indigenous percussion. The 10-minute version of "Bahia" from New York's Bottom Line is another highlight, with Barbieri ricocheting and exploding off a six-man rhythm section, while the lilting "Nunca Mas" is further lightened by Dino Saluzzi's bandoneon. Barbieri's balladry is displayed with big bands on the opening "Cuando" and "Speak Low," and he forms a forceful partnership with Carlos Santana on "Latin Lady." --Adam Rains ... Read more

Reviews (2)

5-0 out of 5 stars A great collection of "early to middle Cat" tunes
Rarely do I find myself enjoying compilations as much as the originals they come from, but "Gato Barbieri's Finest Hour" is an exception. In what seems to be an unusual move, Verve has released here a combination of Gato's tunes from more than one label--what was ABC/Impulse! and A&M. The ABC/Impulse! recordings sampled here are the famous groundbreaking Chapter Series albums in which Gato melded North American jazz with Latin American music, instruments and musicians--onsite in Argentina and Brazil as well as in NY. The project was conceived as a TV-like series, hence the track "To Be Continued" in which Gato narrates the close of Chapter 1 and previews the music to come in Chapter 2: "Al final de este capítulo, dejé Buenos Aires, llegue a Rio..." ("At the end of this chapter, I left Buenos Aires and arrived in Rio...") One by one, the instruments enter the mix, the excitement and rhythmic complexity building, layer by layer, to Gato's own entrance-an unbridled screech that sends chills up the spine before abruptly descending two octaves into some of his lushest tones.

It is hard to imagine a song that better captures the essence of Gato Barbieri's artistry, but it is augmented beautifully by the inclusion of Nunca Mas with the wonderful bandoneon player Dino Saluzzi and by the big band tracks from his highly acclaimed album with the renowned Chico O'Farrill, who passed away in June 2001.

What makes this album a good representation of Gato is that it also includes some of his later A&M tunes, such as his signature arrangement of Carlos Santana & Tom Coster's Europa, and his duet with Santana, Latin Lady. These are the tunes that are widely regarded as having set the stage for "smooth jazz," although the complexity of Gato's articulation is worlds away from much of the vapid instrumental music that now dominates that genre.

It is hard to imagine making a single album that contains all the styles Gato Barbieri has played, but this one does a great job of pulling together a fair bit of that diversity. Notably absent from this collection are Gato's beautiful Flying Dutchman albums and his more recent albums, but these have been compiled elsewhere and are also widely available.

For smooth jazz fans, this CD will probably have a few too many screechy and high-energy tunes; for "jazz purists" the A&M tunes may be undesirable. But for anyone who loves Gato in all his artistic breadth--or for anyone who has never heard him before, this will be a great introduction to a phenomenal artist.

2-0 out of 5 stars Gato's Most Commercial Tunes
It's my fault, I ordered this CD without looking at the song list, so I shouldn't complain about it. On the other hand, I want to let prospective Gato fans what to expect from this as well as warn those who just like some of his music but don't know the names of any songs.
Gato Barbieri's Finest Hour is definitely not for those whose taste for his music was honed on the raw, frenetic, and urgent Latin jazz of his early years. Stevie Wonder's Ngucilela is the only tune which fits that style and it was done on Ruby, Ruby just before Barbieri's full-blown flirtation with the commercial sound known as "smooth jazz".
But Finest Hour just may be for those who developed an ear for him during his very commercial ventures of the late seventies-early eighties as epitomized by his album Tropico. Barbieri had shown earlier signs of trending that way with such tunes as Cuando Vuelvo a Tu Lado and Europa (Earth's Cry, Heaven's Smile), which is arguably his best known and most widely liked tune.
I don't dislike this album despite the inclusion of the lame To Be Continued and Marissea, the two stars just say that the songs assembled here hardly constitute Barbieri's finest hour. I can get into it when I am in a mellow mood and want to hear something that is uncomplicated, but perhaps it should have been entitled Barbieri At His Commercial Best. ... Read more


45. Sabor Flamenco
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Asin: B000003OYJ
Catlog: Music
Sales Rank: 96164
Average Customer Review: 5 out of 5 stars
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Reviews (3)

5-0 out of 5 stars Must have for flamenco lovers
This CD is excellent.One of the best Flamenco guitar I ever heard

5-0 out of 5 stars Hard to pull the rose from my teeth
I don't claim to know much about Flamenco. That said, I like this CD. The fast pieces are played exceptionally well with distinct delineation of each note and clear flourishes. The slower pieces are more romantic and played with feeling. I bought a Serrano album in the 1970s and played it until worn out. Thankfully, the sound quality of this CD will never diminish. Serrano's guitar playing is different from others--Serrano's fingering seems more precise and he excels in the higher octaves and he emphasizes melody. The first 3 pieces on this CD have haunting melodies and are quite beautiful--my repeat button is getting a lot of use. I often listen to this CD in the car on my way home from work because it puts me in a good mood. To be noted, this is all instrumental--no singing (which is a plus in my book)--and the subtle use of background castanets in several pieces makes one just want to dance.

5-0 out of 5 stars excellent
Juan Serrano has been acclaimed as the best flamenco guitarist in the world and his incredible musical execution has been witnessed and enjoyed by millions around the world. Serrano has drawn awe and praise from his audiences, aficionados, critics and artistic peers.

Serrano's mastery of flamenco not only comes from his many years of discipline and study of guitar, but also because he was born and raised in Cordoba, Spain, the birthplace of this rich and dazzling music. ... Read more


46. Cal Tjader - Greatest Hits
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Asin: B000000XFT
Catlog: Music
Sales Rank: 11384
Average Customer Review: 5 out of 5 stars
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Reviews (3)

5-0 out of 5 stars Deserves 10 stars
This is music that could raise the dead. My favorite track is Ginza Samba with it's remarkable guitar opening by Eddie Duran and Tjader and Stan Getz trading solos. There is much more however. The percussion of Willie Bobo and Mongo Santamaria kicks butt on many of the tracks and on tunes Viva Cepeda and Afro Blue they are devastating. Armando Peraza (who later played with Santana) is also wondeful on the tracks where he is featured. Cal Tjader plays the vibes with an amazing rhythmic intensity that blends with the percussion and yet rises above it in some of the sweetest improvisation on this instrument ever recorded. This CD is wonderful and should appeal to fans of latin jazz as well as those who love the vibes playing of Milt Jackson or Bobby Hutcherson.Well worth checking out.

5-0 out of 5 stars Latin jazz defined! You owe yourself this CD.
So you like jazz? or Latin music? or Latin jazz? Well then, you must be reading this out of curiousity because I know you already have this CD or the music on it. No? Well, then you owe yourself this CD because this is a must-have addition to any jazz or Latin music collection.

Cal Tjader is easily the most famous non-Latino leader of a Latin jazz band. He crossed back and forth between the worlds of Latin jazz and mainstream bop and made some wonderful music in the processs. His light, happy style on vibes worked in both styles and he also played drums, timbales and bongos. He had a huge influence on other muscians including Carlos Santana, and through him, Latin rock.

This 2CD set is actually two 'best of' LPs rereleased on CDs and the compilation is excellent and the engineering is very good as well. The list of contributing musicians on this CD reads like a who's who in West Coast and Latin jazz! The happy result is a set that virtually defines a genre and belongs in any jazz collection or any collection of Latin music.

Oh, and this is happy, upbeat music you'll enjoy even if you don't have a jazz or Latin collection! Get it and I'll bet you won't regret it.

5-0 out of 5 stars CAL TJADER- GREATEST HITS
Cal Tjader's Greatest Hits, features many of his very best recordings with the Fantasy Label. The best song in this compilation being Cal Tjader's interpretation of Cuba's Chano Pozo's "Soul Sauce/Wachi Wara". This original version of Pozo's hit, in my opinion, has a better musical arrangement, percussion and more "pep" than his 1964-65 version he later recorded for the Verve label. Featuring an all-star cast that includes Rolando Lozano, Eddie Cano, Mongo Santamaria, Luis Miranda, Stan Getz, Vince Guaraldi, Willie Bobo, Victor Venegas, Bayardo Velarde, etc. this album is a must for all Cal Tjader and jazz fans. ... Read more


47. Soul of the Conga
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Asin: B00004XN1B
Catlog: Music
Sales Rank: 32119
Average Customer Review: 4.75 out of 5 stars
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For his 20th (!) Concord album and follow-up to his Grammy-winning Latin Soul, master conguero Poncho Sanchez takes cues from the Buena Vista Social Club and some homegrown Philly organ soul. Sanchez's music is traditional, but infused with creative brass arrangements, simmering rhythms, and explosive percussion, and his mambos and montunos are impossible to resist. With organist Joey DeFrancesco, trumpeter Terence Blanchard, and traditional Cuban vocal troupe The Ortiz Brothers, Soul of the Conga is full-on funky, with popping rhythms and meaty solo excursions.DeFrancesco boils on "Moon Pie," which recalls Eddie Harris, and you'll find the dance floor irresistible when "Haitian Lady" kicks in. The Ortiz Brothers get busy on the fragrant "Asi Asi," the "Oye Como Va"-ish groove of "Oye Lo," and the organ-brass mix of fantasy and melancholia on "Virtue." Throughout, Sanchez's horn arrangements keep everything cooking, like spicy sauce over a percolating percussion barbecue. Alas, Blanchard's lovely brass teases on "Stella on Starlight" do nothing for the album's one dud, which sounds lifeless, airless, and oddly grooveless. But that is a rare moment on a brilliant album, which closes with the heavy conga-bongo jamming of "Rumba De Po-Tiz." Outstanding! --Ken Micallef ... Read more

Reviews (4)

5-0 out of 5 stars Poncho is the head Honcho
The conga master does it again...from "Joseito" to "Rumba De Po-Tiz"; Soul of the Conga is a full-fledged Latin Par-tay! I first heard about Sanchez after he won the Grammy for Latin Soul and this CD picks up where that one left off. Soul of the Conga finds Poncho on another spirited journey of Latin Jazz with plenty of festive fire. In fact, if you're a fan of Afro Cuban Jazz, then this CD is a definite must. Poncho has a killer band (especially the Torres Brothers), but also brings some very special guests along for the ride, Hammond B-3 maestro Joey Defrancesco (on Henry Mancini's "Days of Wine and Roses"), trumpeter Terence Blanchard (on "Stella by Starlight") and the Ortiz Brothers, five brothers who add a festive vibe with their group singing (check out track 2, "Oye Lo"). Bar none, Poncho Sanchez continues to prove that he is the premier conga player on the scene today.

5-0 out of 5 stars Poncho's Best Yet
When I lived in Long Beach, CA, I had the pleasure of seeing Poncho Sanchez play live and shop for records, both within the space of a month...his live act was both tight and not uptight, while his taste in music was eclectic...I ran into him in the Gospel section at Tower Records...It is not overstatement to say that this is his best recording yet...several songs are straight out of the rhumba tradition of Cuba, with the Ortiz brothers making sounds that could be a hundred years old, classic Son from Cuba...amazing! And then there is the meeting of Joey De Francesco with Poncho Sanchez's group, which works in a fantastic way. Mr. Sanchez manages to keep his recordings fresh by bringing in guests...this is the most musically satisfying of his recent efforts and perhaps all recent salsa recordings.

4-0 out of 5 stars Pure Poncho!
A new release by Poncho Sanchez is always a pleasant surprise. On the one hand, Poncho plays what I like to call, fundamental Latin-Jazz. However, Poncho always manages to come up with a few new surprises (and guests) along the way.

On SOUL OF THE CONGA we experience a little "Changui tipico" from Cuba with Poncho and the Ortiz Brothers. Next, some Latin-Jazz with special guest, Joey De Francesco and his Hammond B-3 Organ.

In my opinion, the only other musician that could hold his own in a Latin setting was the late, great Charlie Palmieri. However, Joey De Francesco does an admirable job of adding a new element to the music without overpowering the rest of the band.

Poncho has matured as a band leader since his apprenticeship with the late master of the vibraphone, Cal Tjader.

I really enjoyed this CD and highly recommend it. Thank You Poncho for keeping it real!

5-0 out of 5 stars "digs deep into the Soul of Jazz - Viva Latin Jazz"
In a fiery follow-up to his Grammy Award-winning "Latin Soul", the master conguero Poncho Sanchez, digs deep into this his latest release from Concord Records - "Soul of the Conga". Here, Sanchez presents his own brand of Latin jazz, infused with soul jazz of the Hammond B-3 phenomenon with Joey DeFrancesco, and the cool-tones of trumpeter Terence Blanchard, featuring the traditional, vintage Cuban roots of changui with The Ortiz Brothers.

Stand outs: "JOSEITO", augmented blues, perfect for DeFrancesco's grooving organ, with Scott Martin the composer of this selection, on tenor-sax with a solid solo - "DAYS OF WINE AND ROSES", from the late great composer Henry Mancini, Latinized version with intoxicating rhythm and DeFrancesco infectious style comes through with flying colors.

Highlight: "STELLA BY STARLIGHT", Victor Young's haunting tune, with the smooth-tones of Terence Blanchard on trumpet, simply classic and never sounding better, by Sanchez and friends.

Wonderful to see Latin jazz music growing all over the world, receiving the recognition they truly deserve. This album and music is not just for Latino people, but for everyone - gets under your skin and spreads enjoyment throughout your soul!

Total Time: 68:45 on 14 Tracks/ Concord Records - CCD 4894 2 (2000) ... Read more


48. Solo Piano
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Asin: B000005HB5
Catlog: Music
Sales Rank: 31947
Average Customer Review: 5 out of 5 stars
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Reviews (2)

5-0 out of 5 stars Greatest cuban pianist!
For those of you with a latin background like me, this should be one of the albums to keep forever. Chucho Valdes is one of cubans most celebrated pianists, his music is both moving and refreshing. This album features some of the most exciting songs such as Togo, one of my own personal favorites. Don't miss the chance to enjoy a sample of cuban jazz at its best.

5-0 out of 5 stars Chucho Valdes, Solo Piano
For those of us who think of the jazz piano as one of our truly divine art forms, this work by Chucho Valdes serves well to confirm that conviction. Chucho's technique is powerful, dazzling, yet he can move you with exquisite subtlety and tenderness. Many have come to think of Chucho as an essentially Latin stylist; he is much more than that. His versatility is vast, reflecting his classical training. His dextrous excursions remind us of Tynor, and may sometimes seem a trifle capricious, less integrated than Tatum's. But the overall impression from this work is a rare jazz experience. Chucho's artistry, like the man himself, is huge, but oh so very congenial. ... Read more


49. Passion and Fire
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Asin: B000002G97
Catlog: Music
Sales Rank: 44102
Average Customer Review: 4.57 out of 5 stars
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Reviews (7)

4-0 out of 5 stars Saxy Saxy
Even though this CD by Gato Barbieri has been out since the 80's, I found the cut "Europa" and had to buy it. How could I resist, I still vividly remember dancing at my wedding, to "our" song, held tightly in my husbands arms...and feeling our own "Passion And Fire".

These many years later, Gato's sexy tenor sax still evokes desires. Thank you Gato, we both thank you.

CDS

3-0 out of 5 stars Some tracks great....others are very dated sounding
The first few tracks of this CD are great! However, some of these tracks sound like background music for "Starsky and Hutch." The best track..."Europa..." Great for a late night with the one you love.

5-0 out of 5 stars Gato is the Greatest!
Probably the finest tenor sax player in the world, Gato will make you feel good all over. The power of the music will make you want to grab your lover and dance them all over the floor! This is a must have CD.

5-0 out of 5 stars Best. No disappointment.
No one, not one, will be disappointed with this. All are not great but what is good is fantastic. You will be glad that this is in your house and people will want to borrow it and you will have to tell them to buy their own copy. Buy it!

5-0 out of 5 stars If you own one Gato cd, make it this one!
Having been a Gato B. fan for the past 21 years (since age 8), I can safely say that with this cd, you will own 2 of his best songs, She is Michelle and Europa. Gato's smooth key changes and wonderful melodies are true works of art. Also recommended, Latin Lady, a duet with Santana! ... Read more


50. Salsa Dura
list price: $11.98
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Asin: B00001SIAF
Catlog: Music
Sales Rank: 29750
Average Customer Review: 5 out of 5 stars
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Reviews (6)

5-0 out of 5 stars A passionate and creative artist at work
One of the highlights from Jimmy Bosch's outstanding CD "Salsa Dura" has to be track #4, "La Noticia". The lyrics convey Jimmy's feelings about receiving news of his brother's death, displaying an immediacy and intimacy similar in style to Ruben Blades. The upbeat music that accompanies these lyrics seems to be ironic, but the brisk pace provides Jimmy an opportunity to literally wail on his trombone and release his emotions. The end result is one of the most poignant, moving and compelling songs I've ever heard.

While "La Noticia" alone is enough to commend this CD it is just one of twelve great songs. Jimmy has the good judgement to treat each song appropriately and with great care. As others have noted, he uses a variety of styles (Guaguanco, Guajira, Son, Latin jazz, etc.) to accentuate the message or range of feelings he wants to convey. Jimmy changes the band and vocal lineups frequently as well so that he has the right musicians assigned to each tune, but continuity is maintained throughout by Jimmy's excellent playing on every track and by the band's consistently high-quality output.

In a world where so much pop music is formulaic and repetitive, Jimmy Bosch has reminded us how vital the art form can be when it is created by a true artist. I give this CD the highest possible rating and recommend it to all Latin music fans.

5-0 out of 5 stars Hot selection of HARD salsa jams!!
These jams are furious, scorching hot and danceable to the core. Starting with a sleak mid-paced guaganco, Jimmy and the band never let up. Even the ballads (one guajira, one bolero)find an undeniable groove.
The recording is done without many effects. The vocals, piano and percussion especially are free of reverb and other slick studio effects that tend to steal salsa's fire. We are left with pure flame on this recording.
The high points are the above guaganco, the the straight-up son (track 4), and check out the scorching jams on track 6 & 7. If you're not careful, you'll lose the clave!! Don't think twice; Buy this one!

5-0 out of 5 stars Swing, Flavor, and Feeling: Jimmy Bosh
When judging the talent of a musician, artist, or singer my favorite way to judge someone is to see the performance live on stage. There are too many that come out with these awesome productions but in person the really don't amount to much, it's really a disappointment when you see it live. But Jimmy Bosh is none of that. Six years ago my brother Andy Rodriguez first mentioned the name of Jimmy Bosh just like he mentioned Domingo Quiñones and now he's mentioned Mayito Rivera from Cuba; Van Van's lead vocalist. As Andy told me Jimmy Bosh was this hardcore Trombone played that has played for everyone and that he does sensational solos. Okay, I thought, then one day Larry Harlow sent me some pictures, one of those pictures included Jimmy Bosh...I did not even know who he was from the photo. Then one afternoon I'm hanging out with Hilton Bonilla in New York City so Hilton took me to a Willie Colón concert in Central Park; of course we ended up in front of the stage with the press people. Then Hilton told me; Sam that guy next to Willie is Jimmy Bosh. My goodness I was about eight feet next to Willie Colón and Jimmy Bosh. Let me summarize what I saw, Jimmy Bosh is this fantastic trombone player that lives the music and was having blast when playing, he's a real master of Salsa Urban Live music. The guy would read maybe like 3 or 4 lines of music and play the rest by memory. Just looking at him real intense gave me the perception that he figured out the whole arrangement in five second and would spend the rest of the time just jamming or that he knew the music by heart. Then on top of that he was dancing as if he were Oscar D' Leon with the bass. It was beautiful to see him go off on his music fantasy; It was addictive. I had my JVC Camcorder rolling and could not focus on anyone else. My Camcorder was aiming at Willie and Jimmy but Jimmy got the best and most of the film. Jimmy Bosh commanded my attention, there was nothing else for me.

Then one day I heard his first CD at Tower, I was not that impressed but, what got me was the fact that he now started doing his own music. The other thing that impressed me was the fact that he was not following the trend of romantic ballad music themes. On his first CD it was like was sending out a message and demonstrating that he was doing his own thing and that he had been doing his homework and wanted to break away from the same of the mundane productions of the 80's and 90's. I mean he was not even with the same labels. Jimmy Bosh could have singed with anyone but he figured out that he wanted to do something totally different and with a different recording culture. Clearly he inferred that he did not want any monkeys on his back so he came out different. So I told myself this guy has a vision or has been reading the messages on the Afro-Latin newsgroup. So that stayed right there.

Then this April I was in Puerto Rico and Andy pulls out Jimmy's latest Salsa Dura. I had seen the CD Cover but never heard the music. I mean Ana Araiz did not even send me my sample of the CD and she normally does; not this one. So then Andy tells me the whole story of La Cacharra and La Noticia songs. Interesting I thought, so then Andy stops talking and pops in the CD. Oh my Goodness, Jimmy Bosh is for real his vision is on full blast. Jimmy Bosh wants to make music about every day life similar to Gran Combo, Tito Puente, Rubén Blades, Larry Harlow, Eddie Palmieri, Los Van Van, and now Domingo Quiñones.

Based on the music of Salsa Dura production Jimmy Bosh is on his way working to be at the same level of the masters of Salsa that I just mentioned. Salsa Dura is not one of those Cracker Jack Productions in which all the songs are all about the same stuff or that the songs sound about the same stuff. Not this one, this CD has the whole spectrum of Latin rhythms that make up salsa music. The only love song is a bolero which is rightly adequate for the tempo. The only thing I don't like about the CD is seen Ana's name on it and knowing that she never told me about this work. Looking close at this CD I see the pictures and awesome musicians ... that truly make this CD a five star. My Favorite Track are 1, 3, 4, 10, 11, 12 Effective immediately I'm starting my Jimmy Bosh collection and posting this review on Amazon.

5-0 out of 5 stars master trombonist
I am new to Salsa and thanks to this amazing CD I can understand the excitement of the music. I not only listen to the music, but I am absorbed by every note. Jimmy Bosch has taught me a lesson in the true meaning of music. It comes from the heart, soul and life. It is an expression of emotions that allows the listener to experience the music in a way that involves our own emotions. The artists on Salsa Dura are truely major talents and should be celebrated and applauded for their musical expression. I recommend this CD for people of all musical preferences as it will surely open you to a new way of listening.

5-0 out of 5 stars Excellent...captivating. maravilloso
I love this cd. The selection of music that Jimmy's band brings is excellent, the sound quality, etc... is very nice. This is a cd that I could listen to over and over again nonstop, it is a cd where my love for latin music and the rest of my family's love for jazz mix, and we can share this cd! ... Read more


51. Sittin' In
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Asin: B0007KVAKC
Catlog: Music
Sales Rank: 39771
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52. El Sonido Nuevo: The New Soul Sound
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Asin: B0000046RA
Catlog: Music
Sales Rank: 71194
Average Customer Review: 5 out of 5 stars
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Reviews (3)

5-0 out of 5 stars The birth of Latin Jazz.
This was truly a milestone in Latin music history as this legendary album gave birth to the Latin Jazz style. It features Ismael Quintana on lead vocals and should be considered an indispensable CD for any salsa, jazz or Latin Jazz afficionado. La Perfecta was truly one of the greatest New York salsa bands of all time.

5-0 out of 5 stars An old time Tjader Fan
This is a fine collaborative work with one of the monster latin artists, Eddie Palmieri . They do it again on the album " Bamboleate ". Check out the piano playing on " Picadillo " ! That's one guy playing !

5-0 out of 5 stars La perfecta forever!!!
Cal Tjader, Barry Rogers how much we miss you! If you liked Bamboleate you will love this one too. If you don't have either one get them! This is vintage La perfecta with Cal Tjader. The powerful trombone front line of Barry Rogers and Jose Rodrigues with Tjader's smooth vibes and as always Eddie's swinging piano. Add Manny Oquendo on timbales and bongo, Pat Quintana on maracas and vocals...the hottest band of the late 60's New York. My favorites: Los jibaros and Guajira en Azul...enjoy it! ... Read more


53. Distinto Diferente
list price: $17.98
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Asin: B000021XR7
Catlog: Music
Sales Rank: 59728
Average Customer Review: 4.82 out of 5 stars
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With a debut as smashing as their 1997 A Toda Cuba Le Gusta, the Afro Cuban All Stars would have to hit on all cylinders to not fall short on their sophomore effort. Alas, they don't hit the high marks that seemed so effortless on their debut, heading away from the earthy, complex body of emotions their horns carried and towards a style that reaches unabashedly for pop audiences. Of course, the pop audiences they address are old world enough to like their flute solos to be bombarded by big brass riffs and set off by crooning, sweet vocals. This brings up a key point: even a disappointing album by the likes of the Afro Cuban All Stars is better than most of what makes the airwaves, from Havana to Miami to Montreal. Aside from the more obviously polished elements, there are lots of traces of the band's debut, with the timeworn playing--especially on piano and percussion--sounding both overly commercial and terrifically organic. On many of these tunes, the cleanness of the sound draws the ear away from the music and towards the sonic varnish, the crystal clarity that in many cases would be cause for celebration. Here, it urges the side-by-side inspection of A Toda Cuba Le Gusta and Distinto, Diferente, the latter title signaling that the band has sought another terrain, maybe that commanded by Los Van Van prior to the rise of the Buena Vista Social Club and its roster of stars. --Andrew Bartlett ... Read more

Reviews (11)

5-0 out of 5 stars ¿Distinto? ¿Diferente? ¡CLARO que Sí!
WARNING: The Afro Cuban All Stars' music is NOT your father's Desi Arnaz albums!

Having both this CD and "A Toda Cuba Le Gusta", I just don't know which I like best. This stuff is highly "picante" --"chiles habaneros" put to music!!!

To Juan de Marcos González, the REAL driving force behind the "Buena Vista Social Club" phenomenon and now "Afro Cuban All Stars", an enormous debt is owed by all who appreciate truly GREAT music. He's a modern musical HERO.

This man, with endless energy, profound passion and a winning smile, has probably done more in recent years to promote both traditional and modern Cuban music beyond Cuba's borders than any human being alive. I can't express the depth of my gratitude to this brilliant and enterprising man. Without him, who among us would have had the good fortune to enjoy Ibrahim Ferrer's magical voice?

Long before I discovered Cuban music (via BVSC), I was deeply in love with Mexican music of all genres, modern and traditional.

But Cuban music has a place of its own in the world of music. For, much like our own music in the United States, Cuban music is a fusion of European music with an African influence of great variety and, presumably, that of the indigenous populations. I have read that African slaves once accounted for 40% of the island's population, representing more than 100 tribal groups of the African continent. Because Cuba's European cultural influences differ from those of the United States, the resulting music is not the same. We have our blues and jazz; Cuba has its son montuno, guajira, guaracha, rumba, danzón, bolero and chachachá, to name only a few. A musical treasure chest!!!

It is precisely the richness of this Cuban musical heritage that Juan de Marcos understands, appreciates and celebrates like nobody else! And nobody else has been so generous in sharing this precious gift with the rest of the world.

Thank you from the bottom of my heart, Juan de Marcos González!

5-0 out of 5 stars Beautiful Work
Juan De Marcos is obviously reaching for more diverse audiences with this recording, and unlike Ry Cooder and friends, knows how to appeal to more diverse groups without losing the essence of Cuban Music to slide guitar solos. This is a great successor to their first all-star album, and belongs on every cuban or latin lover's shelf.

5-0 out of 5 stars Muy caliente!
Pure magic, my dear ladies and gentlemen, pure magic. I smell cigar smoke whenever I go past the CD tower.

5-0 out of 5 stars A ton of fun
Lively, brassy, fun. An excellent follow-up to their first album. Get both.

5-0 out of 5 stars Hot, Spicy, Fun!
This music is absolutely addicting! Great to listen to while whipping up dinner or whatever else. However, DO NOT LISTEN TO THIS WHILE DRIVING! You won't be able to sit still and you and your car will be dancing all over the road. I can't wait to hear more from this very talented, sexy, and lively bunch! ... Read more


54. Fina Estampa
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Asin: B0000015U2
Catlog: Music
Sales Rank: 42971
Average Customer Review: 4.42 out of 5 stars
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In Fina Estampa, released in 1994, Brazilian singer and songwriter Caetano Veloso set out to recast classics of the Latin American songbook, most of them in Spanish. It is quite a challenge. Some of these songs have been dulled by rote repetition and over-singing. Perhaps it just takes an artist like Veloso, who understands the value of what not to do, to make them new. "Contigo a la distancia" gets an understated, perhaps melancholy, treatment that gives the song a long-lost feeling of yearning; "Pecado," originally a tango, becomes a sober bolero; "Recuerdos de Ypacaray," a Paraguayan classic, is performed to an austere solo bass accompaniment. Veloso might have set out just to revisit the classics, but by the album's end, he makes them his own. --Fernando Gonzalez ... Read more

Reviews (12)

5-0 out of 5 stars Beautiful Music
This is a collection of Latin American classic pop ballads. (The songs were not composed by Veloso.) It is a beautifully sung and played album. The lyrics are included, for those of us who would like to practice our Spanish. (Veloso is a Brazilian singer, but these songs are sung in Spanish.) The basic tone of the cd is peaceful, reflective, and melancholy. It's definitely not lively dnace music. Other reviewers have commented that these songs are well-worn chestnuts, but I think the average person buying this cd in America or Canada would not know this. Certainly I was not familiar with any of these songs before I purchased this album. For people like me, this is a fine introduction to Latin standards. For people who are familiar with this music, I think Veloso's exquisite performance of the songs also makes this cd well worth buying.

4-0 out of 5 stars A magic travel in time and space throughout South America.
The re-arrangement of a set of 15 classics of south American repertoire, stretched over a period of more than 100 years long (!) of different musical trends and backgrounds, was by itself a titanic goal. Veloso coped with such task in an excellent way, giving sufficient smoothness, unity and consistency to the whole. His thin light voice is probably not the ideal to interpret some of the tunes. Some among the strictest 'aficionados' of the original versions, therefore, will probably feel a bit perplexed when listening to these remakes. Nevertheless Veloso demonstrates in this album to be deeply familiar with the Latin American tradition of last century: can you name any other pop artists who manage to summarise in a single CD, and in such clever way, the feel of a whole continent so musically rich and 'hot'? Veloso's singing and arranging style give to this CD of melodic and folk tunes a musically sophisticated character, as if nothing (including the simplest love song)! could possibly sound banal when he is handling it: sometimes a malicious string arrangement gives new life to a very well known passage ("Un vestido y un amor"); sometimes his straightforward, warm, mellow voice takes the groove of the native 'pueblos' down through space and time where all of us can finally touch it ("Tonada de lluna llena"). The voice-guitar-cello version of Piazzola's "Vuelvo al sur" is an authentic gem, the perfect finale for the ones who feel nostalgia for Veloso's performances just guitar and voice of few years ago.

5-0 out of 5 stars sublimo que no
Well I was born in Peru and can safely say that I am an aficionado of Latin American folk music. This cd has given me much satsfaction with Caetano's sublime rendering of these timeless classics. His interpretations are unique, masterfully arranged and full of heart and soul.

5-0 out of 5 stars A wonderful tribute
This is a heartfelt tribute by a leading Brazilian singer-songwriter to songwriters of the Spanish New World, and probably the most consistently satisfying album by Caetano I have. Among the highlights are Jaques Morelembaum's beautiful, yet austere and somber, arrangement for "Un vestido y un amor" (I understand Fito Paez was completely bowled over by this rendition), and similarly somber and expressive "Vuelvo al sur" by Piazzolla, with its BACH quotation in the intro and the coda. Caetano's style is probably a mismatch for some of the more lighthearted songs (Rumba azul, Capullito de aleli) but is wonderfully effective in Lamento Borincano and La Gorondrina. And which singer without his wonderful falsetto could sing the two-octave leap in "Maria la O"?

5-0 out of 5 stars One of his best records
Cualquier latinoamericano debiera sentirse orgulloso de este disco. Caetano Veloso interpreta canciones típicas del pop y el folclor de América Latina en forma notable, en un castellano bastante bueno para alguien nativo de Brasil. Pocas veces su voz ha sonado tan bella y refinada. Los arreglos, a su vez, son novedosos y enriquecen la música. Es un disco muy del corazón, más para llorar que para reír. La elección de canciones es acertadísima, no tanto por lo representativo del repertorio sino por la calidad del mismo. Versiones como la de "Lamento Borincano", "María Bonita" y "Laguna de Ipacaraí" son simplemente memorables. ... Read more


55. Cuba Linda
list price: $15.98
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Asin: B00004S5ET
Catlog: Music
Sales Rank: 24051
Average Customer Review: 5 out of 5 stars
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Octogenarian Cuban legend Israel "Cachao" Lopez returns with CubaLinda, another five-star album produced by actor Andy Garcia, who did the same for the earlier Master Sessions volumes one and two. Bassist-composer Cachaoleads an outfit that near-magically blends subtlety and power; anyone with anear for this meld of mambo, son, and other classic styles will be hookedwithin the first two cuts. "Goza Mi Mambo Cubano" ("Rejoicewith My Cuban Mambo") hits its height with a flurry of percussive devicesmidway through, while the lyrics of "A Francisquita le Gusta el Cusube"("Francisquita Loves the Cusube") turn on playful sex/food metaphors astrumpeter Feliciano "Pachu" Gomez unleashes some mighty wails. It's also easy toappreciate how the band rips through "Bailalo Si Puedes" beforeleaning into a tropical take on Rhapsody in Blue: Cuba Linda's melange oftextures, rhythms, and unique soloists is indeed in the Ellingtoniantradition the disc's liner notes claim for Cachao. --Rickey Wright ... Read more

Reviews (5)

5-0 out of 5 stars Great album - a continuation of his 'Master Sessions'
This is a great album from the guy who invented Mambo. 'Cuba Linda' is a logical progression on the 'Master Sessions' albums. This album has a different feel than the 'Master Sessions' albums - a little more spontaneous and lively. 'Cuba Linda' is a bit more upbeat - Cachao plays everything from Danzon, ChaChaCha, Abakua, Son, among others. The musicians are great, masters from Luis Conte to Orestes Vilato join Cachao. I also recommend 'Dos', 'Descargando', 'Master Sessions, Vol. 1 & 2'. In fact, anything from Cachao is well worth investing.

5-0 out of 5 stars If You Like Cachao.....
If you enjoy cachao you OWE it to yourself to explore the Buena Vista Social Club, unless you've been under a rock since 1997 then you should know who they are, if you don't then check them out, YOU WILL NOT REGRET IT!!.

5-0 out of 5 stars Lively Beats! Great dinner and working music.
This was my first introduction to Cuban music - what a fantastic choice! I've danced around to it while making dinner for friends and played it in the background while I'm working on the computer. I really love music that has a fun beat but isn't distracting. Thanks to this CD, I look forward to exploring more Cuban music (maybe a compilation album for my new one).

5-0 out of 5 stars Amazing!!!!
I must say, his albums get better every time:) This is very nice and passionate, And I personally like the bajo instrument. It's a must have.

One question, is he related to to that other bass player Orlando "Cachaíto" López from the Buena Vista Social Club?

I think so, but I'm not sure.

5-0 out of 5 stars The master, again
Israel " Cachao" Lopez is a musical icon, who contributed heavily to the magnificent musical legacy of Cuba. He comes from a famous family, and helped to launch the mambo musical form. Listeners who have come to Cuban music via Saint Ry should check this out. ... Read more


56. Stan Getz with Guest Artist Laurindo Almeida
list price: $22.49
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Asin: B0000046V9
Catlog: Music
Sales Rank: 26897
Average Customer Review: 5 out of 5 stars
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Album Details

This Album was Recorded by Producer Creed Taylor who Capitalized on the Famed Saxophonist's Passion and Comfort with Brazilian Music. These Sessions were Recorded Just Three Weeks after Sessions with Luis Bonfa and Only Two Days after the Monumental Sessions Recorded with Joao Gilberto. "Outra Vez" Hit the Charts, but it was the Whole of this Album that Set Jazz Aficianados Hearts Alight. ... Read more

Reviews (5)

5-0 out of 5 stars Classic Solid Gold Bossa Nova
This CD is one of the absolute best ever recorded Bossa Nova!Getz and Almeida are at their best. The unique flavor of bass playing by George Duvivier is amazing. Recorded in 1963 but released in 1966, this is a must-have for all bossa lovers like me. Of the many versions of Jobim's "Outra Vez" in my vast collection, this one is the best. If you don't like this album, you don't like Bossa Nova.

5-0 out of 5 stars A truely touching record
while many other bossa nova albums are tinged with an influence of commercialism and strings, this album is a diamond. unlike many other bossa nova albums, this album features all great players, all who seem to have a very good understanding and knowledge of the music. some of the others albums, such as jazz samba, feel like a jazz take on brazil, which can be good if you wnat that, but this music is true bossa nova, while bringing jazz influencess, Getz fits in perfectly into this extremely different category of music.
As for laurindo almieda, all i can say is wow, what a sadly overlooked figure in bossa nova, and guitar music in general. hes soloing is smart, mature, and playfull, bringing out the best in getz and and company.
Out of every Getz or Bossa Nova album, get this one and Stan Getz with Luiz Bonfa: Jazz Samba Encore, two of the most touching albums i have ever heard in my whole life. buy them together!!
-ian

5-0 out of 5 stars Less pop, but equally rewarding bossa nova pleasures.
This Stan Getz collaboration with Laurindo Almeida is a jazzier affair than the more pop-friendly likes of 'Jazz Samba' and 'Getz/Gilberto', which probably explains its lack of chart success. The emphasis is less on pop melody and the more superficial pleasures of bossa nova - these instrumental tracks are longer, more involved and intricate, and, with the exception of 'Corcovada', less familiar. With no vocalists to upstage him, Getz takes centre stage, and his playing is much more immediate than on, say, 'Jazz Samba'.

It would be a shame to miss out on this fantastic album, the bossa nova shaping some exceptional old-style jams, with 'Menina Moca' and 'Outra Vez' indelible workouts, sax and chugging guitar sparking with the mesmerisingly monotonous rhythm; while 'Winter Moon' is a nocturnal wonder, gentle troubadour guitar meeting insistent sax to evocative effect.

5-0 out of 5 stars Among Getz'z best Bossa Nova albums!
Among the very best of Getz's Bossa Nova work, Getz w/ Guest Artist Laurindo Almeida is sadly overlooked by most fans who pick up Jazz Samba and Getz/Gilberto. Wholly instumental, like Jazz Samba, but with a mellower, more cool jazz, less driving feel. Exquisite and beautiful all the way through; Almeida-penned cuts like "Winter Moon" and "Maracatu-Too" really stand out.

It's puzzling why this one is so often missed by fans - though the fact that the title and cover art are so distinct from the other Bossa Nova albums might figure into it, as is that it came at the end (1966) of Getz's work in the style. Don't miss it, or the sublime Jazz Samba Encore (1963) either! I listen to both far more often than Getz/Gilberto.

5-0 out of 5 stars Amazing melody!
My parents used to play this album when I was a kid. I rediscovered it in college and now it's one of my FAVORITE albums. Stan Getz is relaxed and natural sounding, hitting only the RIGHT notes and playing melodies that stay with you long after the disc stops spinning. Laurindo Almeida plays beautifully, sound like two or three guitars at times... This album is on equal footing with Jazz Samba and other Getz classics. I have no idea why it's so obscure. A must have! ... Read more


57. Passarim
list price: $14.98
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Asin: B000004757
Catlog: Music
Sales Rank: 78657
Average Customer Review: 4.75 out of 5 stars
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Reviews (4)

5-0 out of 5 stars Great stuff - but not his last...by any means
This is Jobim the way HE wants it - with his family at the core of things and unabashedly romantic, as always. 'Passarim' is a cry for the environment and the forest that Jobim loves. Also Jobim plays with the lyrics as never before, interjecting Portugese into English and vice-versa (and a little French, too). In 'Chansong' Jobim pokes fun at the U.S. and the whole mood is one of satire regarding the way his music was boiled down, stripped of all subtlety, then regurgitated. For more of this band and one of my all time favorite recordings, see if you can locate "Antonio Brasileiro" which was released I think in 1993 or 1994, and which contains a version of "Insensatez (How Insensative) with Sting and Jobim singing and harmonizing on it. This was released in Brazil, but perhaps not in the U.S. Check the U.K. if not. If you have any reservations about lush vocal arrangements (which I emphatically do not) this is not the CD for you...

5-0 out of 5 stars Jobim's last
This is the last studio album that Jobim recorded, and it's a gem. The sound is a culmination of Jobim's style, topped off by the beautiful signature female chorus -- close your eyes and you're on Ipanema beach. There is enough pure bossa to keep the hardcore happy, including a great version of "Fascinatin' Rhythm" with Jobim's marvelous cigarette-coated voice. It's the arrangements that go beyond bossa that shine the most, though. The title track (portuguese version) is as beautiful a song as Jobim ever wrote (that's saying something), and others like "Anos Dourados" and "Luiza" became MPB standards. The icing on the cake is "Gabriella," a song instantly recognizable to most Brazilians: it was the theme for the television production of Jorge Amado's novel, with Sonia Braga in the title role.

4-0 out of 5 stars Even Gershwin is included here....
I have enjoyed this Jobim album since it first came out in the late 1980s. The title track is another soulful Jobim melody and the arrangements of everything on the CD are first-rate. My favorite, though, is the Gershwin "Fascinatin' Rhythm" track which was a complete surprise to me, something which Jobim puts his own spin on--in a delightful way. This album belongs in every Jobim collection, definitely.

5-0 out of 5 stars Great music from a master
Excellent throughout, even taking into account the duplication of two songs (in Portugese & English). Tremendous music, gorgeous harmonies (esp. from the female chorus). Jobim's heartfelt liner notes make the music and his loss that much more acute. ... Read more


58. Siroco
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Asin: B000004727
Catlog: Music
Sales Rank: 12773
Average Customer Review: 4.56 out of 5 stars
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Reviews (9)

5-0 out of 5 stars Beautiful cd!
I'm very new to flamenco guitar playing but I have to say (with this being my second Paco album) I like "Siroco" just a tad bit better than "Almoraima". Both are very excellent albums!! I'm a huge music fan and even though I don't know a whole lot about the flamenco history I know good music when I hear it and this album is it!

5-0 out of 5 stars Cuts like a knife
these are some of the most expressive songs i've ever heard. see him in concert if you ever get the chance. he's a living legend, and like all great stars, shorter in 'real life' than he seems on stage.

5-0 out of 5 stars setting the record straight
Paco de Lucia's name will stand as one of the innovators in flamenco guitar, along with other greats like Ramon Montoya and Sabicas, and being an innovator, he will be subject to adoration as well as to harsh criticism. When Ramon Montoya brought flamenco guitar to the stage front early in the last century, all traditionalists screamed: no, no, the guitar is for accompaniment only! When Paco de Lucia introduced new harmonies and new instruments into flamenco, purists were disgusted. Now, those then-new harmonies are accepted into the flamenco dictionary, and the cajón (a south American percussion instrument that Paco brought into flamenco use only a few decades ago) is considered a "very" flamenco instrument and is being used almost universally in the art form.

No one will ever be able to deny the great importance this one man has had on the development and the appreciation of the flamenco guitar, yes, of flamenco and of guitar music in general. An innovator will tread where others have not gone, and therefore will always be one step ahead of everyone else. And for that reason will be often misunderstood, certainly by those who cling to forms from the times that they themselves started appreciating flamenco.

Paco de Lucia has for the past 50 years devoted his life to the flamenco guitar and culture. While other mortals spent time with their families, Paco was spreading the word on his culture, and defending flamenco against prejudice that classified it as "music of the street". He would come back from a US tour, looking forward to spending three days over Christmas with his family before flying off to Argentina, only to learn that there was TV and press-conference duty that reduced his time off to ... three hours. To us, the audience, he gave his huge and incredible work output, both recorded, and on the concert stage. It has been a sacrifice, to gain appreciation for his beloved flamenco.

To me, his finest albums, the ones that I most recommend, are: "Almoraima" (1976), "Siroco" (1988) and "Luzia" (1998). Of those three to my ears, Almoraima is the first album in which Paco really outlines his signature unorthodox approach: the Alegría with the choir, the use of an oud (Arab lute), the deliberate build-up of the album as a whole, yes indeed the production (unheard of!). His albums up until this one had consisted of superior guitar playing, but in other people's mold. Here, Paco creates his own terrain, and that of many guitarists to follow. A gem, a jewel of a work where I cannot find a bad or overlooked moment.

After this, Paco comes out with extraordinary albums like "Solo Quiero Caminar" and many others, in which he explores his boundaries and does some of his best playing, but always in a jazzier context.

Then, he releases "Siroco": an album of so much purity, that it almost feels as if you are "there", listening to Paco play in an intimate setting. The first time I heard "Siroco" was in a very impersonal big department store in Córdoba. Tears streamed over my face during the opening song: I forgot totally where I was and let me be grabbed by this beautiful guitar playing. Well over a decade of listening to this album have not diminished its enchantment. This is to where the flamenco guitar had developed: the master first learned how to play traditionally, took an experimental and then jazzy approach, and now came back, enriched, to the roots to make a profound statement of what could be done within this traditional yet totally new idiom.

Other, younger players stood up and gave Paco a run for his money. We heard the records and concerts of people like Gerardo Nuñez, Cañizares, Tomatito, and of course Vicente Amigo, and these guitar players, who started with the level and musicianship of Paco as the leading example, and current trend, of course developed it further, and impressed us all. And, well, Paco surely was resting on his laurels. Wrong. Out comes "Luzia". It is as if Paco de Lucia wanted to set the record straight: who exactly is the master of flamenco guitar? This is an album by a mature player who is in total control of both his instrument and his idiom of choice. Gone is the youthful exploration of "Almoraima", and in comes a statement so profound and personal it is almost frightening. Paco sings (!) of how his friend and long-time collaborator, gypsy singer El Camaron, has been taken away from his side (Cameron died in 1992). There are two bulerias on this cd that are so flawlessly filled with new and exciting material it is frightening. A solea that has melodies straddling the traditional compas in a way that had never been done before and yet makes total sense; a siguiryias that builds like a classical composition.... All right, the Alegría seems a reworking of that on "Siroco" (but just as great), and the Tangos (with Duquende singing) sounds a little too easy-listening to me, but all-in-all this ranks in my world as the definitive Paco de Lucia-album.

To anyone who is in doubt whether to buy "Almoraima", "Siroco" or "Luzia", my honest advice is: skip dinner and buy all three.

1-0 out of 5 stars Siroco - a blast of hot air.
In this album, Paco de Lucia for the first time revealed himself to be bankrupt of ideas and musicality.

He also managed to make manifest the last cynical betrayal of his flamenco heritage. It disturbs me to say that - indeed, I never thought I would be thinking such thoughts - because Paco at one time (the 60s, 70s, and early 80s) was almost single-handedly carrying forward the torch of hope for this unique, and at the time somewhat neglected, folk-art in its instrumental form.

Then came this flamenco guitarist's infatuation with jazz and pop. That was the eighties. It was a romance that evidently went on a little too long, ending in a smug marriage. Almoraima was the beginning of the end. But at least Almoraima was original, steeped as it was in the Gypsy-Arab heritage of Andalucia.

With "Siroco" and "Luzia", the aficionado of flamenco puro is transported into a kind of waking nightmare of flamenquismo, a return to the bad old days of the Flamenco Opera. Remember? - Just what Falla and Lorca so decried in their 1922 Concurso del Cante Jondo. Then, it was orchestration of the chico (light) flamenco with fandanguillos and tanguillos proliferating, along with an almost total marginalization of such profounder forms as the Siguiriya and Solea. In the 1980s, it was proposed to replace these with a dizzying multitude of whirling Bulerias and Rumbas por guitarra. Not so bad a fate, some might think.

Nothing is sacred to this instrumentalist. His bowing and scraping to the demands of a pop-propagandised mass audience will go on: and the worst of it is, people will be convinced that this is what constitutes flamenco, because such is the power of the sleeve-note (Felix Grande turned pseud extraordinaire).

What is the remedy for the average listener looking for genuine expression in instrumental flamenco? She won't find the Duende here. I suggest going back initially to the very first days of recordings of the flamenco guitar - to the man who started it all and, many would argue, has never been improved upon musically - namely, Ramon Montoya. Next, progress to Nino Ricardo, and then on to the scintillating falsetas of Sabicas. And finally you might console yourself with Paco de Lucia's own two debut recordings: La Fabulosa Guitarra, and Fantasia Flamenca. They are a beautiful peak from which the flamenco guitar could only descend thereafter. You see, it wasn't always this way...

5-0 out of 5 stars Siroco Surround
I felt as if Paco was playing each of these 8 pieces in person. I am happy to say that I have at long last found the immediacy and fire of the old flamenco! ... Read more


59. Lo Mejor de la Vida
list price: $17.98
our price: $17.98
(price subject to change: see help)
Asin: B00000AEE4
Catlog: Music
Sales Rank: 39455
Average Customer Review: 4.56 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Amazon.com

The 90-year-old Cuban guitarist and singer introduced to much of the world on Ry Cooder's Buena Vista Social Club, is back with his own album. While Segundo uses his own group here, the disc has the same combination of delicate acoustic guitars, complex Afrocaribbean rhythms, and relaxed, impromptu feel as Buena Vista. Segundo has chosen songs from his first heyday in the 1920s and 1930s, and perfectly captures their classic flavor without making them sound like museum pieces. While less varied than the all-star Cooder project, the album has lead vocals by several legendary Cuban singers, occasional, understated horns, and surprisingly appropriate guest shots by the revolutionary bard Silvio Rodriguez and flamenco guitarist Raimundo Amador. Segundo lets the guests shine, but it is his harmonies and deft guitar work that holds the disc together, and his flawless musicianship thoroughly justifies this more expansive showcase. --Elijah Wald ... Read more

Reviews (16)

5-0 out of 5 stars This album kicks more butt than words can describe.
As good as Buena Vista Social Club was, Lo Mejor de la Vida is better. Without a doubt this is one of the finest albums to be released this decade. The excellence of Compay Segundo's muscianship is almost beyond compare and yet is generously complemented by the fine, fine company of muscians performing with him on this album. Despite his venerable age (90 years), a youthful joy of life shines through in his music.

It is a essentially a crime that the American embargo against Cuba has kept such fine muscians as Compay Segundo from having their music reach American ears for so long. God bless Ry Cooder for "discovering" this fine muscian and the record company for allowing him a solo album.

Feel fortunate you have a chance to hear such a magnificient musician...now buy the album.

5-0 out of 5 stars A great example of the "undiscovered" Cuban music greats
If you like Buena Vista Social Club, you'll love this CD. This CD features several examples of the incredible rich contribution that Compay has brought to the Cuban music scene. One of the things that stands out in this CD is the fantastic voices that Compay brought together to collaborate with him. Compay himself has a unique baritone voice but mostly he is backup vocals for others. Especially interesting are tracks with Martirio, a Spanish singer, and Felix Valoy whose sound is reminiscent of Benny More.

5-0 out of 5 stars Compay's best
Compay Segundo's rich, throaty voice is a perfect accompaniment to the twangy, slightly out-of-tune armonico guitar he plays on here, which makes "Lo mejor de la vida" a step up from a couple of his other recordings, especially the windy "Calle Salud", which I thought was too top-heavy with clarinets and saxophones. Compay is always at his best, but the accompaniment here truly shines, a fine sugar coating on the tip of this pungent old Cuban cigar.

The reviewer below was dead on. Segundo's sound truly is unique and irreplaceable. This is definitely "the best of life". Great stuff! Get it.

5-0 out of 5 stars Farewell to Compay Segundo
Born on November 18, 1907 in Siboney, Cuba, Maximo Francisco Repilado Munoz (better known as "Compay Segundo") died of kidney failure on July 13, 2003 in Havana, Cuba. Farewell to an unbelievably charismatic and talented musician. Known for his sporty, Borsalino-style hats and trademark cigars, Segundo was truly young at heart and rich in sound. He reemerged in popularity in 1997 with the Buena Vista Social Club documentary and CD. With the passing of segundo, the world has lost a truly unique and irreplaceable sound.

5-0 out of 5 stars Loved it from the first time I listened
I now have 20 CDs by various artists associated with the Buena Vista Social Club project, and I fell in love with this one from the very first listening.

Of the 14 tracks, "Cuba y España" is the only one of which I find tedious.

On the other extreme, "Es Mejor Vivir Así" is, by itself, probably worth the price of the whole CD.

Most of the rest are excellent. Some of merely wonderful. If you're a fan of Compay Segundo's, this one should definitely be in your collection. ... Read more


60. Almoraima
list price: $18.49
our price: $18.49
(price subject to change: see help)
Asin: B000006Y23
Catlog: Music
Sales Rank: 43498
Average Customer Review: 5 out of 5 stars
US | Canada | United Kingdom | Germany | France | Japan

Reviews (7)

5-0 out of 5 stars Paco de Lucia's landmark recording
Paco de Lucia was 28 years of age and already clearly acknowledged as the world's premier flamenco guitarist ( a position he has yet to relinquish ) when in 1976 he recorded "ALMORAIMA", a work that pays unprecedented ( in flamenco music ) attention to production values while displaying a number of other unique characteristics.

Building on the instrumentation displayed on "Entre Dos Aguas" (1973), Paco employs the electric bass and congas on portions of almost all the compositions. He overdubs a nylon string "oud" ( Arabic lute ) on several cuts. A mixed choir ( male & female ) sings choruses on the intro and fadeout of the song dedicated to the great singer La Perla de Cadiz.

The points made thus far pertain to the arrangements. However, the compositions themselves are much more sophisticated than any Paco had written up to that time; in terms of melodic invention ( very high throughout ), rhythmic syncopation and compositional ( structural ) "balance" ( opening, middle and closing sections ).

Some of Paco's greatest tunes are featured, many of which he plays on his tours to this day. "Rio Ancho" ( another famous "rumba" ) is an anthem of freedom, its propulsive ( bossa nova style ) syncopations all but forcing your body to move. "Almoraima" ( the "bulerias" that opens the album ) by contrast has a notable Moorish ( North African ) influence in its melodic contour as well as in its use of the oud.

Paco's revolutionary impact is also felt in his complete ( and very unorthodox ) reconstruction of the "sevillanas", a light form of flamenco ( some do not consider it flamenco at all ). "El Cobre" is divided in the traditional manner into four short contrasting parts using unusual chord progressions and angular flashes of melody; the result is a uniquely "weighty" rendition of the "sevillanas".

The album closes with "Llanos del Real", played within the mournful flamenco form known as the "minera" ( the term used in traditional relationship to the men who worked in the ancient silver mines of Southeastern Spain ). "Llanos del real" is also an effective "mirror image" of the Arabic influence implied in the name ( and music ) of the album's title track. It's hard to ignore what seems an evocation of the despair felt by the Moorish aristocracy retreating from their former kingdom back to North Africa along the "royal plains" near the Almeria province.

"ALMORAIMA" was a landmark event; its impact and influence on the flamenco culture has been monumental ( it stands, along with "LUZIA", as Paco's finest recording to date). It should also be stated that the album holds its own simply as great music, regardless of its specific place in flamenco.

Paco de Lucia ( certainly flamenco's most prominent "world ambassador" ) is a musician of rare talent, one worthy of the ( admittedly over-used ) term, "genius". The most basic, earthy and truly "flamenco" explanation of Paco's gifts would simply point out that he possesses an abundance of "duende"; the ability to summon up the profound and seemingly inexpressible and communicate it to others ( the exact moment of "contact" summed up in "Olé!" ). There are quite a few moments of Paco's "duende" heard on "ALMORAIMA ", which is unreservedly recommended to all lovers of great music.

5-0 out of 5 stars Paco at his best!
This is a magnificant album with flamenco music at its best with Paco de Lucia in his prime. Stunning musicianship and 100% flamenco. Personally, this is my favorite album, better than Luzia or Scirroco. If you have to get one album, this is the one to get.

5-0 out of 5 stars setting the record straight
Paco de Lucia's name will stand as one of the innovators in flamenco guitar, along with other greats like Ramon Montoya and Sabicas, and being an innovator, he will be subject to adoration as well as to harsh criticism. When Ramon Montoya brought flamenco guitar to the stage front early in the last century, all traditionalists screamed: no, no, the guitar is for accompaniment only! When Paco de Lucia introduced new harmonies and new instruments into flamenco, purists were disgusted. Now, those then-new harmonies are accepted into the flamenco dictionary, and the cajón (a south American percussion instrument that Paco brought into flamenco use only a few decades ago) is considered a "very" flamenco instrument and is being used almost universally in the art form.

No one will ever be able to deny the great importance this one man has had on the development and the appreciation of the flamenco guitar, yes, of flamenco and of guitar music in general. An innovator will tread where others have not gone, and therefore will always be one step ahead of everyone else. And for that reason will be often misunderstood, certainly by those who cling to forms from the times that they themselves started appreciating flamenco.

Paco de Lucia has for the past 50 years devoted his life to the flamenco guitar and culture. While other mortals spent time with their families, Paco was spreading the word on his culture, and defending flamenco against prejudice that classified it as "music of the street". He would come back from a US tour, looking forward to spending three days over Christmas with his family before flying off to Argentina, only to learn that there was TV and press-conference duty that reduced his time off to ... three hours. To us, the audience, he gave his huge and incredible work output, both recorded, and on the concert stage. It has been a sacrifice, to gain appreciation for his beloved flamenco.

To me, his finest albums, the ones that I most recommend, are: "Almoraima" (1976), "Siroco" (1988) and "Luzia" (1998). Of those three to my ears, Almoraima is the first album in which Paco really outlines his signature unorthodox approach: the Alegría with the choir, the use of an oud (Arab lute), the deliberate build-up of the album as a whole, yes indeed the production (unheard of!). His albums up until this one had consisted of superior guitar playing, but in other people's mold. Here, Paco creates his own terrain, and that of many guitarists to follow. A gem, a jewel of a work where I cannot find a bad or overlooked moment.

After this, Paco comes out with extraordinary albums like "Solo Quiero Caminar" and many others, in which he explores his boundaries and does some of his best playing, but always in a jazzier context.

Then, he releases "Siroco": an album of so much purity, that it almost feels as if you are "there", listening to Paco play in an intimate setting. The first time I heard "Siroco" was in a very impersonal big department store in Córdoba. Tears streamed over my face during the opening song: I forgot totally where I was and let me be grabbed by this beautiful guitar playing. Well over a decade of listening to this album have not diminished its enchantment. This is to where the flamenco guitar had developed: the master first learned how to play traditionally, took an experimental and then jazzy approach, and now came back, enriched, to the roots to make a profound statement of what could be done within this traditional yet totally new idiom.

Other, younger players stood up and gave Paco a run for his money. We heard the records and concerts of people like Gerardo Nuñez, Cañizares, Tomatito, and of course Vicente Amigo, and these guitar players, who started with the level and musicianship of Paco as the leading example, and current trend, of course developed it further, and impressed us all. And, well, Paco surely was resting on his laurels. Wrong. Out comes "Luzia". It is as if Paco de Lucia wanted to set the record straight: who exactly is the master of flamenco guitar? This is an album by a mature player who is in total control of both his instrument and his idiom of choice. Gone is the youthful exploration of "Almoraima", and in comes a statement so profound and personal it is almost frightening. Paco sings (!) of how his friend and long-time collaborator, gypsy singer El Camaron, has been taken away from his side (Cameron died in 1992). There are two bulerias on this cd that are so flawlessly filled with new and exciting material it is frightening. A solea that has melodies straddling the traditional compas in a way that had never been done before and yet makes total sense; a siguiryias that builds like a classical composition.... All right, the Alegría seems a reworking of that on "Siroco" (but just as great), and the Tangos (with Duquende singing) sounds a little too easy-listening to me, but all-in-all this ranks in my world as the definitive Paco de Lucia-album.

To anyone who is in doubt whether to buy "Almoraima", "Siroco" or "Luzia", my honest advice is: skip dinner and buy all three.

5-0 out of 5 stars One of the greatest flamenco guitar recordings of all time.
The first time I heard Almoraima was in 1979 (on LP). It still blows me away each time I listen to it. If I were allowed only one flamenco cd, this would be it. If this were the only recording Paco De Lucia ever made, it would be enough to put him alongside Ramon Montoya and Nino Ricardo as the greatest flamenco guitar masters of the 20-th century. If you are new to flamenco start here, then follow up with Siroco and Luzia.

5-0 out of 5 stars Paco de Lucia's first classic "concept" album
"ALMORAIMA" represents Paco de Lucia's first completely unified ( in terms of atmosphere / song order, etc. ) solo flamenco album. Recorded in 1976, the quality of the compositions and performances convey the essential feeling of flamenco while moving into ( at that time ) new territory. Beyond having possibly the greatest technique of any guitarist in history ( I'm serious! ), Paco possesses the same genius that one could associate with violinist Jascha Heifetz or saxophonist John Coltrane; he "transports" you in a manner similiar to those sublime artists. This album, along with SIROCO (1987) and the recent LUZIA (1998> plus the recordings made with the late singer Camaron de La Isla, constitutes one of the great achievements in the last 25 years of flamenco ( and of music in general ). ... Read more


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