Year: 1969
File: MP3@320K/s
Time: 37:24
Size: 86,1 MB
Art: Front
(6:06) 1. Aires de Linares - Tarantas
(3:09) 2. Mi Inspiracion - Alegrias
(3:22) 3. Guajiras de Lucia - Guajiras
(3:16) 4. Mantilla de Feria Cancion
(3:27) 5. El Tempul - Bulerias
(2:37) 6. Panaderos Flamencos - Panaderos
(4:39) 7. Generalife bajo la luna - Granaina
(3:15) 8. Fiesta en Moguer - Fandangos
(4:20) 9. Lamento minero - Minera
(3:07) 10. Celosa - Solea
The stamp of Sabicas is present in this second solo LP, with ten Flamenco numbers written alone for the first time, with the exception of ‘Los Panaderos Flamencos’ and ‘Mantilla de Feria’ which are by Esteban de Sanlúcar. It is recorded with a different guitar to the previous records, now made from rosewood, black as opposed to the white Cypress. Paco conceived this work as a kind of fantasy or Flamenco suite, and at just 21 years old offers a number of genres that show at once how he has matured as both composer and interpreter. The path run through the Flamenco styles reveals his desire to create a complete work where the songs are held within a distinctive style.
The album was recorded a year after Paco received the Award for Honour in Concert Guitar from the National Competition for Flamenco Art in Cordoba. It was also the year that Camarón released his first album, in which it is also possible to hear some falsetas (melodic variations) from this Fantasia. As he always would, Paco shared his music with his ‘brother’ Camarón de la Isla. http://www.pacodelucia.org/en/disc/fantasia-flamenca-de-paco-de-lucia
The album was recorded a year after Paco received the Award for Honour in Concert Guitar from the National Competition for Flamenco Art in Cordoba. It was also the year that Camarón released his first album, in which it is also possible to hear some falsetas (melodic variations) from this Fantasia. As he always would, Paco shared his music with his ‘brother’ Camarón de la Isla. http://www.pacodelucia.org/en/disc/fantasia-flamenca-de-paco-de-lucia
Fantasia Flamenca de Paco de Lucia
Thank you, Giulia. A great work.
ReplyDeleteThank you Alfred Bayle!
DeleteHello again and thank you, Giulia.
ReplyDeleteIn flamenco, the protagonist is the cantaor (the singer), while the guitarist, who is usually the one who knows the most music, has a discreet role. It happens like in jazz as soon as a singer appears. The instrumentalist is always the second. A popular example:
https://www.youtube.com/watch?v=4dF7ypm9-IY
Paco wanted to be a cantaor, like one of his brothers, but as a child, out of shyness, he chose the guitar to avoid being the protagonist. At the age of 15 he recorded his first album because he began to play complete pieces without having a singer by his side. At first they were versions of couplets. And as soon as he could, he stopped following the singers, including Camarón.
He recorded this Lp when he was 21 years old. “El Tempul” constitutes the seminal origin of his bulerías. He played it many times. An example from 1972:
https://www.youtube.com/watch?v=T06qedkgfbA
In this subject he uses a resource that I only heard from another genius: John Coltrane. On "Live in Stockholm" (1963), Coltrane plays "Mr. P.C." The fact is that he performs many variations and only at the end does the theme appear. This resource is used by Paco de Lucía in “El Tempul”. The theme is exposed at the end.
Thank you Akenaten!
Delete