Paco De Lucia - Luzia

Though he's recognized as flamenco's premier guitarist--with few contenders save for Tomatito, Pepe Habichuela, and Manolo Sanlúcar--Paco de Lucía has met with decades of controversy for his hybridization of the form with bossa, salsa, and jazz; for influencing flamenco-rock renegades like Ketama and Pata Negra; and for his legendary, cultivated arrogance. Albums like Luzia, named for his late mother, restore the balance: true flamenco puro of the highest order, it's a brooding reinvention from within, particularly in its complex harmonies and polyrhythms, forged around time-honored forms like bulerías and alegrías. The bustling bulería "El Chorruelo" is simply blood-boiling, a surging virtuosity at work over rapid key shifts and melodic firestorms. Written for his late collaborator--bad-boy singer Camarón de la Isla--the closing solo "Camarón" is meditative, joyous, forlorn, incensed, and sublime; in short, the real deal. A startlingly good set from a true master. --James Rotondi Amazon.com

Exquisite

This album grows on you and in you. I especially love how he repeats this certain melodic theme throughout the album in little ways giving it a unique character. It takes several listenings before you notice all the areas it is creatively used. Nothing new to add about Paco, he is simply ethereal. Only wish we had another hundred years of him. March 11, 2007

Visionary. A decade ahead of its time.

I must say that I was disappointed and hurt to see some of the negative reviews of this album and almost hateful comments about Paco.

Some seem to think that all flamenco not performed in a tablao or juerga is just garbage. This is simply not true.

You see, this album and others leading up to it, say, after 1980, by Paco and others, namely Tomatito and Manolo Sanlucar, are simply the inevitable progression of contemporary flamenco. Yes, I said contemporary flamenco, as in Puro Flamenco. That said, I think this album is among the purest ever, by any flamenco artist.

This album is nowhere near jazz or pop: On at least 5 of the 8 tracks (the jondos) are the rules of the compas at hand being followed to a T, and at the same time being overdeveloped (not at all a bad thing once you start to understand what's happening, rhythmically and melodically) in real-time, improvisationally, in a way that only Paco, and no one else can do.

This is a very exciting time for contemporary flamenco, and it is my belief that this record will be the standard of flamenco to come in the 21st century. I can only say this in a humble attempt to express what I'm thinking: This album single- handedly solidified the modern "abstraction and ambiguity" movement that had been brewing in a flamenco "pressure-cooker" since around the late eighties. Luzia finally came around and completely blew the top off of this boiler, and now the contents of which are just spilling over with what's to come: Futuristic and strange yet unprecedentedly beautiful new harmonic and tonal adaptations of musical themes dating back, in some cases 200 years or more. This album boldly breaks the seal and lets forth so many new possibilities in traditional flamenco.

As others have noted, this record is not an entry-level flamenco album; It is very much advanced-listening. If you are new to Paco or, for that matter, flamenco guitar, you will likely see no rhyme or reason to the music contained in this masterwork. Even most seasoned aficionados of flamenco will have to give this one a dozen or so spins before they begin to scratch the surface of its potential. It really is that deep an abyss: I've owned it since the week it came out here in America and have listened to it hundreds of times and I still to this day learn something new every time I listen to it.

This is what flamenco is all about! Interpreting and re-interpreting old songs. Developing and re-developing the classic motifs. If everybody played a soleares like Nino Ricardo, how aritistic would that be? Or what if everbody only used the falsetas of old in their bulerias and never considered creating new ones? Every tablao would sound the same, and the entire flamenco catalog would consist of about 5 discs. In which case, flamenco would barely be classifyable as an art.

Fortunately we have had pioneers, visionaries who have followed in the footsteps of Montoya, Nino Ricardo, and Sabicas and have pushed forward, not to detriment of, but in the very name of Flamenco. To advance Flamenco, to beautify it, and to honor it. Not to lock it in a cage, and watch from afar as it grows old and sick.


August 16, 2006

NOT YOUR TRADITIONAL FLAMENCO ALBUM

I believe Artin is a bit FULL of himself - to post his review three times? Ego knows no bounds. If you are looking for really good traditional Flamenco, this is NOT, NOT the album for you. This is "exquisitely" atypical. If you have been listening to flamenco for years and are looking for that next ethereal phase, the next step beyond traditional flamenco, this is it. If you are a novice to flamenco, are will be left completely puzzled by what you hear. Listen to Paco's Fuerte y Caudal or Siroco instead, but not this album. It is beyond the earth bound realities of traditional flamenco, and is a song from Paco's heart about his lost love. This is ABSOLUTELY a love-it or hate-it album, even for Paco fans. Go get Gerardo Nunez or Rafael Riqueni instead, if you are looking for inspired next phase traditional Flamenco. Get Paco's earlier works for fabulous listening. BUY THIS CD AT YOUR OWN RISK, ONLY IF YOU ARE READY! June 28, 2004

Artin Karapet

Paco de lucia has proved to the world what you could do with the guitar. he has shown that it is more than just music....his last track, Camaron, tells a story..it TALKS TO YOU...its not music,,it is the artists thoughts and feelings brought up through music... Listen to the track carefully and see how different parts of it correspond to these words....
1. here is a story of a dear friends ... who died

2. we had good days ... I remember ...
3. oh he died, and his away for ever

4. I remember that one happy day where....

5. oh but his dead, ohhhh the sorrow ...

6. I cant overcome the pain

7. oh and there was that nice time where...

8. but he died, and left us ponder

9. hear me .... I will always think of you

10. until I die and come to you...
11. I think of us in heaven one day dancing happy...

12. I cant wait to see you and...

13. I know your soul is alive and can hear me....

14. Words: translation

SO NICE, IT MAKES YOU CRY... dont smoke Paco, we need you... ha ha May 7, 2004

Artin Karapet

Paco de lucia has proved to the world what you could do with the guitar. he has shown that it is more than just music....his last track, Camaron, tells a story..it TALKS TO YOU...its not music,,it is the artists thoughts and feelings brought up through music... Listen to the track carefully and see how different parts of it correspond to these words....

1. here is a story of a dear friends ... who died

2. we had good days ... I remember ...
3. oh he died, and his away for ever

4. I remember that one happy day where....

5. oh but his dead, ohhhh the sorrow ...

6. I cant overcome the pain

7. oh and there was that nice time where...

8. but he died, and left us ponder

9. hear me .... I will always think of you

10. until I die and come to you...
11. I think of us in heaven one day dancing happy...

12. I cant wait to see you and...

13. I know your soul is alive and can hear me....

14. Words: translation

SO NICE, IT MAKES YOU CRY... dont smoke Paco, we need you... ha ha May 7, 2004

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