..:: audio-music dot info ::..


Main Page      The Desert Island      Copyright Notice
 Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Paco de Lucía: Almoraima

 A l b u m   D e t a i l s


Label: Polygram Iberica
Released: 1976
Time:
 37:38
Category: Flamenco
Producer(s): Alfredo Garrido
Rating:
Media type: CD
Web address: www.pacodelucia.org
Appears with: Al Di Meola, John McLaughlin
Purchase date: 2012
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Almoraima (Paco de Lucía) - 5:25
[2] Cueva del gato (Paco de Lucía) - 5:43
[3] Cobre (Paco de Lucía) - 3:10
[4] A la Perla de Cádiz (Paco de Lucía) - 4:27
[5] Ole (Paco de Lucía) - 4:19
[6] Plaza Alta (Paco de Lucía) - 6:13
[7] Río Ancho (Paco de Lucía) - 4:29
[8] Llanos de Real (Paco de Lucía) - 3:39

 A r t i s t s ,   P e r s o n n e l


Paco de Lucía - Flamenco Guitar, Oud

Ramón de Algeciras - Flamenco Guitar
Álvaro Yebenes - Bass Guitar
Pedro Ruy-Blas - Percussion
José Torregrosa - Arrangements & Musical Direction

Alfredo Garrido - Producer
R. Jaimez - Engineer
J. Días Auñón - Engineer
M. Castán - Design
Alfredo Garrido - Art Direction
Ramón Rodriguez Y Lamarca - Cover, Photography
Félix Grande - Liner Notes

 C o m m e n t s ,   N o t e s


When Paco de Lucía made the groundbreaking Almoraima, he was just 28 years old. Already established as a prodigious talent, he used to opportunity to expand the possibilities of the flamenco music he loved so much. It wasn't so much the addition of bass and congas (he'd employed them before) as his entire rethinking of what constituted flamenco. The title cut, which opened the album, emphasized the Moorish influence, not only in the presence of the lute-like oud, but in its melody, which borrows from Arab maqams, or modes. "Rio Ancho" transports the rhumba rhythm to Brazil, melding it to a feel taken from bossa nova, which makes it all the more sinuous and sensual. More revolutionary is "Cobre," which virtually demolishes the flamenco form of sevillanas and rebuilds it in de Lucía's vision, giving it far more gravity. He never uses the record as a vehicle for his huge technical ability; instead, he focuses on serving the music, whether that's on the sad "Llanos de Real" or using a choir on "Perla de Cadiz" (which is dedicated to the singer of that name). This remains a landmark recording, not only in de Lucía's career, but in the annals of flamenco.

Chris Nickson - All Music Guide
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!