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Paco de Lucía: Cositas Buenas

 A l b u m   D e t a i l s


Label: Verve Records
Released: 2004.01.24
Time:
 38:29
Category: Spanish Guitar
Producer(s): Paco de Lucía, Javier Limón
Rating: *********. (9/10)
Media type: CD
Web address: www.pacodelucia.org
Appears with: Al Di Meola, John McLaughlin
Purchase date: 2005.03.14
Price in €: 15,99



 S o n g s ,   T r a c k s


[1] Patio Custodio (Bulería) (P.DeLucia) - 4:46
[2] Cositas Buenas (Tangos) (P.DeLucia) - 4:27
[3] Antonia (Bulería Por Soleá) (P.DeLucia) - 6:30
[4] El Dengue (Rumba) (D'Anyelica, P.DeLucia) - 4:04
[5] Volar (Bulería) (P.DeLucia) - 5:32
[6] El Tesorillo (Tientos) (P.DeLucia) - 4:41
[7] Que Venga el Alba (Bulería) (Cruz, P.DeLucia, Sánchez) - 4:13
[8] Casa Bernardo (Rumba) (P.DeLucia) - 4:14

 A r t i s t s ,   P e r s o n n e l


Paco de Lucía - Bouzouki, Guitar, Mandolin, Lute, Vocals, Choir, Chorus, Producer, Palmas

Alain Pérez - Bass
Pirana - Percussion
Alejandro Sanz - Tres
Tomatito - Guitar

Angela Bautista - Vocals, Choir, Chorus, Palmas
Montse Cortés - Vocals, Choir, Chorus,  Palmas
Guadiana - Choir, Chorus, Palmas
Potito - Vocals, Choir, Chorus, Singer, Palmas

Javier Limón - Producer, Engineer, Collaboration
Pepe Loeches - Mixing
Fernando Alvarez - Mastering
Theodora Kuslan - Release Coordinator
Maureen Murphy - Release Coordinator

 C o m m e n t s ,   N o t e s


2004 CD Blue Thumb 000193902
2004 CD Universal Jazz 9866066

This is a Rounded and Polished Album that Is, above All, Loyal to Flaminco. Eight Tracks as Regards Both his Own Music and Music in General. Three Bulerias Blaze the Trail "Patio Custodio", "Volar" and "Que Venga El Alba". On the Last of These, De Lucia Reaches Back in Time to Rescue his Inner Voicec, Camaron De La Isla, and Plays Alongside the Third of the Holy Trinity, Tomatito.

Long known for his forward-looking approach to flamenco music, Paco De Lucia has had a distinguished career as a guitarist, songwriter, collaborator, and frontrunner in the old and new guards of flamenco. After 40 years of putting his personal spin on Spain's musical tradition, De Lucia leans more toward his roots on 2004's COSITA BUENAS. Intense, passionate, and filled with stunning grace and precision, the album is threaded through with virtuoso guitar playing, handclaps, and percussion that evoke native costumes, brightly lit Spanish cafes, and dusty Andalusian plains. De Lucia plays bouzouki, mandolin, and lute, as well as guitar, on the record, while guest vocalists and the occasional second guitarist keep the sound fresh and varied. Though De Lucia's allegiance to tradition is clear, this is undoubtedly a modern release, with the guitarist's expressive phrasing, nimble articulations, and knack for recurrent melody evident throughout. The result is an intricate, deeply felt album that will transport the listener to a world of beauty.



On his first outing in five years, and the first of the new century, flamenco guitarist Paco De Lucia has given us one of the most sublime recordings in his long career. This collection of "Good Little Things" (Cositas Buenas) is a step away from Nuevo flamenco, and back to the grain of the source music itself. It is a record full of handclapped rhythms, organic spare percussion, and burning, passionate songwriting and singing. The various singers -- including Paco himself -- wail, chant, moan, and ecstatically intone his new songs to the sheer rough-hewn grace of his playing. Most tracks are done in the canonical style of guitar, and voice with handclap accompaniment, but there are two -- the smoking, burning black soul of "El Dengue" and "Que Venga el Alba," on which he is accompanied by another guitarist. On the album's final cut, "Cassa Bernardo," a rumba, Jerry Gonzalez adds his mariachi trumpet to the proceedings. Cositas Buenas is an album that careens across the history of flamenco. While rooted in antiquity, it nonetheless points the way to a new music, one that extrapolates rhythm and harmony and adds syncopation, texture, depth, and multi-layered harmonics to the original framework. It is transcendentally beautiful if overwhelming in its passion and the sheer joy of performance. Indeed, Cositas Buenas sets a new standard for modern flamenco music and acts as the true bridge between the ancient and the future. No one but a master who cares nothing for his laurels could have articulated such a work.

Thom Jurek - All Music Guide



For four decades, Spanish guitarist Paco de Lucia's jazzy, Mephisto-like technique redefined flamenco. This CD, which means "Good Small Things," is de Lucia’s first release in five years, and it's been worth the wait. Most of the eight tracks feature just de Lucia, a chorus of vocalists, percussion, and the zesty handclaps called palmas. Lucia and company take you through the Moorish, Jewish, and Gypsy inventions and dimensions of flamenco, from the buleria "Patio Custodio" and the torrid tientos "El Tesorillo" to the moody, mid-tempo buleria por solea "Antonia." Guitarists Juan D’ Anyelica and Tomatito join de Lucia on "El Dengue," and "Que Vengo el Alba," which also features a vocal track from the late singer Camaron de la Isla. The last song, "Casa Bernardo," with bassist Alain Perez, jazz trumpeter Jerry Gonzalez, and Latin pop star Alejandro Sanz on the guitar-like tres, foreshadows the future of this ancient and inventive art form.

Eugene Holley, Jr. - Amazon.com



Herrlich, ganz sicher hinreißend: Paco de Lucias neue CD Cositas Buenas ist ein hochkarätiges Album der Folklore, oder besser das, was Paco seit den 1970er-Jahren aus ihr gemacht hat. Was Astor Piazzolla für den argentinischen Tango, das ist Paco de Lucia für den spanischen Flamenco. Er hat ihn emanzipiert und auf die großen Bühnen der Welt gebracht. Mit herausragendem Talent und unerhört virtuoser Fingertechnik zelebrierte der Gitarrist die Musik seiner Heimat, wie es sie zuvor auf diesem hohen künstlerischen Niveau nicht gegeben hatte. Das Großartige ist die unbedingte Hingabe De Lucias an den Geist und die Seele des Volkes. Cositas Buenas ist exemplarisch, es ist ein Fest mit der Ursprünglichkeit, ein sinnlicher Tanz der Tradition, und doch so frisch, so modern, so ganz und gar unverbraucht. Die Professionalität der Aufnahme und die der Interpreten (überwiegend Gitarre, Percussion, Gesang) springen einen förmlich an. De Lucia hat alle Stücke selbst geschrieben, Rumbas, Tangos, Tientos, spanische und mexikanische Formen, eingebettet in treibendes Flamenco-Gefühl. Ein besonderer Zauber: Seine Musik ist harmonisch und vor allem rhythmisch hoch komplex und klingt doch so einfach und so leicht. Sie vermittelt schlicht Lebendigkeit, ist stets zugewandt, wirkt durch raffinierte Komposition, eindringliche Stimmen und atemberaubende Gitarrenparts. Dieses Album ist ein echtes Highlight im Schaffen des mit unzähligen Auszeichnungen beschenkten Künstlers. Man hört den Einfluss jüngerer spanischer Komponisten wie Albeniz, De Falla und Rodrigo, deren Musik De Lucia ebenso verinnerlicht hat wie die der Brasilianer und den Jazz.

Katharina Lohmann - Amazon.de



[H]e moves the music into very new areas melodically and harmonically....COSITAS BUENAS is a significant landmark in a great career...

Dirty Linen (p.59)



You wouldn't expect a flamenco guitarist, especially one as jazz-influenced as Paco de Lucía, to bother with samples and studio trickery. But there he is, the most revered guitarist of his generation, playing along to the ghostly voice of departed flamenco god Camarón de la Isla. The result is not nearly as creepy, as, say, Natalie Cole's duet with her dead father, for a couple of reasons. One, de Lucia's playing is as fluid and multicolored as ever; two, the point of Cositas Buenas, his first studio album in five years, is this interplay of voice and guitar. Six of the eight tracks feature vocalists, two of them de Lucía himself, and the Camarón number, "Que Venga el Alba," is instructive. Unlike a dance track, where a sampled singer would provide the color to the rhythm track, it's the whiskey-shredded voice that guides the song, with de Lucía and Camarón's longtime partner, José Fernández Torres ("Tomatito"), accenting with guitar. The dissolution of his touring ensemble is a hint of de Lucía's new direction: The colors here are almost all his, from the guitar and voice to bouzouki, mandolin, and lute. It makes for an intimate performance, but by no means a moody one - the rumba "El Dengue" bounces along, full of light, and on "Antonia," the guitarist's young daughter contributes some innocent vocalizing. The guest singers are predominately women, giving a suppleness to the proceedings, often in airy choruses -- a typical nuevo flamenco touch. De Lucía's technique is dazzling in its breadth, quoting song styles from tropical to Mediterranean to jazz. The closer, featuring guests Jerry Gonzalez (the trumpeter has been living in Spain for a few years), pop star Alejandro Sanz (not singing but instead playing trés), and bassist Alain Pérez, brings a jazzy close to a refreshing album from the maestro.

Mark Schwartz - Barnes & Noble
 

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