Customer Reviews

Calima

5 star:		(5)
4 star:		(4)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

For fans, this is really Nunez redux. To my mind, that makes it all the better, seeing that he brings experience and maturity to the pieces.

Gerardo is a guitarist who has got lumped with the whole "nuevo flamenco" movement. This is an injustice. Here we have an album that shows true innovation within an authentic flamenco framework, rather than a kitsch pastiche, as perpetrated by Ottmar Liebert et al.

Now, while I might agree with some in the flamenco world who might argue that Gerardo is not true "flamenco puro" and will point to the likes of Nino Ricardo as masters of duende, the enlightened of that group should still accept this work. To do otherwise would be akin to dismissing Eric Clapton because he doesn't convey the same blues authenticity that Robert Johnson did; who cares? He's taking it further.

The pieces here are not all new: many have appeared in different, even more "technique-oriented" versions on his Spain-only albums "El Gallo Azul" and others (those who like Calima really should try to get this album, as it is awesome). However, what we have here is confidence, economy and confidence.

His Bulerias, which in "Gallo" far outstrips any Jorge Strunz excursion for sheer stunning technical display, in this album is relatively restrained, but masterful. His other pieces, espcially "Tabaco Y Oro" show sheer poetry in his touch, something almost every guitarist outside of flamenco (even S&F) seem incapable of emulating. And the Jazz-fusion pieces are truly awesome pieces that remind me of some of the best Chick Corea recordings (a tribute to Danilo).

Of course, an example of this "touch" is in his trio piece with S&F. While they run out their predictable flurries of notes (albeit, a little out of sync, would you believe?), Gerardo seems almost as though he doesn't want to be brought down to that level, instead laying out a powerful, alzapua-driven solo that is pure feeling.

In some respects more melodic than Paco de Lucia and certainly more accessible, both flamenco novices and enlightened afficianados alike should find something here. I certainly hope he records again.

This album is nothing short of gorgeous. The songs are highly stylized and latent with imagery and rich textures. If you have an appreciation for jazz, then you'll enjoy Geraldo's subtle injection of jazz styles into songs such as the title track, "Calima." Yet the CD also incorporates more traditional styles (with a unique nuevo flameco twist), ranging from the bulerias, pasodoble, to the rumba. The use of "palmas," or hand clapping, perfectly compliments the virtuoso rapid-fire playing of Mr. Nunez.

For those who are frustrated with flamenco recordings that have a lot of static and white noise, this CD will be an answer. The quality of the recording is impeccable, with lots of bass, providing a very "full" sound.

Ever since I've witnessed Geraldo in concert, I've been an avid fan. Needless to say, his recordings have secured a berth in my CD changer. Be forewarned: this music will consume you. It's probably more addictive than heroin, except with the benefit of being good for your soul.

Flamenco is to Spain as the blues is to the United States. It has the potential to shake you to the very core of your existence. Mr. Nunez has fulfilled that potential perfectly with songs like "Tabaco y Oro" and "Calima," among others. The songs are an eloquent essay on all that is beautiful and all that is tragic in life. This music is uplifting, it's romantic, it's tender, and it's sexy.

For fans, this is really Nunez redux. To my mind, that makes it all the better, seeing that he brings experience and maturity to the pieces.

Gerardo is a guitarist who has got lumped with the whole "nuevo flamenco" movement. This is an injustice. Here we have an album that shows true innovation within an authentic flamenco framework, rather than a kitsch ripoff as perpetrated by Ottmar Liebert et al.

Now, while I might agree with some in the flamenco world who might argue that Gerardo is not true "flamenco puro" and will point to the likes of Nino Ricardo as masters of duende, the enlightened of that group will still accept this. To do otherwise would be akin to dismissing Eric Clapton because he doesn't convey the same blues authenticity that Robert Johnson did; who cares? He's taking it further.

The pieces here are not all new: many have appeared in different, even more "technique-oriented" versions on his Spain-only albums "El Gallo Azul" and others (those who like Calima really should try to get this album, as it is awesome). However, what we have here is confidence, economy and confidence.

His Bulerias, which in in "Gallo" far outstrips any Jorge Strunz excusrion for sheer stunning technical display, in this album is relatively restrained, but masterful. His other pieces, espcially "Trafalgar" show sheer poetry in his touch, something almost every guitarist outside of flamenco (even S&F) seem incapable of emulating. And the Jazz-fusion pieces are truly awesome pieces that remind me of some of the best Chick Corea recordings (a tribute to Danilo).

Of course, an example of this "touch" is in his trio piece with S&F. While they run out their predictable flurries of notes (albeit, a little out of sync, would you believe?), Gerardo seems almost as though he doesn't want to be brought down to that level, instead laying out a powerful, alzapua-driven solo that is pure feeling.

In some respects more melodic than Paco de Lucia and certainly more accessible, both flamenco novices and enlightened afficianados alike should find something here. I certainly hope he records again.

The first time I listened to this cd I was greatly dissapointed. Too many guitar cd's have no real melody, and all sound about the same after a while.. little did I know. After about a hundred listenings, I can truly say this album has grown on me. The complexity of the rythyms and the melodies are nothing short of pure genius.. With greater understanding and comprehension aquired with each listening. The jazz mixed into this album is phenomenal.. but the cymbals in track seven are the most amazing thing I've Ever heard. Noting in this cd stands too far out, and every piece is essential.. Just as this cd should be to any flamenco collection.

Having been soured on the genre by some Ottmar Liebert CDs, I did not look forward to auditioning another nuevo flamenco recording with any enthusiasm, but Calima proved to be a truly exciting musical discovery that I want to recommend with as much enthusiasm that this energetic recording deserves, which is mucho indeed! Guitarist Núñez is joined at various times by bassist John Patitucci, pianist Danilo Pérez, and percussionist Arto Tuncboyaciyan, with Carmen Cortés providing energetic handclaps. Guitarists Strunz and Farah also join Núñez on one of the cuts. All of the music is by Núñez, and it's all good. The title cut is outstanding, worth buying the CD for right there--and there's not a dull moment on the whole CD. To make Calima even more recommendable, the recording quality is excellent--dynamic and well-balanced.

Great guitar playing, very relaxing yet erotic. Highly recommend. Will surely take a listen to this artist other cd's.

Gerardo Nunez is a superb guitarrist from Jerez de la Frontera Andalusia, and although Calima is a good album he is not at his best, he basically remixed some songs from past CD's.

I particularly liked the first track, perhaps the best song on the album, my opinion is that Nunez needs to go back to basis and come back with more original ideas

The most amazing record from what I think is the best nuevo flamenco guitarist around! I listened the CD a hundred times and it just gets better and better!

Where did this come from? And how can I get more? I loved this album! It's a mix of flamenco, jazz, and popular music from Andalusia. Though these are styles I about which I know very little, this album grabbed me the first time I heard it, and it hasn't let go since. "Calima" is said to mean "heat." If so, this record gets the "truth in labelling" award.

The musicianship is superb, the production rich and clear, but most of all it's the astonishing rhythms! They're complex in a way that is unknown to American pop music, and lightning-fast, besides. Don't you have to sell something to the Devil to be able to that?