Customer Reviews

Luzia

5 star:		(15)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Paco de Lucia's name will stand as one of the innovators in flamenco guitar, along with other greats like Ramon Montoya and Sabicas, and being an innovator, he will be subject to adoration as well as to harsh criticism. When Ramon Montoya brought flamenco guitar to the stage front early in the last century, all traditionalists screamed: no, no, the guitar is for accompaniment only! When Paco de Lucia introduced new harmonies and new instruments into flamenco, purists were disgusted. Now, those then-new harmonies are accepted into the flamenco dictionary, and the cajón (a south American percussion instrument that Paco brought into flamenco use only a few decades ago) is considered a "very" flamenco instrument and is being used almost universally in the art form.

No one will ever be able to deny the great importance this one man has had on the development and the appreciation of the flamenco guitar, yes, of flamenco and of guitar music in general. An innovator will tread where others have not gone, and therefore will always be one step ahead of everyone else. And for that reason will be often misunderstood, certainly by those who cling to forms from the times that they themselves started appreciating flamenco.

Paco de Lucia has for the past 50 years devoted his life to the flamenco guitar and culture. While other mortals spent time with their families, Paco was spreading the word on his culture, and defending flamenco against prejudice that classified it as "music of the street". He would come back from a US tour, looking forward to spending three days over Christmas with his family before flying off to Argentina, only to learn that there was TV and press-conference duty that reduced his time off to ... three hours. To us, the audience, he gave his huge and incredible work output, both recorded, and on the concert stage. It has been a sacrifice, to gain appreciation for his beloved flamenco.

To me, his finest albums, the ones that I most recommend, are: "Almoraima" (1976), "Siroco" (1988) and "Luzia" (1998). Of those three to my ears, Almoraima is the first album in which Paco really outlines his signature unorthodox approach: the Alegría with the choir, the use of an oud (Arab lute), the deliberate build-up of the album as a whole, yes indeed the production (unheard of!). His albums up until this one had consisted of superior guitar playing, but in other people's mold. Here, Paco creates his own terrain, and that of many guitarists to follow. A gem, a jewel of a work where I cannot find a bad or overlooked moment.

After this, Paco comes out with extraordinary albums like "Solo Quiero Caminar" and many others, in which he explores his boundaries and does some of his best playing, but always in a jazzier context.

Then, he releases "Siroco": an album of so much purity, that it almost feels as if you are "there", listening to Paco play in an intimate setting. The first time I heard "Siroco" was in a very impersonal big department store in Córdoba. Tears streamed over my face during the opening song: I forgot totally where I was and let me be grabbed by this beautiful guitar playing. Well over a decade of listening to this album have not diminished its enchantment. This is to where the flamenco guitar had developed: the master first learned how to play traditionally, took an experimental and then jazzy approach, and now came back, enriched, to the roots to make a profound statement of what could be done within this traditional yet totally new idiom.

Other, younger players stood up and gave Paco a run for his money. We heard the records and concerts of people like Gerardo Nuñez, Cañizares, Tomatito, and of course Vicente Amigo, and these guitar players, who started with the level and musicianship of Paco as the leading example, and current trend, of course developed it further, and impressed us all. And, well, Paco surely was resting on his laurels. Wrong. Out comes "Luzia". It is as if Paco de Lucia wanted to set the record straight: who exactly is the master of flamenco guitar? This is an album by a mature player who is in total control of both his instrument and his idiom of choice. Gone is the youthful exploration of "Almoraima", and in comes a statement so profound and personal it is almost frightening. Paco sings (!) of how his friend and long-time collaborator, gypsy singer El Camaron, has been taken away from his side (Cameron died in 1992). There are two bulerias on this cd that are so flawlessly filled with new and exciting material it is frightening. A solea that has melodies straddling the traditional compas in a way that had never been done before and yet makes total sense; a siguiryias that builds like a classical composition.... All right, the Alegría seems a reworking of that on "Siroco" (but just as great), and the Tangos (with Duquende singing) sounds a little too easy-listening to me, but all-in-all this ranks in my world as the definitive Paco de Lucia-album.

To anyone who is in doubt whether to buy "Almoraima", "Siroco" or "Luzia", my honest advice is: skip dinner and buy all three.

This cd reminds me of the Paco of Almoraima and Siroco; deep, passionate and powerful flamenco guitar at its best. Ten stars.

This is a tribute album to his mother and he evidently was very inspired as this is an exceptional CD. Established as one of the true masters of flamenco he continues to impress wih his mastery and virtuosity. His style is even more elegant on this CD , as though he has nothing to prove, just another fine piece of music without ventures into jazz or other genres. The simplicity displayed of his tremendous technical skill is beautiful, inspiring and exhillirating. If you love pure falmenco with bulerias, soleas and rondenas, this is for you. This is one of his best releases and is essential and vital Paco de Lucia, the master Spanish flamenco guitarist. Pure unadulterated guitar bliss that takes you soaring to the Iberian Peninsula.

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!

Luzia is Paco's last recording of 1999, dedicated to his mother. This work is another expample of how the virtuoso guitarist has managed to take Flamenco beyond the typical Am, G, F, E scale (guitarist know what I mean) and very far from being a "one-sound" music style. The music in this album is more relaxed and does not aim to impress with speed and technical ability. In other words I feel that Paco does not need to prove any longer that he is one of the fastest players alive in any style. Since he has stablished this already in his previous works and concerts he has concentrated with great taste and sentiment in the composition of his music. He sounds much more mature than any of the previous albums. A great place to start listening to Paco if it is your first time or to complete your collection with probably one of his greates achievements. Since Paco de Lucia decided to compose his own music following the advise of one of his masters: Sabicas, he has allowed the Flamenco music to develop in three dimensions.

Luzia was Paco's mom, hence the title and the artistic name (Paco de Lucia) for those who didn't know that.

Paco de Lucia doesn't make bad CDs, he doesn't write bad music or give anything less than 200%. Paco's music and guitar playing are pure art, which together with Paco's oustanding professionalism, dedication and imagination make him by far the most oustanding component of the Flamenco guitar - not easy when considering the competition with the likes of Vicente Amigo, Enrique de Melchor, Rafael Riqueni, Manolo Sanlucar, et al.

This CD is a gem, no, better than a gem, because its as brilliant as a well cut diamond even with the lights-out.

regards,

martyn_jones@iniciativas.com

For those who know Paco, this is some of his best flamenco work ever. I also enjoy his work in the guitar trio with Al Dimeola and John McLaughlin. 1/3 of that is flamenco style (Paco). If you have heard them and enjoy that aspect of the group, than you will like this CD which not only exemplifies his virtuosity, but has some very well written tunes.

A triumph. A return to his flamenco puro roots, no doubt in homage to de Lucía's mother who watched over the first stirrings of that genius.

Truly a work of art, despoiled only by the overblown cover notes whose full grotesqueness can hardly be blamed in toto on incompetent translation. For sheer laughable pretension, poet and 'flamencologist' Félix Grande here rivals that arch clown Stanley Crouch, whose Pseuds Corner pomposity detracts from so many otherwise decent jazz albums. Keep the insert resolutely folded and heed only the sublime music.

I am a professional guitarist. This is hands down the BEST guitar album I have ever heard period.

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.