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Paris 1987 Import


Price: $12.99 & FREE Shipping on orders over $35. Details
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Audio CD, Import, November 29, 1999
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$12.99 & FREE Shipping on orders over $35. Details Only 1 left in stock (more on the way). Ships from and sold by Amazon.com. Gift-wrap available.

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Paris 1987 + Entre Dos Aguas
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Product Details

  • Audio CD (November 29, 1999)
  • Number of Discs: 1
  • Format: Import
  • Label: Universal I.S.
  • ASIN: B00003Q4IV
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Best Sellers Rank: #242,906 in Music (See Top 100 in Music)

1. Tus Ojillos Negros
2. Sonidos Negros
3. Panuelo A Rayas
4. Como El Agua
5. Yo Pienso Como El Cipres
6. Panuelo A Rayas 2
7. Mas Duro Que El Acero
8. Tirititando De Frio
9. Como El Agua

Editorial Reviews

CAMARON PARIS 1987 (CON TOMATITO)

Customer Reviews

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By Firestarter on July 28, 2013
Format: Audio CD Verified Purchase
I've had high hopes for this album, since Camaron's other albums I own were both authentic and exciting. In this case, the emotional accents in his singing do not sound authentic at all. They are there only because they are supposed to be expressed in flamenco singing. I'm sorry to say that, but the passion sounds fake to me. I gave this record 3 stars, but I would rather give it 2 and 1/2 stars, if it was possible.

Tomatito's guitar playing is on the average level, but nothing to inspire, either. In other vocal flamenco recordings the emotions and passion grab me by the throat and do not let go - until the end of the song. In this case, I simply couldn't wait for the end of the song.

I much prefer such recordings of Camaron's as 'Antología Inédita' or the early productions, like 'El Camarón De La Isla, Con La Colaboración Especial De Paco De Lucía (1969)".
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2 of 3 people found the following review helpful By Dr. Debra Jan Bibel TOP 500 REVIEWER on May 11, 2013
Format: Audio CD Verified Purchase
Among the discography of el Camarón de la Isla (José Monje Cruz), this is special because it is live, a concert in Paris among enthusiastic fans. The energy is readily apparent. Camarón is much beloved in Spain. As with any great interpretative vocalist, his phrasing, the emphatic inflections, the holding of notes, the advantageous stylistic embellishments demand and hold attention. His voice is strained, seemingly on the verge of sobbing. Passion. Each word becomes important. The album begins with the familiar Tus Ojillos Negros (Cristóbal de Castro's poem, which Manual de Falla popularized). The songs here are mainly tangos and bulerías (not the fast and festive dance but performed in the same tempo as a deliberate and serious seguriya). The guitarist, Tomatito (José Fernández Torres), matches Camarón's passion. His style is contemporary but for this concert without jazz influences. The sound quality is excellent and we can hear each guitar note, each vocal element distinctly. The CD (49 minutes) is enhanced with an additional 5-minute video clip against "Como el Agua" in which we discover the Camerón also plays second guitar with Tomatito and that there were dancers at the concert. Lyrics (in Spanish) are provided in notes.
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1 of 2 people found the following review helpful By New England Pat on June 15, 2010
Format: Audio CD
This wonderful live recording captures the essence of flamenco by two of the great artists of the past twenty years. Camaron is in fine form here and is partnered by the great Tomatito whose accompanying is simply outstanding. Camaron and Tomatito always add an extra dimension when they perform the pulsating and rhythmic bulerias, and their letras and dynamic phrasing in this toque are better than the interpretations of other notable flamenco artists. Each track on this CD is charged with an electricity that is transmitted to the adoring audience. The two artists always brought out the best in each other and their collaborations are treasured by aficionados the world over. The music on this disc captures the true ambience of flamenco that somehow seems lost in the preference today for empty virtuosity and style over substance.
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