Customer Reviews

Siroco

5 star:		(13)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

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.

Siroco is a must buy for any de Lucia fan and definitely, any flamenco fan. De Lucia takes traditional flamenco to another level in this CD. His genius is respecting the compas of each flamenco rhythm on this CD while embellishing it with a more "contemporary sound." Well worth it at any price. Ele!

This album made me want to throw my guitars into the fireplace (and I'm not kidding). La Barrossa has to be the finest guitar piece I've ever heard. The word "genius" is often misused on those who really are not. Well...flamenco guitarist Paco de Lucia really is. Aside from his rediculously flawless technique, his musical ideas, especially considering the times, are incredibly rich, complex, and just brilliant. Granted, some of Paco's music goes right over my head, and can take a lifetime to disect. This is not music for "flamenco purists." When anything in life runs its course, the universe has a way of shaking it up it (sometimes violently) to keep it in line with its ultimate destiny, neverending growth. Paco de Lucia is that shakeup, and has given us a lifetime of inspiration.

My only quip with this album is the production style. It's in the typical style of most modern flamenco records, drowning everything in reverb. Just my personal preference, I'd prefer a bit more warmth and upfront presence.

I would also highly suggest his Luzia (1998) and Live in America (1993).

I'm very new to flamenco guitar playing but I have to say (with this being my second Paco album) I like "Siroco" just a tad bit better than "Almoraima". Both are very excellent albums!! I'm a huge music fan and even though I don't know a whole lot about the flamenco history I know good music when I hear it and this album is it!

In my opinion, this is the best of Paco's albums. Paco shows how to update the traditional forms without losing any of the discipline. It's beautifully sparse, inventive, aggressive. Bass and other instruments are kept to a minimum. And Paco's playing is superlative. This is the album that has set the standard for flamenco guitar.

Paco De lucia is the best guitarest ever in his generation and this album is excellent..u will like it more each time u listen to it...all titles are very good but Gloria Al Nino Ricardo is a ten star rating, one of the best Solea played by Paco de Lucia...infact this album is one of the best albums of Paco...

I felt as if Paco was playing each of these 8 pieces in person. I am happy to say that I have at long last found the immediacy and fire of the old flamenco!

Paco admitted himself many times that this is probably his best recording - sounds still fresh and innovative.Power and compassion ... incredible! At the same time strongly within flamenco idiom - compas and aire as it should be.

If you like classic guitar music you will love this one. Paco de Lucia is a master with his guitar, really you will enjoy as much as I did.

This is just a beautiful album from one of the finest musicians I have ever heard. The coupling of such sensitivity and technical finesse make this an album one I can listen to time and time again, year after year, and never tire of it.