Calima

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.

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.

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.