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Paco de Lucía|Almoraima

Almoraima

Paco De Lucía

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Langue disponible : anglais

When Paco de Lucía made the groundbreaking Almoraima, he was just 28 years old. Already established as a prodigious talent, he used to opportunity to expand the possibilities of the flamenco music he loved so much. It wasn't so much the addition of bass and congas (he'd employed them before) as his entire rethinking of what constituted flamenco. The title cut, which opened the album, emphasized the Moorish influence, not only in the presence of the lute-like oud, but in its melody, which borrows from Arab maqams, or modes. "Rio Ancho" transports the rhumba rhythm to Brazil, melding it to a feel taken from bossa nova, which makes it all the more sinuous and sensual. More revolutionary is "Cobre," which virtually demolishes the flamenco form of sevillanas and rebuilds it in de Lucía's vision, giving it far more gravity. He never uses the record as a vehicle for his huge technical ability; instead, he focuses on serving the music, whether that's on the sad "Llanos de Real" or using a choir on "Perla de Cadiz" (which is dedicated to the singer of that name). This remains a landmark recording, not only in de Lucía's career, but in the annals of flamenco.

© Chris Nickson /TiVo

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Almoraima

Paco de Lucía

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1
Almoraima (Instrumental)
00:05:24

José Torregrosa, Recording Arranger, AssociatedPerformer - Francisco Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, Guitar, Lute, MainArtist, AssociatedPerformer - Ramón de Algeciras, Guitar, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

2
Cueva Del Gato (Instrumental)
00:05:42

José Torregrosa, Recording Arranger, AssociatedPerformer - Francisco Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, Guitar, MainArtist, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

3
El Cobre (Instrumental)
00:03:08

José Torregrosa, Recording Arranger, AssociatedPerformer - Francisco Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, MainArtist

℗ 1976 Universal Music Spain, S.L.

4
A La Perla De Cadiz (Instrumental)
00:04:25

José Torregrosa, Recording Arranger, AssociatedPerformer - Francisco Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, MainArtist - Ramón de Algeciras, Guitar, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

5
Ole (Instrumental)
00:04:17

Francisco Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, Guitar, Lute, MainArtist, AssociatedPerformer - Ramón de Algeciras, Guitar, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

6
Plaza Alta (Instrumental)
00:06:09

José Torregrosa, Recording Arranger, AssociatedPerformer - Paco de Lucia, MainArtist, ComposerLyricist - Ramón de Algeciras, Guitar, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

7
Rio Ancho (Instrumental)
00:04:27

Francisco Sanchez Gomez, ComposerLyricist - Jose Torregrosa Alcaraz, ComposerLyricist - Ramon Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, Guitar, MainArtist, AssociatedPerformer - Ramón de Algeciras, Guitar, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

8
Llanos Del Real (Instrumental)
00:03:37

Francisco Sanchez Gomez, ComposerLyricist - Paco de Lucia, Producer, Guitar, MainArtist, AssociatedPerformer

℗ 1976 Universal Music Spain, S.L.

Chronique

When Paco de Lucía made the groundbreaking Almoraima, he was just 28 years old. Already established as a prodigious talent, he used to opportunity to expand the possibilities of the flamenco music he loved so much. It wasn't so much the addition of bass and congas (he'd employed them before) as his entire rethinking of what constituted flamenco. The title cut, which opened the album, emphasized the Moorish influence, not only in the presence of the lute-like oud, but in its melody, which borrows from Arab maqams, or modes. "Rio Ancho" transports the rhumba rhythm to Brazil, melding it to a feel taken from bossa nova, which makes it all the more sinuous and sensual. More revolutionary is "Cobre," which virtually demolishes the flamenco form of sevillanas and rebuilds it in de Lucía's vision, giving it far more gravity. He never uses the record as a vehicle for his huge technical ability; instead, he focuses on serving the music, whether that's on the sad "Llanos de Real" or using a choir on "Perla de Cadiz" (which is dedicated to the singer of that name). This remains a landmark recording, not only in de Lucía's career, but in the annals of flamenco.

© Chris Nickson /TiVo

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