Triana

Stuart Howard had the kind of alias, as well as a winking debut album title, Nostalchic, that could have had him mistaken for a lounge music revivalist indebted to Esquivel and Les Baxter. With Lustmore, the producer ratchets up the deception potential with kitschy artwork like that of '90s lounge revivalists Combustible Edison or Love Jones. There are no traces of lounge revival revivalism, however, within the grooves and atmospheres of Howard's second album for Flying Lotus' Brainfeeder label. Lustmore does make for slightly easier listening compared to Howard's previous output. Its melodies are relatively starry, and its contours are softer, crafted with the intent to make the listener feel as if she or he is lodged in a state between sleep and consciousness…

Raya Real is one of the most recognized Spanish chorus, heard in fairs and pilgrimages of Spain, playing popular flamenco, sevillanas and rumbas mainly, but also has ventured into some other flamenco issues and pop and Christmas music. This album contains 16 songs between sevillanas and rumbas, with hits of other recognized artists as 'Turu, Turai', 'Corazón partío' or 'Canasteros'.

Debussy and Messiaen regarded Iberia as THE piano masterpiece of the twentieth century: ‘One’s eyes close, as if dazzled from having gazed upon too many images’, wrote Debussy in 1905. For Nelson Goerner too, this suite in four books, which evokes Andalusia and the working-class districts of Madrid, is a work of major stature: ‘I am of Argentinian origin, this music touches me, it is like an arrow that pierces me… From the sublime incantation that is Jerez , an invocation of the mysteries of night, to Lavapiès , famous for the pianistic difficulties posed by its polyphonic convolutions and hand-crossings, Albéniz’s music exudes a panache and a joie de vivre that, in my view, make it a milestone of supreme importance.’

The singing and dancing sevillanas (popular flamenco) are basic ingredients of the great pilgrimage of El Rocio in Spain. This compilation album featuring a selection of eleven sevillanas rociero topic chosen among the 80 heard. Appear very prominent groups like 'Los Romeros de La Puebla', 'Los Marismeños' or Amigos de Gines' and unique voices like 'El Pali'.

A superstitious, illiterate young gypsy servant girl comes to live with a solitary female artist at her country chateau. The girl has recurring nightmares of a naked man on horseback assaulting and abusing her. As the artist takes the girl under her wing, an sensuous relationship develops between them. At the same time, the naked horseman begins to appear in reality. The girl, convinced that he represents her doom, resists him; but the artist is intrigued and a bizarre erotic triangle is established.

In 1959, a family friend went to the home of Paco de Lucía and Pepe de Lucía where he made several recordings with a Grundig TK46 tape recorder. This tape disappeared in 1967 and, after a long search process, was rediscovered in 2022, when a restoration process started using AI tools. The historical value of this recording is incalculable and it gathers in 21 pieces an anthology of flamenco where most of its variants are represented (tangos, soleá, seguiriyas, bulerías…). It is, in short, the definitive recording to illustrate the transition from classical flamenco to modern flamenco as we know it today.

Paco de Lucia - Concierto de Aranjuez & Iberia (1991) {2010 Nueva Integral Box Set CD 22 of 27}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 164 Mb | MP3 @320 -> 91 Mb
Full Artwork @ 600 dpi (jpg) -> 22 Mb | 5% repair rar
© 1991, 2010 Philips / Universal Music Spain | 510 301-2
Jazz / Flamenco / International Jazz / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Spanish classical music had always aroused profound interest in Paco de Lucía. First came the album Lorca (1967), the records of Andalusian and Iberoamerican classics (65-69), afterwards came his magnificent work with Falla (1968) and from 1991 we must add this Concierto de Aranjuez and three pieces from the ‘Suite Iberia’ by Albeniz. His pledge here is clear: to offer out of the most profound respect a new perspective on the Classical Spanish canon, in Flamenco.