RAPHAEL RABELLO — Todos Os Tons (1992) FLAC (tracks), lossless

 Important solo album by the late Brazilian virtuoso, dedicated to Tom Jobim's compositions, Todos Os Tons opens with a very uncommon rendition of the broadly familiar Jobim tune "Samba Do Avião" ("Plane Samba"). Abandoning the bossa nova beat, Rabelo embraces the flamenco tradition, very dear to him, and, joined by his guest Paco de Lucia, echoes the gitano expression in a Brazilian setting, in which Bahian berimbau interventions interact with overall samba backing by the percussion. "Samba de Uma Nota Só" ("One Note Samba") also gives up the bossa tradition and attacks with a heavily syncopated samba rhythm for Rabello's virtuosic soloing. Enigmatic "Passarim receives an elaborated transcription for violão trio. "Retrato Em Preto E Branco" ("Portrait in Black and White") is sensitively interpreted by Rabello in a dialogue with guest soloists Jacques Morelenbaum (cello) and Luiz Avelar (piano). "Modinha" is performed solo in ad-lib tempo. "Garota de Ipanema" ("Girl From Ipanema") has a more powerful samba rhythm approach in which the bass contributes for a contemporary feel, and the introduction/interlude brings a new way of listening to this classic. The sensitive "Anos Dourados" is romantically exposed by Rabello with the help of Luiz Avelar emulating a string orchestra always carefully avoiding the clichés. "Garoto," an energetic tribute in moderate tempo to the great violonista has Tom Jobim himself at the piano. "Pois É" surprises in a flamenco-based introduction renewed by guest alto Paulo Moura improvising over a bossa nova beat, soon replaced by a doleful violão. "Luíza" receives a romantic and longing solo violão treatment that includes a tremolo ending directly reminiscent of classic tradition. The album is an opportunity for catching classic bossa nova themes reread through the unconventional yet creative and always competent lenses of an exceptional Brazilian virtuoso, unfortunately so young deceased. Alvaro Neder 
Tracklist :
1 Samba Do Avião 5:20 
(Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Paulinho Braga (d), Dininho (b) Paco de Lucía (Violão Hermanos Conde) Marçalzinho (perc.)
2 Samba De Uma Nota Só 2:00 
(Antônio Carlos Jobim / Newton Mendonça)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Dininho (b), Mamão (d)
3 Passarim 4:41 
(Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Dininho (b), Mamão (d)
4 Retrato Em Branco E Preto 3:55 
(Chico Buarque / Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Luiz Avellar (p), Paulo Jobim (arr.) Jaques Morelenbaum (cello)
5 Mondinha 3:29 
Antônio Carlos Jobim / Vinícius de Moraes
Arranged By – Raphael Rabello (Violão Mario Passos 7 cordas 1986)
6 Garota De Ipanema 4:46 
Antônio Carlos Jobim / Vinícius de Moraes
Arranged By – Raphael Rabello (Violões Ramirez 1969/88) feat. Luizão Maia (b), Wilson das Neves (d)
7 Anos Dourados 3:56 
(Chico Buarque / Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Ramirez 1969) feat: Luiz Avellar (p), Dininho (b)
8 Garoto 2:34 
(Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violão Mario Passos 7 cordas 1991) feat: Wilson Das Neves (d), Leo Gandelman (s,s), Antônio Carlos Jobim (p), Paulo Jobim (arr.)
9      Pois É 6:41 
(Chico Buarque / Antônio Carlos Jobim)
Arranged By – Raphael Rabello (Violões Ramirez 1969/88) feat: Paulo Moura (a.s), Nico Assumpção (b)
10 Luiza 2:24
Antônio Carlos Jobim
Arranged By – Raphael Rabello (Violão Mario Passos 7 cordas 1991)  

PACO DE LUCÍA — Fuente Y Caudal (1973) Two Version | Vynil LP 24-96Hz + FLAC (tracks+.cue), lossless

La Fabulosa Guitarra de Paco de Lucia The role of the flamenco guitar evolved considerably through the playing of Paco de Lucia (born Francisco Sanchez Gomez). The son of flamenco guitarist Antonio Sanchez and the brother of a flamenco guitarist, Ramón de Algeciras, and flamenco singer, Pepe de Lucia, Paco de Lucia extended the former accompaniment-only tradition of flamenco guitar to include deeply personal melodic statements and modern instrumentation. His collaborations included ten albums with flamenco vocalist El Camaron de la Isla and work with American pianist Chick Corea and the Guitar Trio, featuring guitarists John McLaughlin, Larry Coryell, and Al DiMeola. His recordings with his sextet, which included his brothers Ramón and Pepe, include such groundbreaking masterpieces as La Fabulosa Guitarra de Paco de Lucia, Fantasia Flamenca, Fuente y Caudal, Almoraima, and Zyryab. Yet, de Lucia did not completely forsake traditional flamenco. His 1980 album, Interpreta a Manuel de Falla, paid homage to the classical composer and flamenco enthusiast, while his 1987 album, Siroco, marked a return to pure flamenco. "I have never lost the roots in my music," de Lucia said during a late-'90s interview, "because I would lose myself. What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places, trying to find new things I can bring into flamenco."
Born in Algeciras, a small city in southernmost Spain's Cadiz province, de Lucia was bred to be a world-class musician. He trained with his father and brother from the age of five. Mastering the art of flamenco guitar by his 11th birthday, he made his public performance debut on Radio Algeciras in 1958. A year later, he received a special award at the Festival Concurso International Flamenco de Jerez de la Frontera. Heralded as a child prodigy, de Lucia was invited to join the flamenco troupe led by dancer José Greco at the age of 16. He remained with the group for three years. A turning point in de Lucia's musical development came while on tour with Greco's troupe in North America. Meeting Sabicas, the first flamenco guitarist to tour the world, he was instructed to pursue his own style of playing. Although he remained tied to traditional flamenco on his first two solo albums -- La Fabulosa Guitarra de Paco de Lucia in 1967 and Fantasia Flamenca in 1969 -- and recorded ten albums accompanying flamenco vocalist de la Isla, de Lucia continued to seek a personal approach. The renowned guitarist died suddenly and unexpectedly of a heart attack in Mexico in February 2014; he was 66 years old. The city of Algeciras, de Lucia's birthplace, declared two days of official mourning. Craig Harris
Tracklist :
1 Entre Dos Aguas (Rumba) 6:03
Accompanied By – Ramón De Algeciras
2 Aires Choqueros (Fandangos De Huelva) 4:14
3 Reflejo De Luna (Granaína) 3:52
4 Solera (Bulerías por soleá) 3:46
5 Fuente Y Caudal (Taranta) 5:12
6 Cepa Andaluza (Bulería) 5:50
7 Los Pinares (Tangos) 3:37
Accompanied By – Ramón De Algeciras
8 Plaza De San Juan (Alegría) 3:10
Credits :
Composed By [Canciones Compuestas Por] – J. Torregrosa, Paco De Lucía

PACO DE LUCÍA — Interpreta a Manuel De Falla (1978) Two Version | APE + FLAC (image+.tracks+.cue), lossless

Manuel de Falla (1876-1946)
1    Danza De Los Vecinos    3:07
2    Danza Ritual Del Fuego 4:21
Backing Band [Colaboración Del Grupo] – Dolores
Guitar [2nd] – Ramón De Algeciras
3    Introductión Y Pantomima    2:58
4    El Paño Moruno 1:26
Written-By – Pepe De Lucia
5    Danza Del Molinero    3:03
6    Danza    3:23
7    Escena    1:14
8    Canción Del Fuego Fatuo 4:04
Backing Band [Colaboración Del Grupo] – Dolores
Guitar [2nd] – Ramón De Algeciras
9    Danza Del Terror    1:47
10    Danza De La Molinera    4:00
Credits :
Adapted By, Arranged By, Flamenco Guitar – Paco De Lucía

PACO DE LUCÍA — Castro Marín (1981) Three Version | Vynil LP 24-192Hz | RM | APE + FLAC (image+.tracks+.cue), lossless

Another flamenco guitar work by the master hands of Paco de Lucia. 'Castro Marin' is the name of his mother's Portuguese hometown, border with Spain and is a remembrance of her. After an American tour in late 1980 Paco recorded over three days in Tokyo this work. Recording really was a preparing his next disc 'Solo quiero caminar', made with the Sextet. The topics run both lead guitar format (five of them, in which Paco bends on another track) as a duet with acoustic guitar Larry Coryell ('Convite') or trio, featuring also John McLaughlin with a tweolve-string acoustic guitar ('Palenque').
Tracklist :
 1. Monasterio de Sal (Colombiana) 4:44
2. Gitanos Andaluces (Bulerías) 4:55
3. Castro Marín (Fandangos) 4:13
4. Herencia (Soleá) 5:36
5. Convite (Rumba) 5:08
Acoustic Guitar – Larry Coryell
6. Palenque 7:23
Acoustic Guitar – Larry Coryell
Acoustic Guitar, Twelve-String Guitar – John McLaughlin
7. Huida 4:00
Credits :
Written-By, Arranged By, Acoustic Guitar – Paco De Lucía

PACO DE LUCÍA — Siroco (1987) Two Version | APE + FLAC (image+.tracks+.cue), lossless

At times, flamenco phenomenon De Lucia has branched out into jazz, bossa nova, and Cuban mixes. Here, however, he plays essentially solo compositions based on pure flamenco, though with a virtuosity and reach that belong in a concert hall rather than in the traditional settings. John Storm Roberts
Tracklist :
1.    La Cañada (Tangos)    5:15
2.    Mi Niño Curro (Rondeña)    3:29
3.    La Barrosa (Alegrías)    4:36
4.    Caña De Azucar (Rumba)    4:19
5.    El Pañuelo (Bulerías)    5:28
6.    Callejón Del Muro (Minera)    3:55
7.    Casilda (Tanguillos)    3:46
8.    Gloria Al Niño Ricardo (Soléa)    5:07
Credits :
Composed By, Producer – Paco De Lucia
Guitar [2nd] – Jose Maria Bandera (tracks: 4), R. De Algeciras (tracks: 7)
Guitar, Percussion [Cajón] – Rubén Dantas (tracks: 1, 7)
Handclaps [Talegon Claps] – Pepe De Lucia (tracks: 4)
 Performer [Dancer] – Juan Rainrez (tracks: 3)

PACO DE LUCÍA — Entre Dos Aguas (1986) FLAC (tracks+.cue), lossless

Any and all of his albums have a great blend of traditional elements and virtuoso playing. Ron Wynn
Tracklist : 
1    Entre Dos Aguas (Rumba) 6:02
Written-By – J. Torregrossa, P. De Lucia
2    Zorongo Gitano 2:55
Written-By – Federico Garcia Lorca
3    Rio Ancho 4:29
Written-By – P. De Lucia, R. Sanchez
4    En La Caleta 3:23
Written-By – F. Sánchez, J. Torregrossa
5    Convite 5:05
Written-By – P. De Lucia
6    Monasterio De Sal 4:52
Written-By – P. De Lucia
7    Panaderos Flamencos 2:36
Written-By – P. De Lucia
8    Punta Umbria 3:23
Written-By – F. Sánchez, J. Torregrossa
9    Chanela 3:57
Written-By – P. De Lucia
10    La Niña De Puerta Oscura 2:59
Written-By – M. Lopez Quiroga
11    Castro Marin 4:12
Written-By – P. De Lucia
12    Gua'Iras De Lucía 3:21
Written-By – F. Sánchez, P. De Lucia
13    Mantilla De Feria 3:17
Written-By – P. De Lucia
14    El Vito 2:51
Written-By – Federico Garcia Lorca
Credits :
Acoustic Guitar – Larry Corryell (tracks: 5)
Guitar [2nd] – Ramón De Algeciras (tracks: 1, 3, 6, 9, 10, 14), Ricardo Modrego (tracks: 2)
Guitar [Flamenco] – Paco De Lucía

PACO DE LUCÍA — Cositas Buenas (2004) Two Version | FLAC (image+.tracks+.cue), lossless

On his first outing in five years, and the first of the new century, flamenco guitarist Paco De Lucia has given us one of the most sublime recordings in his long career. This collection of "Good Little Things" (Cositas Buenas) is a step away from Nuevo flamenco, and back to the grain of the source music itself. It is a record full of handclapped rhythms, organic spare percussion, and burning, passionate songwriting and singing. The various singers -- including Paco himself -- wail, chant, moan, and ecstatically intone his new songs to the sheer rough-hewn grace of his playing. Most tracks are done in the canonical style of guitar, and voice with handclap accompaniment, but there are two -- the smoking, burning black soul of "El Dengue" and "Que Venga el Alba," on which he is accompanied by another guitarist. On the album's final cut, "Cassa Bernardo," a rumba, Jerry Gonzalez adds his mariachi trumpet to the proceedings. Cositas Buenas is an album that careens across the history of flamenco. While rooted in antiquity, it nonetheless points the way to a new music, one that extrapolates rhythm and harmony and adds syncopation, texture, depth, and multi-layered harmonics to the original framework. It is transcendentally beautiful if overwhelming in its passion and the sheer joy of performance. Indeed, Cositas Buenas sets a new standard for modern flamenco music and acts as the true bridge between the ancient and the future. No one but a master who cares nothing for his laurels could have articulated such a work. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1. Patio Custodio (Bulería) 4:44
Vocals [Cante] – Montse Cortés
2. Cositas Buenas (Tangos) 4:23
Vocals [Cante] – Tana
3. Antonia (Bulería Por Soleá) 6:28
Vocals [Cante] – Paco
4. El Dengue (Rumba) 4:03
Guitar – Juan D'Anyelica, Paco De Lucía
5. Volar (Bulería) 5:30
Vocals [Cante] – Potito, Tana, Paco
6. El Tesorillo (Tientos) 4:39
Vocals [Cante] – Diego El Cigala
Vocals [Voz Mujer] – Ángela Bautista
7. Que Venga El Alba (Bulería) 4:11
Guitar – Paco De Lucía, Tomatito
Vocals [Cante] – Camarón De La Isla
8. Casa Bernardo (Rumba) 4:12
Bass – Alain Pérez
Tres – Alejandro Sanz
Trumpet – Jerry Gonzáles
Credits :
Guitar, Laúd, Bouzouki, Mandolin, Producer – Paco De Lucía
Handclaps [Palmas], Coro – Antonio El Negro, Potito, Guadiana, Tana, Montse Cortés, Paco, Ángela Bautista
Percussion – Piraña

JOHN McLAUGHLIN | PACO DE LUCÍA | LARRY CORYELL : Meeting of the Spirits (1981) VIDEO (ISO)

 In 1979 and 1980 three world renowned guitarists, recognised as the finest exponents of their individual styles, John McLaughlin, Larry Coryell and Paco De Lucia formed a guitar super-trio and toured Europe. The spell-binding quality of the music that the collaboration created as na ensemble and the dazzling audience reaction to the performances has never been surpassed and has rightfully passed into jazz folklore.

AL DI MEOLA — Electric Rendezvous (1982) APE (image+.cue), lossless

Al di Meola's fifth of seven fusion albums as a leader for Columbia is a typically fiery effort, with di Meola joined by keyboardist Jan Hammer, electric bassist Anthony Jackson, drummer Steve Gadd, percussionist Mingo Lewis, and guest spots for flamenco guitarist Paco de Lucía ("Passion, Grace & Fire") and keyboardist Philippe Saisse. This lesser-known effort is easily recommended to fans of rock-ish jazz guitar. Scott Yanow
Tracklist  :
1 God Bird Change 3:57
Composed By – Mingo Lewis
2 Electric Rendezvous 7:55
Composed By – Al Di Meola
3 Passion, Grace & Fire 5:40
Composed By – Al Di Meola
4 Cruisin' 4:19
Composed By – Jan Hammer
5 Black Cat Shuffle 3:06
Composed By – Philippe Saisse
6 Ritmo De La Noche 4:21
Composed By – Al Di Meola
7 Somalia 1:40
Composed By – Al Di Meola
8 Jewel Inside A Dream 4:06
Composed By – Al Di Meola
Credits
Bass – Anthony Jackson (tracks: 1, 2, 4 to 8)
Drums – Steve Gadd (tracks: 1, 2, 4 to 8)
Guitar – Al Di Meola, Paco De Lucia (tracks: 3)
Keyboards – Jan Hammer (tracks: 1, 2, 4, 6 to 8), P. Saisse (tracks: 5)
Percussion – Mingo Lewis (tracks: 1, 2, 4 to 8)

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS ft. PACO DE LUCÍA - Vitoria Suite (2010) 2CD | FLAC (tracks+.cue), lossless

Tracklist 1 :
1     Gran Doce [Big 12] 8'33
Wynton Marsalis
2     Suave En La Noche [Smooth in the Night] 5'06
Wynton Marsalis
3     Jason Y Jasone [Jason and Jasone] 7'27
Wynton Marsalis
4     Bulería El Portalón 8'38
Wynton Marsalis
5     La Lamada De La Sangre [Blood Cry] 5'33
Wynton Marsalis
6     La Decisión De Iñaki [Iñaki's Decision] 11'15
Wynton Marsalis
Tracklist 2 :
1    El Árbol De La Libertad - Askatasunaren Zuhaitza [The Tree of Freedom] 10'31
Wynton Marsalis
2     Profundo Lamento (Desde La Espuma) [Deep Blue (From the Foam)] 10'39
Wynton Marsalis
3     Esta Tierra Y El Mar [This Land and the Ocean] 8'06
Wynton Marsalis
4     Fiesta En La Calle Dato [Dato Street Fiesta] 7'28
Wynton Marsalis
5     Canción Vasca - Euskal Abestia [Basque Song] 4'42
Wynton Marsalis
6     Mendizorrotza Swing 6'35
Wynton Marsalis
Credits
Jazz at Lincoln Center Orchestra with Wynton Marsalis:
Alto Saxophone – Sherman Irby
Alto Saxophone, Soprano Saxophone, Clarinet – Ted Nash
Baritone Saxophone, Soprano Saxophone, Bass Clarinet – Joe Temperley
Bass – Carlos Henriquez
Drums – Ali Jackson
Tenor Saxophone, Soprano Saxophone, Clarinet – Walter Blanding
Tenor Saxophone, Soprano Saxophone, Clarinet, Bass Clarinet – Victor Goines
Trumpet – Marcus Printup, Ryan Kisor, Sean Jones
Trumpet, Music Director – Wynton Marsalis
Piano – Dan Nimmer
Trombone – Chris Crenshaw, Elliot Mason, Vincent Gardner

Special Guests
Guitar – Paco De Lucía
Handclaps – Blas Córdoba, Tomasito
Piano – Chano Domínguez

AL DI MEOLA / JOHN MCLAUGHLIN / PACO DE LUCÍA - Friday Night in San Francisco (1981) FLAC (image+.cue), lossless

Loose and spontaneous, this (mainly) live album is a meeting of three of the greatest guitarists in the world for an acoustic summit the likes of which the guitar-playing community rarely sees. Broken up into three duo and two trio performances, Friday Night in San Francisco catches all three players at the peaks of their quite formidable powers. The first track features Al di Meola and Paco de Lucía teaming up for a medley of di Meola's "Mediterranean Sundance" (first recorded by the duo on di Meola's classic 1976 album Elegant Gypsy) and de Lucía's own "Rio Ancho." It is a delightful performance, full of the fire and inhuman chops that one expects from two players of this caliber. However, the two guitarists obviously have big ears, and they complement each other's solos with percussive, driving rhythm parts. There is a laid-back, humorous element to Friday Night in San Francisco as well, best witnessed in di Meola and John McLaughlin's performance of Chick Corea's "Short Tales of the Black Forest." Rapid-fire licks from the pair soon give way to atonal striking of the body of the guitar, running picks along the strings, etc. Before the farce is completed, they have played a blues and quoted the Pink Panther theme. It is funny stuff, and it serves to dispel the image of the trio, especially di Meola, as super-serious clinicians more concerned with technique than music. The other great piece of evidence against such a narrow-minded claim can be found in both the quality of the compositions featured on Friday Night in San Francisco as well as the sensitivity and dynamic variation brought to the performances. A perfect example of this is the sole studio track, a McLaughlin composition entitled "Guardian Angel" (the opening theme of which is taken straight from "Guardian Angels," a song that appears on McLaughlin's 1978 Electric Dreams album). It is a fine piece, and one that features a haunting melody as well as some of the best solos on the record. All in all, Friday Night in San Francisco is a fantastic album and one of the best entries in all of these guitarists' fine discographies. by Daniel Gioffre 

JOHN MCLAUGHLIN | AL DI MEOLA | PACO DE LUCÍA – Passion, Grace & Fire (1983) FLAC (image+.cue), lossless

Two years after they recorded Friday Night in San Francisco, John McLaughlin, Al di Meola and Paco de Lucía reunited for another set of acoustic guitar trios, Passion, Grace and Fire, If this can be considered a guitar "battle" (some of the playing is ferocious and these speed demons do not let up too often), then the result is a three-way tie. This guitar summit lives up to its title. Scott Yanow
Tracklist :
1. Aspan

2. Orient Blue Suite

3. Chiquito

4. Sichia

5. David

6. Passion, Grace & Fire

Credits :

Acoustic Guitar [Ovation 6-string Acoustic Guitar - Steel Strung] – Al Di Meola

Guitar [Spanish Flamenco Guitar, Built In Spain - Gut Strung] – Paco De Lucia

Guitar [Yamaha Classical Flamenco-type Guitar - Gut Strung] – John McLaughlin

PACO DE LUCÍA / AL DI MEOLA / JOHN MCLAUGHLIN - The Guitar Trio (1996) FLAC (image+.cue), lossless

The acoustic guitar trio of John McLaughlin, Al DiMeola, and Paco DeLucia can always be relied upon to create quiet but fiery music. The three virtuosos always sound restrained and tasteful (yet inwardly explosive) when they play together. This 1996 effort has three originals apiece from McLaughlin and DiMeola, two by DeLucia and a beautiful McLaughlin-DiMeola duet on "Manha de Carnaval" that makes one wish they would more fully explore bossa nova. Most of the selections are thoughtful, but there are also plenty of explosive outbursts for contrast (along with the jubilant closer "Cardeosa") on the highly arranged yet spontaneous-sounding program. by Scott Yanow