paco de lucia almoraima bulerias uk live tv performance high quality hq. VIEW ON YOUTUBE. To our Riffstation community, While we work with labels and. Almoraima. Bulerias. Paco de Lucia (). Almoraima. 1/ = Standard tuning. 1. G. G. G. Capo. fret 2. 0. 2. 2. 0. 2. 2. 2. N-Gt. 6. 5. 2. 2. 0. 2. 2. 2. 5. 2. 2. 0 . Paco de Lucia – Almoraima Bulerias – Tutorial 1. Watch later. Share. Info. Shopping. Tap to unmute. If playback doesn’t begin shortly, try restarting your device.
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Foro Flamenco – Flamenco Forum: Paco’s the master of Buleria right? Made me wonder, which Buleria do I think is best? Paco ain’t too shabby either though. I really like Paco’s older bulerias. Ah the heck with it, I love them all!
Hi Jim, Don’t know if Paco is the “master” of Bulerias. There are many great Bulerias out there The composition is outstanding in elegance and the technique just breathtaking.
As Paco moved on and started adding more instruments, I started to find his stuff becoming a bit cluttered But when Paco wants to play truly “solo” guitar, the guy is just stunning to watch and listen to. I would say that Almoraima was the first true “composition”Buleria by Paco. The other earlier ones are realy great but more like”random” falsetas strung togheter if you know what i mean?.
Do you know what im getting at here? D] Have any of you thought of it?
Almoraima is my favorite. And personally, I would rather hear Paco’s bulerias than Tomatito, although I love Tomatito very much too. I think we see what’s going on here. Almoraima has a clear intro-middle section-break-ending etc.
Every track on it comes from an integrated vision of a new style of playing To me, that is the keystone album which generated “modern” flamenco guitar.
TOMatito That’s funny Miguel [: The guy is all gitano man. That’s definitely arguable though with probably no winner. I was too lazy to write about El Tempul. But i belive theres a before Almoraima Paco and an after almoraima Paco. The more musicians you bring the more arranged the music has to be.
If you listen to Almoraima ALL pieces are more arranged then they seem to have been before. D] I just was wondering, since I know you are a studied musician and jazz guitarist, and a fine flamenco player so obviously I considered you’re point of view almoraimma. I can see what you are saying though. Maybe it’s a generational thing? Paco was actually afraid of his style of playing, extremely flamenco. His performance of Impetu by Mario Escudero is incredible too.
Tomatito has an extremely mean Bulerias. I’m sorry but I can’t go without recognizing Moraito and Paco Cepero. Remember, the Bulerias is from Jerez and one doesn’t get much more flamenco than buleriaa two gentlemen. I think Gerardos is more “clean” but lacks Pacos “gitano” atmosphere. Im not saying the Gerardos not good juts that i prefer Pacos due to the feeling i find in there. What do u think? I be honest with you, when I heard Gerardo’s version of Impetu I want to start crying.
I think he lacked everything Impetu is supposed to be. The thing that really gets me is that he is completely capable of doing it. I don’t know what happened. I was let down. He’s almoraimq a great guitarist but I don’t like what he did with Impetu. Paco did it justice. I prefer his version over Gerardo’s anyday of the week. I heard that guy could play, that his technique was just as developed as Paco’s, but that he went crazy and can now be seen on the streets of Huelva.
I wondered if perhaps he developed at the same time as Paco, but Brook Zern, who is an expert almoraimz flamenco recordings amoung other things, informed me that Miguel’s album was released later than Paco, which meant that Nino could have copped his whole gig from Paco. Nino’s stuff is so similar that he had to have basically rewritten much of Paco’s early material, however, there are other things, such as Nino’s sevillanas, some of his bulerias, some of his solea, that are totaly original and truly great.
His technique is not as strong as Paco’s, IMO, and I don’t see how Paco could ever have been “afraid”, except for the fact that Nino is gipsy, which in certain cirlces elevated him above Paco as a flamenco. About Paco “being afraid” I think all players A. After Paco have drank from that fountain. I would have to apmoraima Always nice chatting with you guys.
Un saludo, Errol P. It is a release of most of the tracks on both of his original recordings. There is also a book of transcriptions that Alain Faucher has put out.
If you bulrrias direct from Alain Faucher, he can provide you a tape of the records for a fee. The links are found below. Tomatito’s Tangos in “Cameron, Paris ” is also awesome. In fact, he is probably my favourite guitarist at the moment.
Almoraima de Paco de Lucia
It’s that old hollow-dry sounding Faustino Conde that he’s playing on that Paris album that really gets me into his sound. Just the coolest sounding guitar. A friend of mine has one of the same vintage approximately. It just grabs you. Tomatito has this great swing to his playing that he injects everywhere and the tone he gets from that guitar is just right for his style. I like Paco and appreciate the magnitude of his skill and contributions, but he’s not my favorite to listen to.
The kinds of sounds like the Carmona’s HabichuelasMoraos and Parillas create appeal to me more. Tomatito’s sound is sometimes similar to PdL’s obviously but he has this bhlerias he puts on it that seems more???
It’s hard to pinpoint. I’m not making any sense, I’ll stop now. Tomatito’s alzapua is like a machine gun not that I’ve heard a real one live, so to speak but ‘ye ken wit a’ mean? Ras are absolutely thunderous. I think Paco’s tone is all about clarity. His attack, precision, and strength make for a percussive or machine-like quality, almost like a snare drum instead of a guitar.
In my opinion his technique is transcendental in that it really stands alone in these matters, head and shoulders above everyone else.
That doesn’t mean that his tone is the most pleasing in its intrinsic qualities. I too, like Pepe Habichuela’s tone, so earthy, so human. But Paco is like a force of nature. I have the Cd you refer to and some of the cuts-one buleria in particular, one of the rumbas, the fandango, are direct re writes of Paco.
What separates him from other Paco imitators of the day was that Nino could actually play at that level, or very very close to it-I’m not sure how many guitarists almoraiima do that in Also, as I said, he has some really good original stuff.
Agree his playing is very flamenco. One thing on the Cd is very weak, and that is his improvising on one of the rumbas. I do agree that he has his own style, and was one of the great players in the 70’s. See my “Streaming Cameron Tonight” post at http: And the cause of Jim’s research was my 30th birthday bah humbug. I have an awful lot of almpraima picking out favourite’s or bests as everything has strengths or is saying something, depending on its context and depending on how little I know about that!!
Paco is gradually becoming fascinating to me, it has taken a while to begin to understand some of him and now I’m going to get stuck in Happy Birthday almiraima last Sunday[: Yeah I realize that. As I said, I appreciate his ability slmoraima the magnitude of his contributions.
ALMORAIMA TAB by Paco de Lucía @
Some of the techniques and arrangements he’s done over the years are so evolved and complicated that VERY few players can even approach the pieces. Say nothing of his ability to create all of this complication yet be unfailingly rooted in compas.
PdL is the measure by which all almorama are compared. All that said, I still like to listen to other players as a musical preference.
Thanks for the compilation CD jim it was my favourite present apart from the free swimming lesson