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. One of the least well-known of the extensive body of work recorded by the Algeciran, which contains some of the tracks that he would include months later on his 1981 record Solo Quiero Caminar with The Sextet. On two songs he counts on the participation of John McLaughlin and Larry Coryell, both of whom collaborated on a series of virtuoso trio performances, an idea promoted by Paco’s manager, Barry Marshall, towards the end of 1978 (Al di Meola soon took the place of Larry Coryell).
Castro Marín is the thirteenth studio album by the Spanish composer and guitarist Paco de Lucía. All songs were written by Paco de Lucía.
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').
This disc is another installment in the Naxos Barber series, conducted by Marin Alsop. It has some interesting, little-heard music: Die Natalie, variations on Christmas carols, and the Commando March. Both show Barber's versatility and Die Natalie contains some deft counterpoint as Barber creates some remarkable music on those themes. The Piano concerto is well played by the Royal Scottish National Orchestra and the soloist, Stephan Prutsman.
While Gil Shaham's interpretation of Barber's violin concerto may have been more soulful, or David Zinman's interpretation of his Music for a Scene From Shelley more dramatic, no one would say that James Buswell's interpretation of the concerto is anything less than heartfelt or that Marin Alsop's interpretation of the Shelley music is anything less than affecting.