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').
For his latest recording directing Le Concert Spirituel, Hervé Niquet has revived Sémélé by Marin Marais – the final opera by one of the leading composers from the reign of Louis XIV. Known above all for his compositions for the viola da gamba, Marais the composer was at the same time the author of a number of tragédies lyriques which he wrote for the Académie royale de Musique. Even to this day it has only been Alcyone which has attracted the attention of music lovers and musicians. Yet Sémélé – first performed in 1709 – arrives now full of music to charm and seduce the listener: a sparkling prologue honouring Bacchus, a set of arias with a freshly-minted appeal, a marvellously inventive diabolical scene, divertissements rich in character; all this leading up to an earthquake scene memorably anticipating the later work of Rameau. For all lovers of glorious baroque music, here is now the opportunity to discover and enjoy a masterpiece which has lain in theshadows for the last three centuries.