Album released by Spanish guitarist Carlos Heredia as soloist. For many years he accompanied singing and dancing for many flamenco artists before recording this work with ten items of his own creation. Carlos is accompanied by Michael Kiaer (bass), Jason McGuire (drawer and guitar), vocals by Fermín Carmona and four members in chorus and clapping. Heredia is a guitarist who mixes classical and modern flamenco in line with current trends, giving power and emotion to his guitar.
Promotional album for the gypsy group Narvalo within a collection dedicated to universal ethnic music and flamenco here. 'Narvalo' is a gypsy band natural from the Camargue region of France. The name derives from the title of a book by Pierre Guy Greneuil -founder of the group, musician, songwriter and guitarist-. Narvalo's music thrives on Catalan and Andalusian flamenco music while making sounds and rhythms of ancient Hungarian melodies. Led by Jo Pucheu the group have shaped sound fuller and richer progressively adding to vocals and guitars of the gypsy duo formed by 'Negrita' and 'Boï' more vocal and instrumental components with rhythm sections, keyboards, flute and saxophone. The music on this CD sounds very close to Catalan rumba, which is nourished, and is true, rhythmic, lively and passionate. This CD was reissued again in 2005, under the revised title of 'A trip around the world. Spain. Gipsy flamenco ', this reissue becoming the name of the musical group 'The Gypsies'.
This three-disc set comes nicely packaged with a 48-page booklet. It provides an interesting introduction to the art, although it is heavily weighted toward the ultra-modern style. Indeed, some of the material isn't considered flamenco at all by its performers. The first CD focuses on individual singers, and includes a great soleá by La Niña de los Pelnes, a blazing bulerías by Terremoto, and tangos by Jose Menese and El Indio Gitano. But beyond that nod to tradition, the emphasis is on New Flamenco. There's a soleá by Camarón and a fandango by Duquende, who follows Camarón's approach. The remaining eight cuts – by Lole y Manuel, Susi, Diego Carrasco, and others – are hot off the press, figuratively or literally.
Christian Escoude combines elements of gypsy jazz, bop, and a contemporary flavor during these 1989 sessions that also include fellow guitarists Paul Challin Ferret, Jimmy Gourley, Frederic Sylvestre, accordion player Marcel Azzla, cellist Vincent Courtois, bassist Alby Cullaz, and either Billy Hart or Philippe Combelle on drums. The presence of so many players sometimes muddies the sound, especially when Azzla is too prominent in the mix. Several of the works were written by Escoude's late uncle, the popular accordion player/composer Gus Viseur, who had worked with Django Reinhardt and Stéphane Grappelli in the Quintet of the Hot Club of France, though the switch to electric guitars and addition of percussion indicates this is not your father's gypsy music.
After ten years of playing in the streets, at weddings, and in restaurants, the Gipsy Kings were swept away in a feast of commercial and critical success in the late '80s. By the late '90s, they had sold over 15 million albums worldwide and become one of the best-selling all-Spanish language acts in U.S. history. Their Greatest Hits collection, released in 1998, aptly reflects the time-perfected technique and soulful delivery that allowed them to transcend ethnic and age differences as few bands have. The introductory sequence of songs simply explodes out of the blocks. If consecutive hip-shakers "Djobi, Djoba," "Baila Me," "Bamboleo," "Pida Me La," "Bem, Bem, Maria," and "Volare" don't have you at least tapping your feet, someone ought to take your pulse…
As leaders of the flamenco music genre, the Gipsy Kings have thrilled audience's worldwide for over 16 years. Here, they are captured in a live performance at the legendary Kenwood House in London. At this majestic setting on the water in front of thousands of fans, the Gipsy Kings play some of their greatest hits, including 'Baila Me' and 'Volare'.
As leaders of the flamenco music genre, the Gipsy Kings have thrilled audience's worldwide for over 16 years. Here, they are captured in a live performance at the legendary Kenwood House in London…
I've heard about Javier Vargas for a few years now, and my first real introduction to him was a live CD that I was able to obtain a couple months back. Since then I've been able to locate several other CD's that's he's recorded over the last few years. "Gipsy Boogie" is a different CD from the previous one's that I've obtained. While most of the others were solidly into Texas style blues overall, this CD strays in style to a more latin flavored blues. Think Texas blues mixed with Carlos Santana style latin sounds along with a strong dose of Spanish classical and flamenco music. This CD over the others that I've obtained shows Javier Vargas at his most diverse musical styles.
The Gipsy Kings had major crossover success with their splendid and innovative third album, which used drums, bass, percussion, and synthesizer to beef up the sound. This French import is their first album from 1983, and it is a much more traditional affair, with only acoustic guitars, voices, and hand claps. It shows that artistically the sound did not need to be beefed up; the music is still wonderful. How can an array of seven guitars and full-throated passion not be wonderful? Commercially, the additions to their sound helped break The Gipsy Kings through to a larger audience, but now that their name is known, it should be possible for more people to go back and appreciate this album. It is in no way crude or unpolished, and the artistry and playing are of an equally high quality.