An unique and very interesting musical project, probably the first musical encounter between flamenco and rock music! In those days Joe Beck was a respected composer and rock guitarist, he had played in symphonic orchestras and performed with the top names in rock and jazz (from Tim Hardin to Steve Gadd). After making the album Middle Eastern Rock with Oud player John Berberian, Joe's producer Harvey Cowen suggested Joe to do the same with flamenco and rock. He succeeded to recruit flamenco guitar legend Sabicas (1912-1990), thanks to Sabicas' brother Diego because he wanted Sabicas to scout the musical boundaries. Now Joe decided to assemble the best New York musicians: drummer Donald McDonald (in The Satyrs he had jammed with Frank Zappa, Ritchie Havens and Jimi Hendrix), 20 year old bass player Tony Levin (introduced to jazz and rock by Steve Gadd, later he joined Peter Gabriel his band and King Crimson…

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.

Francisco Gustavo Sánchez Gómez, known as Paco de Lucía, was a Spanish virtuoso flamenco guitarist, composer and producer. A leading proponent of the new flamenco style, he helped legitimize flamenco among the establishment in Spain, and was one of the first flamenco guitarists to cross over successfully into other genres of music such as classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía as "one of history's greatest guitarists". Castro Marín is the thirteenth studio album by the Spanish composer and guitarist Paco de Lucía. All songs were written by Paco de Lucía. The title was a tribute to his mother, a Portuguese woman from Castro Marim.

Francisco Gustavo Sánchez Gómez, known as Paco de Lucía, was a Spanish virtuoso flamenco guitarist, composer and producer. A leading proponent of the new flamenco style, he helped legitimize flamenco among the establishment in Spain, and was one of the first flamenco guitarists to cross over successfully into other genres of music such as classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía as "one of history's greatest guitarists". Entre dos aguas is the first compilation album by the Spanish guitarist and composer Paco de Lucía.

It's been two years since the Gipsy Kings' masterpiece Roots, an album where they kissed big, extravagant production, as well as big drums and keyboards, goodbye. Apparently old habits are hard to break. On the cover of 2007's Pasajero, the Kings look back to the natural thang. They are posed on a picnic table in the middle of some wild grass and trees, playing together, laughing, and singing. Covers can be deceiving, and this is one of them. Pasajero is a big return to glossy sound, extravagant production, big drums, dub bass, and electronic programming and percussion. There's no problem if you dig your Kings that way, of course. The group lays down impeccable nuevo flamenco fusion with all sorts of world traditions, such as reggae on "Pueblos," with a splashy horn section playing in fine dub-cum-mariachi style and a bubbling bassline over the drums.

Formed in France, but rooted in Spanish flamenco tradition, the Gipsy Kings began incorporating pop into their buoyant Latin sound in the late 1980s, eventually leading to massive international success. Released in 1991, ESTE MUNDO finds the ensemble offering up a potent set of acoustic guitar-driven tunes that are marked by percussive strumming, dexterous lead work, and the husky, emotive vocals of bandleader Nicholas Reyes. The core group of six-string players is bolstered on some songs by bass, horns, and/or drums, giving ESTE MUNDO a vibrant atmosphere, particularly on songs such as the surging "Baila Me" and the dreamy title track. Although much of the album is upbeat, the Gipsy Kings also ease into a few mellow instrumental numbers, including the gentle "Lagrimas" and the slightly funky "Ternuras." One of the most consistent and confident outings in the Gipsy Kings' catalogue, ESTE MUNDO is sure to please flamenco aficionados and many other world music fans.

After their internationally successful 1988 self-titled debut, few have followed the the Gypsy Kings' noteworthy fusion of their distinctive flamenco-inflected pop with other international influences. Love & Liberte, a 1994 Elektra Records release, is one of their few compilations of all-new material, one that demonstrates this growth perhaps more than any of their other projects. One of their more extravagant songs, "No Vivire" implements a prominent bassline and strong brass accents in the chorus. Equally pleasant but slightly less authentic, "Escucha Me" crosses their Spanish guitar sound with a full reggae ensemble. The album's zenith hits with two instrumental tracks, "Guitarra Negra" and "Love and Liberte." "Guitarra Negra" shows off castanets with bongos. Every few bars, the intensity seems to reach a peak, only to retreat and regroup for another charge. The title track evolves slowly, with a gradual guitar and bass crescendo highlighted by a series of sparse piano chords on selected downbeats for emphasis. Though not as energetic as their best work, Love and Liberte is still an easy album for a Gypsy Kings fan to appreciate.

Forceful and mystic, with a beauty and intensity that reminded him of his first hearings of Miles, Mingus, or Monk, Belgian bassist & composer Piet Verbist was pulled into his deep study of Flamenco culture several years ago through a grant from the Royal Conservatory of Antwerp. After a dozen immersive trips to Andalusia to study, perform, and develop a repertoire, Piet presented concerts in Belgium and Málaga with his joint Spanish/Belgian ensemble, recording this album live in Antwerp at the end of 2023. Featuring Carmelo Muriel on the Bansuriney (a Muriel-designed wooden flute), Carlos Cortés on percussion and flamenco guitar, and Juan Sainz on drums, with Belgians Tom Van Dyck on saxophones, and Verbist's son, Milan Verbist on piano, the Flamenco Jazz Summit paints a sonic portrait both exotic and popular at first sight, but the dual cultural melting-pot conceived traditions of jazz and flamenco actually combine to prove deep and inimitable.