Guitarist, composer and modern-day troubadour Moro was born in Bodega Bay, CA; there he began playing music at age six, writing his first song that same year. By 12, Moro was performing professionally; he eventually spent some 14 years travelling the earth like the minstrels of yore, appearing in front of kings and queens from the far-flung... [+] Read More

Guitarist, composer and modern-day troubadour Moro was born in Bodega Bay, CA; there he began playing music at age six, writing his first song that same year. By 12, Moro was performing professionally; he eventually spent some 14 years travelling the earth like the minstrels of yore, appearing in front of kings and queens from the far-flung corners of the globe. He even was the first act to perform for the American troops stationed in Vietnam. The author of the compositions "Vermouth Rondo" and "Hosanna Blue," Moro recorded over 60 albums during his lengthy career. ~ Jason Ankeny, All Music Guide [-] Hide

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The role of the flamenco guitar has evolved through the playing of Paco de Lucia (born Francisco Sanchez Gomez). The son of flamenco guitarist Antonio Sanchez and the brother of a flamenco guitarist, Ramon, and flamenco singer, Pepe, de Lucia has extended the former accompaniment-only tradition of flamenco guitar to include deeply personal... [+] Read More

The role of the flamenco guitar has evolved through the playing of Paco de Lucia (born Francisco Sanchez Gomez). The son of flamenco guitarist Antonio Sanchez and the brother of a flamenco guitarist, Ramon, and flamenco singer, Pepe, de Lucia has extended the former accompaniment-only tradition of flamenco guitar to include deeply personal melodic statements and modern instrumentation. His collaborations have included ten albums with late flamenco vocalist El Camaron de la Isla and work with American pianist Chick Corea and the Guitar Trio, featuring guitarists John McLaughlin, Larry Coryell, and Al DiMeola. His recordings with his sextet, which includes his brothers Ramon and Pepe, include such groundbreaking masterpieces as La Fabulosa Guitarra de Paco de Lucia, Fantasia Flamenca, Fuente y Caudal, Almoraima, and Zyryab. Yet, de Lucia has not completely forsaken traditional flamenco. His 1980 album, Interpreta a Manuel de Falla, paid homage to the classical composer and flamenco enthusiast, while his 1987 album, Siroco, marked a return to pure flamenco. "I have never lost the roots in my music," de Lucia said during a late-'90s interview, "because I would lose myself. What I have tried to do is have a hand holding onto tradition and the other scratching, digging in other places, trying to find new things I can bring into flamenco."

Born in Algeciras, a small city in southernmost Spain's Cadiz province, de Lucia was bred to be a world-class musician. He trained with his father and brother from the age of five. Mastering the art of flamenco guitar by his 11th birthday, he made his public performance debut on Radio Algeciras in 1958. A year later, he received a special award at the Festival Concurso International Flamenco de Jerez de la Frontera. Heralded as a child prodigy, de Lucia was invited to join the flamenco troupe led by dancer Jose Greco at the age of 16. He remained with the group for three years. A turning point in de Lucia's musical development came while on tour with Greco's troupe in North America. Meeting Sabicas, the first flamenco guitarist to tour the world, he was instructed to pursue his own style of playing. Although he remained tied to traditional flamenco on his first two solo albums -- La Fabulosa Guitarra de Paco de Lucia in 1967 and Fantasia Flamenca in 1969 -- and recorded ten albums accompanying flamenco vocalist de la Isla, de Lucia continued to seek a personal approach.

~ Craig Harris, All Music Guide [-] Hide

Flamenco guitarist Paco Peña has issued albums over the years on his own (such as 1978's Flamenco, 1988's Azahara, and 2000's Flamenco Guitar), in addition to collaborating with others, such as the Flamenco Dance Company with the Losadas (1999's Arte Y Pasion) and Eduardo Falu (1989's Encuentro). ~ Greg Prato, All Music Guide

Flamenco guitarist Paco Peña has issued albums over the years on his own (such as 1978's Flamenco, 1988's Azahara, and 2000's Flamenco Guitar), in addition to collaborating with others, such as the Flamenco Dance Company with the Losadas (1999's Arte Y Pasion) and Eduardo Falu (1989's Encuentro). ~ Greg Prato, All Music Guide [-] Hide

Combining elements of Latin and Middle Eastern music (Jorge Strunz is Costa Rican while Ardeshir is Iranian), this acoustic guitar duo's world-jazz fusion style offers an interesting blend of music. Interesting percussion and rhythms from traditional instruments, plus the occasional guest (like India's L. Subramaniam), adds to the blend. ~ All...

Combining elements of Latin and Middle Eastern music (Jorge Strunz is Costa Rican while Ardeshir is Iranian), this acoustic guitar duo's world-jazz fusion style offers an interesting blend of music. Interesting percussion and rhythms from traditional instruments, plus the occasional guest (like India's L. Subramaniam), adds to the blend. ~ All Music Guide, All Music Guide [-] Hide

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Philips repackaged three of Paco de Lucia's best albums from the '80s -- Solo Quiero Caminar, Siroco and Zyryab -- as a box set. While this won't interest fans who already own the material, it's not a bad way to acquire the albums if you don't own them. ~ Stephen Thomas Erlewine, All Music Guide

Philips repackaged three of Paco de Lucia's best albums from the '80s -- Solo Quiero Caminar, Siroco and Zyryab -- as a box set. While this won't interest fans who already own the material, it's not a bad way to acquire the albums if you don't own them. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Flamenco guitarist Gino D'Auri taps into the deeper undercurrents of flamenco, what they call "duende," on this fiery follow-up to his album Flamenco Mystico. Improvisation has always been a part of the flamenco tradition, and D'Auri extends this by inviting cellist David Darling to play on this album. On five tracks, the cello takes the place... [+] Read More

Flamenco guitarist Gino D'Auri taps into the deeper undercurrents of flamenco, what they call "duende," on this fiery follow-up to his album Flamenco Mystico. Improvisation has always been a part of the flamenco tradition, and D'Auri extends this by inviting cellist David Darling to play on this album. On five tracks, the cello takes the place of the singer, while on others, the cello adds bass drones, rhythms, or dramatic countermelodies. Darling often took the music to more romantic territories, more caressing than sizzling, more tender fingertips than pounding heels. D'Auri burns through the guitar work, but his playing is not reckless. He offers a sense of the other musicians, the space of the room, and the acoustic depths of his guitar. Palmas by Antionoi De Jerez added the perfect accompaniment, and I could swear I heard dancers' heels and the swish of long dresses. The percussive tango "Cadiz y Badajoz" swirls at breakneck, heart-pounding speed. The liner notes will help your appreciation of this music. Its gypsy origins are well-known, but much of the music was derived from the synagogual chants of the Sephardic Jews. The languid "Paternera" is one such piece; Darling provides a bowed drone, while the guitar embellishes a chant above it. Suddenly, the music snaps to a strong and sultry dance cadence. The original song tells the legend of a beautiful singer named La Paternera: very exotic and a troublemaker. "Paternera" is supposedly bad luck. Take your chances? ~ Carol Wright, All Music Guide [-] Hide