Cuban Music

Dizzy was able to explore and synthesize various styles and in this case Afro-Cuban modes of music.
The famous Manteca,Night In Tunisia,Caravan are all here in their glory and the wonderful percussion and horn work throughout makes this a lively affair worthy of the colorful artwork and somehow certainly was far ahead of it's time when it was put out.
When listening to "new" rock bands such as Santana,War you can hear the influence Dizzy had on these players.
Digipak authentic classic Verve remaster.
Sound booms a bit but is more than fine for it's day and era.

and this awesome piece of music is why. Not only is it Dizzy's finest hour, it is some of the wildest music him and his great band ever played. The wild Cuban beats combined with Dizzy's wild playing make for a very memorable listening experience. Dizzy Gillespie was the greatest trumpeter who ever lived and is just about tied for that title with Miles Davis. Listen to this masterpiece and you might just agree with me.

This cd is a great moment in jazz history. The arrangements are perfect; the performances from this large ensemble are tight. A musical unit at the height of its ability playing a unique set of numbers. Dizzy's solos are unbelievable. Manteca and Caravan especially are powerful performances. One may have qualms with the version of "Night in Tunisia," as it uses flute as one of the lead instruments, but it's an interesting variation-- though you haven't heard it till you've heard Bird and Diz do it on sax and trumpet. The numbers are highly percussive, with an array of African drums going. It's intense, innovative and I've never heard another cd like it.

To many, Dizzy Gillespie's collaboration with Chano Pozo spearheaded the development of Afro Cuban Jazz (or Cubop). Although Chano Pozo's life was brutally cut short in 1948 - 6 years before Afro was released, his influence throughout the album is undeniable. Manteca Theme, Contraste and Jungla are all based on the bass line of Manteca; a track originally composed by Gillespie and Pozo. "Manteca" means "lard" or "grease" in Spanish. It was also a slang word used by Cubans in the 1940s to describe "marijuana". The great Cuban percussionist was once quoted to have said to the equally legendary American trumpeter: "Me no speak English, you no speak Spanish, but we speak African". The album title couldn't have been more appropriate!!!

It's about 1:30 AM as I listen to a copy of Dizzy Gillespie's "Afro" that came in the mail today. The CD itself is a digitally remastered 24-bit limited edition release. I don't even really have a system nice enough to really take advantage of the sound. Still, my mind is almost meltin' outta my ears as I listen to this mindblowing marriage of "Afro-Cuban Vs. Afro-American" jazz.

I would say that it's like nothing I've ever heard...but that wouldn't be accurate. I grew up listenin' to jazz and so-called "latin" music as much as R&B and hip hop. It would prolly be more accurate to say that it's like nothing I've heard in years. And, in fact, I'm almost dumbfounded that I've never heard this album until now.

Dizzy Gillespie has always been one of my favorite jazz musicians, second only to Miles Davis--and it's an extremely close second. Dizzy's "A Night in Tunisia" (he's recorded several versions, right?), has been one of my favorite numbers since I was a kid. Tonight, for example, I'm now well into the 19th or 20th replay of the 1954 version on this album--and there's still two more tracks on the CD to go!

For years I've played the "if you had to be stuck on a desert island with ten albums, which ones would they be?" game with friends and acquaintances. I'm not even gonna torture myself over exactly who it's gonna be...but Dizzy Gillespie just replaced someone on that list tonight.

I love this album and am really upset that I seem to have lost it. I want to buy a new one. I hope that it is re-issued because I very much miss listening to it.

THIS IS AVAILABLE IN THE DIZZY GILLESPIE SMALL GROUP SESSIONS BOXED SET. THE SESSIONS WITH ROLLINS AND STITT ARE NOT INCLUDED. DIZZY GILLESPIE-THE COPENHAGEN CONCERT IS WITH THE GROUP WITH LEO WRIGHT. "AN ELECTRFYING EVENING WITH DIZZY GILLESPIE" IS BOTH IN THE BOX SET AND AVAILABLE INDIVIDUALLY" PARIS JAZZ CONCERT 1960" IS NOT IN THE BOX SET. BOTH FEATURE THE ALTO SAX AND FLUTE OF LEO WRIGHT.

I have this recording on LP and for years used it as my reference. Now it is remastered for CD in a way to capture all the greatness of the orginal recording. If you love Diz you have to have this.

Oh joy!! After all these years this fabulous recording is finally available on CD, and I just got my copy in the mail. I bought the LP when it first came out and was blown away by the amazing festival atmosphere created by this collection of fine musicians. Apart from Dizzy's genius, it just sounds as though they're all having such a great time on the Riviera. I somehow lost the LP in my travels in the '80's and so I want to say thank you for such a great re-mastering, and also for including all of the original art work. Signed: 'A very happy old jazz fan'

This magnificant live performance from Jan Les Pins in 1962 has finally been released on CD!!. It was always one of Gillespie's best---along with another live recording by the same group (Leo Wright, alto and flute, Lalo Schiffran, piano and most significantly, arranger, Chris White, and Rudy Collins) called "An Electrifying Evening With the Dizzy Gillespie Quintet" on Verve (which was, and hopefully still is, available on a Verve CD reissue). I believe these are the only two recordings of this fabulous group, and both are essential. Gillespie was at his best, Leo Wright is simply on fire on alto, and the kicker is the amazing piano and arranging of Schiffran. This CD conveys the wonderful seaside atmosphere of Juan Les Pins, and the addition of a percussionist and a guitarist add to the authentic flavor of the occasion. Snatch this one up, as well as the other live recording CD by this short-lived group.

Hermosisimo, emocionante - me encanta el junte entre Bebo (Cuba) y Cigala (Espana) Es para reirse y llorar a la misma vez y simplemente sentarse a escuchar tanta musica excelente y bien interpretada. Felicidades a Bebo y Cigala por este gran acierto y gracias por hacerlo. Hubiera sido bien triste que algo asi no se hiciera una realidad.

This is an incredible DVD, to see on big screen, with nice company and good drinks!!

This DVD, a black-and-white format of a live concert collaboration between El Diego Cigala, a Gypsy Flamenco singer, and Bebo Valdes, a Cuban pianist, is a unique mix of cultures that hits the mark.

The concert is tastefully done, with close-ups on Valdes' marvelous piano playing as well as Cigala's vocal talents. The concert changes pace to keep you interested, its songs ranging among light, almost whimsical to passionate longing.

The visuals are as captivating on this DVD as the music. Whether it's playing as background music to a dinner party or you're avidly watching the concert, you cannot go wrong with this brilliant manifestation.

I first saw a clip from this concert on YOUTUBE and was hooked on the music...the DVD is consistantly wonderful. Both artists are superb!

I saw this a long time ago on KPBS channel. I really enjoyed the music so I bought the CD. Cigala has a great unique voice that you cant compare to any singer out there. The DVD that includes a Bonus DVD shows all the behind the scenes stuff that I really enjoyed. If you like Jazz this is a great buy even though its not like any other Jazz you have heard before.

While others have spoken eloquently about this gem; I'd like to add that, although sold only by used-cd sellers on US amazon, it can be found on its British counterpart....

AMAZING discovery of this concert, with Bird and Gillespie at the peak of their powers, showcased in a strong group with Max Roach on drumms, Al Haig on piano and Curley Russell on bass... A must have for all classical and early modern jazz fans... No wonder Ira Gitler's liner notes are at a loss for words (or overly verbose at times) describing the musical miracle of this CD.

After a tentatively recording start, the album very quickly takes shape as one of the most remarkable be-bop recordings I've ever heard... True, the addition of Sid Catlett instead of Roach on last two numbers (Dameron's "Hot House" and Monk's "52nd Street Theme") doesn't really uplifts the proceedings (Big Sid is a great drummer, but in this setting Max Roach is far more suitable), but the loss is insignificant; even at these two tracks the band shines brightly... "Salt Peanuts" is given a magnificent treatment and on "Night in Tunisia" Diz plays with more subtlety than in many of the future recordings...

I won't try to expand on the previous reviewers' explanation, I'd just like to add that the atmosphere of the era is very well recorded, not just the music! For, in the beginning, Bird is late for the gig and Don Byas on tenor sax starts Bebop, but Parker appears in the middle of the song and takes charge... Don, a great player himself, wisely fades from the stage, for in the company of these two trumpet and alto-sax dragons he could hardly give enough fire...

The booklet is very charming and informative, with all sorts of texts, including the reprinted comments of the contemporary critics who complained about the organization of the concerts, where the star attractions don't show up, or they show up visibly "high"... The CD is published within a "Flashback series" of Uptown company; boy if there were only more flashbacks like this one!

P.s. - the back of the CD states that Catlett replaces Roach on tracks 5 and 6; the right numbers are 6 and 7.
There are also interesting technical and historical notes about the Town Hall concerts and the discovery of this recording included in the beautifully designed and well illustrated booklet.

ahh the music is so good i could just lie down and kill myself!!!!! lol

As a collector I feel lucky and grateful that these recordings are being made available. It could've been another 25 to 50 years or more before this was found but now it's right here in my hands! I just want to listen to these Town Hall recordings over and over! I hear something different every time. The sound quality is better than a lot of the the recordings that Bird and Dizzy did in the studio. It's amazing to hear these
compositions being played live during the time that the music was still new.
I'm sure a lot of Japanese jazz fans were happy!(I'm one of them!)

According to jazz gospel, jazz's Anno Domini is November 1945, when Charlie Parker and Dizzy Gillespie cut several sides including the incredible "Ko Ko". Before then, there was a recording ban that prevented the innovations of the Bebop musicians from being heard. (True, there were some Dizzy Gillespie-led sessions including Salt Peanuts, but they sold so badly that they don't count).

In this version of events, jazz music was totally turned on its head, and the New Testament era of jazz began. When Ko Ko came out in November of 1945, the technical brilliance of the new form of jazz blew everyone away, and the music was changed forever.

But in 2005, this version of events was slightly altered. Finding a complete, live performance of Charlie Parker and Dizzy Gillespi, a full five months before the Ko Ko session, is an astonishing coup. The source of the recording is still rather hazy, with some indications that the anonymous person hoarding them may yet have more to release in years to come. At any rate, this is an astonishing discovery, perhaps even slightly more astonishing than the Monk-Coltrane discovery in the same year.

Dont forget, this is BEFORE the widespread use of tape to record sound (tape was invented in Nazi Germany, and is largely a postwar thing). Also, discs only lasted three minutes a side back in 1945. So you have to imagine some engineers lurking in the Town Hall, with a battery of recording lathes and a pile of fragile lacquer discs, furiously changing discs every three minutes. And yes, they got every note of the concert. Incredibly, the discs were not separated from each other, nor did any of them break over the years! There must have been about twelve or thirteen sides altogether.

Now at last we can hear bebop from before November 1945. The concert is astonishing. I still can't get over Parker's solo on Salt Peanuts, which is really filled with the fresh energy of a newly discovered art form. Another highlight is Night in Tunisia. Both Parker and Gillespie are in terrific form. The crowd seems very appreciative; although the liner notes include a contemporary review which says of Dizzy's music, in effect, "too many notes"! Also, Parker arrives late for the first tune, Bebop; I wonder exactly what he was doing out back?

The sound quality is fantastic. It was far better than I expected. The first few bars of "Bebop" are a bit muddy; but aside from that the sound is the equal of the Royal Roosts, perhaps even slightly better.

So I would heartily encourage anyone to get this disc; whether you are totally new to jazz, or a crusty veteran. The music is very accessible. Music this good, and a discovery that is this historically important, should be heard by everyone!!!

Just when the listener thinks that Be Bop has been worn out and has little else to offer, we are presented with lost recordings that, once again, show what all of the fuss was about. This is Charlie Parker and Dizzy Gillespie at the top of their game, giving a seminar on flatted fifths and fast playing.

I was looking for live Tito. This is a live orchestra
with Tito but not much Tito and not enough Tito for this jazz trumpet fan.

It is unnanimous, up to this point everyone here has given this disc five stars! Tito Puente was a pioneer who started the first wave of Latin music to capture attention worldwide. One of his signature songs, "Oye Come Va" was made popular by Santana Oye Como Va. I was lucky enough to have seen him perform live in a little Hermosa Beach auditorium many years before his death; he was amazing even at his than advanced age. He could wail on the timbales and work his band into a frenzy. The performance here is taken from the early fifties when he was in his prime and the result is an awe-inspiring blend of soulful vocals, horns, rhythms and percussion that results in pure dance music or as the title indicates, dance mania. This disc captures the dance crazes taht were prevelant than like the cha-cha-cha, mambo and salsa. The latin jazz influences and salsa vibe are spread throughout this winner. Everything but one song, "Estoy Siempre Junto a Ti," which is a bolero, or ballad is a cooker; this is the only song where the tempo is slowed down. A very good tune is "Hong Kong Mambo"(love the title)that features some great vibe(vibraphones)work that finishes with crashing high hat and Asian sounding vibe rhythms. If you are a DJ these are some great riffs to work into your creations. There are many good Tito Puente discs including but not limited to The Mambo King: His 100th Album, Out of This World, King of Kings: The Very Best of Tito Puente which are all highly recommended. Flat out, this one is the goods.

....then you probably don't have a pulse. Every song is eminently danceable, and the band never sounded tighter. What's amazing is that is not a compilation CD, it was an album released in 1958, a true CLASSIC.

One of Tito's tightest and most soulful albums, with sharp-sounding horn charts and funky rhythms galore. Recording with the full technical expertise of the RCA studios behind him, Puente's late '50s albums had much richer, better defined sound than competitors on smaller, independent labels, and the brass tones that distort into distorted shrillness on other albums are smooth and clear here. Great material, and a ton of tight session players who were the cream of the crop in the latin dance scene. Highly recommended!

This is true big band sound salsa, before the name salsa became popular. Originally released in 1958, You can go back and feel how great this music was back then and still feel the how great it still is today. This tells you this is a treasure chest of great music. Just enjoy and dance as if he is playing at the good old days at the Palladium Dance night,in NYC. The recordings allow you to hear clearly every instrument that was played and precise harmony of the full orchestra. Be carefull playing this while driving in the car, you will be force to pull over and dance a few cuts.

The best rendition of La Cucaracha! A must hear! Listen for the didgeredoo!

Lila Downs es una representante si no la mejor, importantísima, de la música mexicana contemporánea. De orígen autóctono y comprometida con sus tradiciones, ésta cantante hace un arte de cada presentación además de ser bella y representar en carne viva a la mujer Itsmeña; su arte y belleza reunidos en un mismo ser le hacen como toda oaxaqueña digna de admiración.

On this Lila Downs fourth or fifth CD if you count the rerelease (with additional tracks)of "Sandunga" finds her even deeper and more comfortable in her binational soul. Revealing her bicultural identity by the light of the moon , much like a leopard in a starless night jungle, her vocals pounce on your soul, invading and capturing your innermost feelings. There is a certain maturity to her latest work that reveals an accomplished artist, one who has travelled the globe and still comes back to her roots. There are no less than five traditional songs that have been given the Lila Downs treatment to retain their folkloric roots but with an edge, the Lila Downs edge. Even the songs that are originals have that feeling of traditional folkloric music because of fine production and musicianship. Although Lila is the star, credit must be given to the tight band that hails from different lands and whose flags make them like a U.N. delegation. Of course, it goes without mentioning that Lila's "amorcito" Paul Cohen does a wonderful job arranging and producing the various melodies for a tight cohesive sound. If you are new to Lila you may feel the disc lacks continuity but this is who Lila is. She is a multitalented artist whose voice is like a contortionist, bending ,dipping and weaving between genres in her unimitable style. To say she is unique is an understatement. Whether she sings in husky tones, soft whispers, lingering, escalating ,suddenly diving operatic high notes or any style Lila chooses , she is fantastic. Listening to her gives me chills today just like the first time I heard her back in 1999 . The haunting melodies stay with you long after the disc stops playing. I've been listening to this disc for about a year now and never seem to get tired of it. I only put it away , off my multi-disc rotation to give others a chance but I always come back to her. She can sing avariety of styles, many are featured here and they are all really good. Obviously she could do just a jazz album, as is evident on her English version of "One Blood" where she sounds like like a sultry, throaty , Latina, Sade. Her talent is boundless. She has been compared to Chavela Vargas but really there is no comparison, there is Lila and then there is Lila. It is her style, her persona, her music that creates the magic. Some of the more traditional songs that have received the Lila treatment are the mystical "Cielo Rojo," "La Cucaracha," La Bamba," and "Paloma Negra" come to new life like antiques recently brought out of the cabinet to be proudly displayed at the table. Although I like very much the traditonal songs featured on this disc I am also drawn to "Dignificada" which has a slight reggae back beat, "Malinche" which explores the Mexican godmother cursed by some but that belongs to all of us who have Mexican heritage, the bluesy , rootsy sung in English "Mother Jones," the call to musical arms Paul Cohen sax introduction on the Arabic sounding "Brown Paper People" with it's hip-hop inflected vocals adding further worldly textures and both Spanish and English versions of "One Blood/ Una Sangre" solidify the bilingual/binational nature of this disc. Lila is like a fine glass of wine or aged anejo Tequila that resonates with the various nuances and influences of the earth and climate, creating an experience to be savored and to reflect upon. She is not a person who fits into the flavor of the day pop- variety-disposible-icons that flood the music market today. This is a true artist who reflects what many people only feel and cannot express. This is another in a succesive line of great Lila Downs albums to be experienced. As others have stated, check her out live too. I've seen her three times and her shows are incredible. You need this CD in your collection, your soul will never be the same.

I first heard Lila Downs' sultry, smokey voice in the film "Frida." The movie's entire soundtrack is extraordinary, and I still listen to the CD frequently. Fortunately Ms. Downs has come out with four albums since then, because I love the passion and soul she puts into her music. "Una Sangre" is her latest offering. And it is an eclectic, outstanding mix, based on her multicultural artistic vision!

Lila Downs is a Mexican-American vocalist, with a Scottish-American father, and a Mixteca mother. She grew up in both the Mexican state of Oaxaca and in Minnesota, USA, bi-lingual and bi-cultural. Lila received formal voice training in Mexico and in the States, and performs her own compositions, as well as tapping into the rich indigenous music from the Mixtec, Zapotec, Maya, and Nahautl cultures. Her variegated sound is a real fusion of Mexican folk songs, rich American blues and jazz, along with some pop, mixed in with Afro-Cuban and Brazilian rhythms. I occasionally hear some gospel in there also. It is really difficult to pigeonhole her music and interpretations into a genre. This is a good thing! She is totally original.

"Viborita (Little Snake)," leads off with a fantastic driving Afro-Latino beat sustained by a fleet bass drum, with call-and-response vocals. It is very reminiscent of coastal music from Mexico, Central and South America, as well as the Caribbean - similar influences, right? The poignant "Dignificada," comes right afterward, and really gives the artist an opportunity to show-off her versatility with this slow sensual bolero. "Cielo Rojo," (Red Sky), is an excellent cut, one of my favorites - a sort of Mexican flamenco with 3 very different guitars at work here. It's gypsy-like, with soaring vocals and Lila, at times, trilling a falsetto high in the back of her throat.

"Bamba" is her take on the 200+ year-old song that Ritchie Valens made famous outside of Mexico, and her version of "La Cucaracha" is a fabulous 'cumbia', which some folks mistakenly call reggae. Reggae, which I really like, is totally different. The cumbia is a Colombian folk dance and music, which originated among African slave populations on the country's Atlantic coast. It is popular in areas of Mexico and Latin America. Extremely sensual, the music is often classified as "salsa, played in 4/4 time with a heavy beat one and accentuated beats three and four, giving a loping rolling rhythm similar to 'riding a horse.'" Anyway, this version of "Cucaracha," which usually has political lyrics, is certainly the most unusual I have heard.

"Tiringue Tsitsiki" (Flower of Marigold), is beautiful and sweet. Lila harmonizes with herself with minimal accompaniment here. While Malinche, with Downs' deep-toned voice and powerful delivery is bold, with lots of percussion - snare drums, maracas, and harp. "Paloma Negra" is traditional Mexican, with a fresh touch. "Mother Jones," performed in English, is pure blues. "One Blood," and "Brown Paper People" are also sung in English.

Lila's husband, Paul Cohen, is the musical director and saxophonist. He has brought together an excellent, international group of instrumentalists who come from the US, Mexico (string-multi-instrumentalist, Celso Duarte), Cuba (bassist, Junior Terry Cabrera), Chile (drummer/percussionist, Yayo), and Brazil (guitarist, Guilherme Monteiro). Mexican and American guitarists Ernesto Anaya and Marvin Sewell, make guest appearances, as does the renowned Japanese percussionist Satoshi Takeishi.

This is a wonderful CD! Lila Downs is a unique artist - simply superb! Highly recommended!
JANA

It does not happen very often that one can hear a forty year old classic in a new cover version, and it is as if you hear that song all new and all over again. Especially, I had always thought that Chavela Vargas' version of Paloma Negra would remain the "gold standard", but when I listened to Lila Down's version here, ohh boy was I wrong, and ohh boy was I blown away! She plays with her talent, she jiggles with her incredible musical possibilities. Where other artists put a lot of effort into a single interpretation, where you see they work hard, Lila Downs seems just like a child that opens a big box of candies and asks: "What type of magic do I feel like doing next?"

All the other songs range from the great (Cjelo Rojo, Tirineni Tsitsiki) to the curious (Mother Jones) and to the original (covers of La Cucaracha and La Bamba), but Lila's Paloma Negra shines as the jewel and showpiece of this CD. If Chavela Vargas' version was the "classic", now it seems more like the pedestrian version to me. And don't get me wrong: I still think it was in itself an incredible performance. But if you want the overdrive, listen to the Lila Downs. Her's is so full of vioce and class, it will blow your mind away! Only in a song like this can it show, where the true genius of an artist really lies.

Let's hope there will be many more showpieces for Lila's endless talent and peerless voice to come!

Hot Cuban music by the master and founder of Los Van Van, Juan Formell. Performance sizzles from one number to the next. Can also be listened to as a CD. Well worth it. Not quite sure where they're performing--Miami? Let us know!

Yo tome la decision incorrecta al comprarme este album, y termine con una version del DVD que no toca en mi DVD de USA, por lo tanto solo puedo comentar de los dos CDs de pura perfeccion de timba cubana.

La mayoria de las canciones tocadas en vivo tienen algo diferente, especificamente tienden a ser mas largas con extra solos, diferentes montunos, etc. Hay una combinacion de lo viejo y lo nuevo, mientras la gran diferencia entre las canciones mas nuevas tienden a ser esos extra montunos y/o solos, las canciones viejas como Sandunguera suenan timbizadas, mas agresivas que las versiones originales. Dado al gran cambio de musicos que ha tenido la orquesta, fue algo especial el que pudieran grabar este concierto invitando a muchos de los musicos viejos, especialmente a Pedro Calvo, Pupy, y Changuito.

El foco definitivamente fue dirigido a Mayito Rivera, porque el canto un numero muy grande de sus exitos que incluyeron el Tim-pop, Somos Cubanos, y Ay Dios Amparame.

El total fue mas de dos horas, y en vez de aburrirme, me dejo pidiendo por mas material. Muchas veces los musicos pidieron la asistencia del publico en cantar parte de las canciones, y desafortunadamente cuando el publico canta, suena muy bajito. Ademas no creo que le dieron suficienta chance a Jenny para canta con una sola cancion.

A jazz fan, I first heard about this musician through an interview and snips of his music on NPR, and immediately bought this, his newest CD. So glad I did. Wonderful to just sit and listen to, or play as background music during cocktail parties.

After hearing Bebo Valdes on a Jazz station, it had a Latin big band sound. I read reviews on Amazon that this CD was the best one so far.
This CD is not a band at all.
Just an old man banging on a piano.
The whole cd sounds like one very long song.

I was pleasantly pleased with this CD. I had to listen to it carefully twice to truly appreciate the performers: Bebo Valdés and Javier Colina skillful playing of the piano and bass. The musical selections are varied, but familiar to jazz listners. I would recommend it to anyone who enjoys mellow piano jazz.

This is Bebo, well, at his seemingly never ending prime. And the dance between he and bassist Javier Colina is the dance of two who anticipate and never overtake. I have only one disappointment in the album, which is superbly recorded, by the way, and that is that I was not at the Vanguard that night. Superb.

Traditional jazz piano in a live venue. It doesn't get any better than this and the cuban flavor adds to the mix.

If you are a fan of classical guitar than this is a must own set. I enjoy every moment.

I would recommend this CD to anyone who loves music--period! Christopher Parkening is unquestionably one of the greatest classical guitarists of all-time. He embodies personal excellence like no other and is a brilliant artist. This CD is a must-have for any classical enthusiast. My favorite pieces include: Tárrega's "Recuerdos de la Alhambra," "Romance," Bach's "Prelude No. 6," and Rodrigo's "Concierto de Aranjuez." There are other versions of these pieces as well, but I always prefer Parkening's renditions, as they are oh so extraordinary--especially the recording of Aranjuez!! Other guitarists never seem to capture the essence of Rodrigo's musical masterpiece (e.g., Göran Söllescher in "Mad About Guitars"). But Parkening did! And the Royal Philharmonic Orchestra was a perfect accompaniment.

This CD is definitely worth buying. Included is a CD booklet, which illustrates the history of Parkening's illustrious career, interesting tidbits about all 25 recorded pieces, and several photos of his early life to his "breathtaking performance" at Rodrigo's 90th birthday celebration at the Royal Festival Hall in London, 1992.

I am not going to go into great detail. I am working on a degree in classical guitar and I can say this is something to strive for. His musical interpretation of the peices represented here are some of the best I've heard. His tone,color, and phrasing is incredible.

In guitar ` s playing there have been many renowned performers, gifted of exuberant technique. But curiously the Apollonian playing is not by itself strictly enough. The guitar is the instrument which is closer to heart as any other one. It demands from you passion and sentiment. There have been three well known guitarists, one of them from England and the other one from Spain and the third one from Japan whose sensibility was totally absent in their performances.

But fortunately for us, there have been notable interpreters that have been maintained a desired balance and contrast between brain and heart, achieving great distinction and total acknowledgement around the world. I would name eight primordial names along the instrument `s story. First of all: the mythic soloist Andres Segovia, Agustin Barrios (El Indio Mangore),Regino Sainz de la Maza, John Williams, Alirio Diaz, Manuel Berrueco, Siegfried Behrend and Christopher Parkening, among the most representative ones of a great list.

Christopher Parkening `s career has made a brilliant colorist, an impeccable and sensitive interpreter of this well reduced repertoire. His profound artistic conviction and convincing phrasing has been a perpetual motive of constant invitations and presentations around the world.

A friend recommended this CD set to me after I mentioned that I enjoyed classical music. I was blown away when I heard it--I had never heard anyone play guitar like this. Parkening's use of the guitar more closely resembles a harp or harpsicord, but not a six-stringed instrument. I cannot think of enough superlatives to describe these CDs. Buy them, you won't be disappointed.