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 You are in ::  Flamenco music ::  Absolute Flamenco  ::  Canastera
Canastera #112UN63
Canastera
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11.99  / 15.47 $ 
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UNIVERSAL MUSIC SPAIN
Cds 
Artist:
:: Camarn de la Isla  More songs of this artist :: Paco de Luca  More songs of this artist :: Ramon de Algeciras  More songs of this artist
Palos:
:: Canastera   :: Verdiales   :: Fandangos   :: Alegras   :: Buleras   :: Cartagenera   :: Seguiriyas   :: Sole   :: Tangos  
Songs:
  Disco 1
  1. Canastera (Canastera)
  2. No dudes de la nobleza (Fandangos)
  3. Que a m me vio de "naser" (Alegras)
  4. Calabosito oscuro (Seguirillas)
  5. No quisiera que te fueras (Buleras)
  6. Las campanas tambin lloran (Tientos)
  7. Una gitana Morena ( Buleras)
  8. La vi por primera vez (Fandangos)
  9. Ests ciego "pa" no ver (Sole)
  10.Soaba siempre contigo (Cartagenera)
  11.Y me gustan las mujeres (Tangos)
  12.Dios te dar a ti la gloria (Verdiales)
'Canastera' seems to show the most experimental sides of these two flamenco virtuosos. It coincided temporarily with the flamenco 'duende' of Paco de Luca (1972) y reflects the sound of that time with echoes and rever effects. It starts with an attempt at creating Cante, 'La Canastera', with a chorus that brings back the memories of the copla 'Ojos Verdes', originally written by Valverde, Len y Quiroga, based on the variations that Paco de Luca was applying to the Rondea way of playing of Ramn Montoya. The whole CD breathes thanks to the innovations put forward by Paco de Luca in songs like 'El Duende', and he even advances 'falsetas' of his next record 'Fuente y Caudal', in the song 'Soleares y Cartagena'. There are also slow 'tangos por grananas', some verdiales started as 'falseta de soleares' but played with a bulera flair, an unusual bulera anyway without clapping where Paco performs several falsetas from 'Punta del faro', proposing a wide array of round offs to the cante, which became a popular model for accompanying artists and the source of Tomatito's style for this particular 'palo'. What is interesting are the original answers to Camarn, unusual and differents to whatever he had recorded, and above all, the frequent use of 'paso' chords (chords in seventh minor) to move from one grade to another in the Anadalucian cadences; and Camarn cante that grows in character while developing part of the traditional melodies on top of that, searching for the chord dissonance marked by the guitar, something that will produce certain feeling of 'out of tune' for an ear educated in the traditional way: Camarn de la Isla style was starting to bloom.