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Agua Dulce
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Album: Agua Dulce
# Song Title   Time
1)    Al Mariyya Bulerías More Info... 3:22
2)    A Miles Soleá Por Bulerías More Info... 3:45
3)    ¿Donde Está Tu Cariño? Tangos More Info... 4:51
4)    Porque Tú Lo Vales Soleá More Info... 4:25
5)    En Casa Del Herrero Bulerías More Info... 5:00
6)    Pa Salinas Rumba More Info... 3:42
7)    Manduka Bulerías More Info... 3:16
8)    Gallibando Tangos More Info... 4:07
 

Album: Agua Dulce
# Song Title   Time
1)    Al Mariyya Bulerías More Info... 3:22
2)    A Miles Soleá Por Bulerías More Info... 3:45
3)    ¿Donde Está Tu Cariño? Tangos More Info... 4:51
4)    Porque Tú Lo Vales Soleá More Info... 4:25
5)    En Casa Del Herrero Bulerías More Info... 5:00
6)    Pa Salinas Rumba More Info... 3:42
7)    Manduka Bulerías More Info... 3:16
8)    Gallibando Tangos More Info... 4:07
 
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Performer Notes
  • Personnel: Tomatito (guitar); Antonio Ramos "Maca" (bass instrument); Pedro Barcelo (drums); Antonio Carmona (percussion); Jos Maria Cortina.
  • Liner Note Author: Debora Garber.
  • Flamenco guitarist Tomatito is known in Spain as the instrumental partner of the modern genre-defining singer Camarn during the '80s, and in the U.S. and Latin world music communities beginning at the turn of the millennium, recognition has come from his duet collaborations with pianist Michel Camilo on Spain, Spain Again, and Spain Forever. Aguadulce translates as "fresh water" but this is a short drink, clocking in at under 33 minutes. (More than a few flamenco artists appear not to have moved beyond LP-length CDs, something like the ten-track country CD syndrome.) The opening "Al Mariyya" makes it patently obvious that it is flying fingers virtuoso display time, plus handclaps. That pretty much tells the story, with the uptempo buleras style dominating the selections. A touch of percussion on "A Miles," his daughter Mari Angeles Fernndez Torres' vocal turn breaks up the instrumental run on "Dnde Est Tu Cario?," and "Porque T lo Vales" is a solo excursion. Diego "El Cigala" drops in with two other guitars for a guest shot on the closing "Gallibando," but the track generating the most sparks is "En Casa del Herrero," with male vocalists Potito and Guadiana upping the intensity ante. This is deftly performed music fine for flamenco and acoustic guitar virtuoso fans, but not very involving for someone not already into either camp, or Tomatito as an artist himself. The big question: is anyone getting materially more music here than when Tomatito takes his guitar into an outside context, playing in an encounter of equals like, say, his aforementioned collaborations with Camilo? ~ Don Snowden
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