Patriarca

Editorial Reviews

All Music Guide - Alex Henderson
Among Spanish Gypsies, it isn't hard to find families in which many of the males are taught to play flamenco guitar at an early age. In such Gypsy families, parents don't have to pay for the kids to have music lessons -- the father is likely to do a lot of the teaching himself, and chances are that there will be some guitar-playing uncles, cousins, or older brothers on hand to provide additional instruction. So by being born into Granada's very musical Cortés family, Miguel Angel Cortés had a major advantage when it came to learning flamenco guitar. The Gypsy was in his late twenties when he recorded Patriarca, a promising, mostly instrumental 2000 release that ranges ...
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Editorial Reviews

All Music Guide - Alex Henderson
Among Spanish Gypsies, it isn't hard to find families in which many of the males are taught to play flamenco guitar at an early age. In such Gypsy families, parents don't have to pay for the kids to have music lessons -- the father is likely to do a lot of the teaching himself, and chances are that there will be some guitar-playing uncles, cousins, or older brothers on hand to provide additional instruction. So by being born into Granada's very musical Cortés family, Miguel Angel Cortés had a major advantage when it came to learning flamenco guitar. The Gypsy was in his late twenties when he recorded Patriarca, a promising, mostly instrumental 2000 release that ranges from traditional flamenco to more modern nuevo flamenco. Cortés has obviously mastered flamenco's basics, including the bulería and rumba styles; but the Granada native isn't afraid to stretch out and do some non-traditional things, such as employing a jazz-influenced saxophonist (Agustín Carrillo) on the rhumba "Kuriachi" and using a tabla drummer (J.A. Galicia) on "La Puerta del Sueño" and "Al Likindoy." While tabla drums are very traditional in India and Pakistan, they're hardly traditional in Spain. Galicia is also heard on the darbuka, a drum that is prominent in traditional Middle Eastern and North African forms. Although you won't hear a lot of flamenco recordings that employ a darbuka, Cortés' use of the instrument actually makes a lot of sense --after all, Spain once had an Islamic population, and the influence of Arabic music remained in Spain despite the horrors of the Spanish Inquisition. From the traditional to the contemporary, Patriarca makes it clear that Cortés is someone flamenco enthusiasts need to be aware of.
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Product Details

  • Release Date: 6/13/2000
  • Label: Alula
  • UPC: 616498102227
  • Catalog Number: 1022

Tracks

Disc 1
  1. 1 De Corales (4:58)
  2. 2 Raquel (4:33)
  3. 3 La Luna Creciente (5:39)
  4. 4 Al Likinday (4:59)
  5. 5 Kuriachi (4:49)
  6. 6 Sacais de Azabache (5:01)
  7. 7 La Puerta del Sueno (4:39)
  8. 8 Patriarca (4:48)
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Album Credits

Performance Credits
Miguel Angel Cortes Primary Artist, Guitar, Palmas
Chonchi Heredia Vocals
Antonio Molina Cello
Carlos Vazquez Bass
Paco Cortés Palmas
Carlos Vasquez Bass
Marina Heredia Vocals
Maria Teresa Zurita Violin
Agustín Carrillo Flute, Saxophone
Technical Credits
Akira Satake Graphic Design
Yalitza Ferreras Graphic Design
Elizabeth Thompson Liner Notes
Sarah Wolfe Liner Notes
Antonio Blanco Engineer
Miguel Angel Cortes Composer, Producer
Angel Romero Liner Notes, translation, Spanish Translation
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