Registratie van de Spaanse dans- en muziekvorm met als decor het voormalige treinstation aan de Plaza de Armas in Sevilla dat voorzien is van reproducties van bekende schilderijen.
Reisgids met auto- en wandelroutes om de flamenco in Andalusie te ontdekken.
Autobiografie van de Nederlandse flamencozangeres (1974).
Live-opnamen van Paco de Lucía, verzameld onder de titel Alcazar de Sevilla. Met het Orchestra de Cadaques speelde hij in 1991 het Concierto de Aranjuez van Rodrigo. Delen uit de suite "Iberia" van Albéniz worden door De Lucia en twee collega-gitaristen vertolkt in een arrangement voor drie gitaren. De laatste vijf stukken zijn afkomstig van het album "Live in America" van het Paco de Lucía Sextet uit 1993.
Over the last decade, flamenco's undergone a revolution and reinvention, as Rough Guide to Flamenco Nuevo excellently illustrates. These days, it's a brilliant, multifaceted gem, where the jazz flute of Jorge Pardo can sit comfortably next to the electronica of Digitano and the Ladino singing of Yasmin Levy. A few of the names have become internationally known, like Levy, Ojos de Brujo, and Javier Ruibál, and justifiably so, as they each push away at frontiers. But the revelation of this disc is that there are plenty of others equally inventive waiting to find a global forum. Singer Elena Andujar is especially impressive, while the duo Rodrigo y Gabriela (who live in that flamenco hotbed, Ireland) are adroit, imaginative guitarists, while Solar Sides fuse modern dance music and flamenco in a very subtle fashion. The disc is worthy playing for Diego Carrasco's "Asereje" (aka "The Ketchup Song") alone. Gloriously infectious, it's also far from the global pop hit of the same name. (by Chris Nickson, Allmusic)
"The dandy of Flamenco has a name: Porrina de Badajoz, the greatest Gitano flamenco singer to have come from the region of Extremadura. An exuberant musician with a big personality. You could say that he came, he sang, he amazed. The capital was and still is the decisive filter for any artistic breakthrough. Anyone who sought success in the flamenco world had to rely on a positive critique from Madrid, and Porrina passed this test with flying colours. He was like a breath of fresh air, who gave flamenco aficionados styles that from that point on had a name of their own: cantes canasteros, jaleos, fandangos and tangos, all interpreted with cadences that differed from anything that had been heard previously. These sounds that now belong to the flamenco canon were all established by the Gitano from Extremadura, who viewed himself as an ambassador for the younger generation of cantaores from his home region." (RomArchive)
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