提起Flamenco吉他音乐，就不能不提到Paco de Lucia，可以说，他是世界上最优秀的Flamenco吉他演奏家之一。Paco de Lucia从7岁开始弹吉他，当时他的父亲，一位半职业的吉他手，意识到了自己的儿子在这方面具有很大的天分，於是便为他提供了各种条件，使得Paco de Lucia可以将自己所有的业余时间都花在练习吉他和研究吉他的演奏技巧上，而这些成果，正是今天我们从他的精彩演奏中所听到、见到的。
起初，Paco de Lucia是与他的兄弟Ramón一起演奏二重奏，另外还与他的一个做歌手的兄弟Repe共同组成了名叫Los Chiquitos de Algeciras的二重奏。1962年，兄弟二人双双获得了大奖。此后，Paco de Lucia成为了一位世界级的明星。他将拉丁美洲和爵士乐中的和声御用到Flamenco音乐中，并且影响到了所有新一代的Flamenco吉他手。Paco de Lucia的演奏出神入化，技巧高超，演奏曲目范围广泛，从传统的Flamenco音乐到《阿兰胡埃斯吉他协奏曲》均演奏，并且还提出了“向古典吉他发起挑战”的口号。
Fuente y caudal (Fountain And Flow) is the ninth studio album by the Spanish composer and guitarist Paco de Lucía. All songs were written by Paco de Lucía and J. Torregrosa.
Audio CD (October 4, 2005)
Number of Discs: 1
Format: Import, Original recording remastered
Fuente y Caudal
Recorded in 1973, this album signified a leap in the popularity of Paco de Lucía. With this recording, a new cycle of his career began. The Algeciran found himself at a level of technical and stylistic perfection never previously reached by any Flamenco artist. As much in creative as interpretative terms the level of maturity of the young guitarist brought to fruition an astonishing array of means of expression. Paco de Lucía achieved international as well as national recognition with the release of this album, owing greatly to the popularity of the rumba ‘Entre Dos Aguas’, which was only added at the last minute because only seven tracks had been recorded for the album up to that point.
Released in 1973, Fuente y Caudal had a significant impact on people following the career of the Algeciran closely, and attracted the interest of many people previously indifferent to this type of music. In turn, the recording would also prove decisive for the new generation of Flamenco guitarists for whom Paco has been both maestro and mentor.
The technical feat of the fadeout he uses in tangos, bulerías and bulerías por soleá.
5.0 out of 5 stars Paco de Lucia's first truly great album February 11, 2003
By Ian K. Hughes VINE™ VOICE
By the time "FUENTE Y CAUDAL" was released in 1973, 25 year old Paco de Lucia was clearly acknowledged as the world's premier flamenco guitarist, a position not relinquished in the 30 years that have followed. The album could also be regarded quite fairly as Paco's first truly great recording.
"FUENTE Y CAUDAL" is most renowned for the opening "rumba" titled "Entre Dos Aguas". This is the tune that transformed Paco from a flamenco hero to a ( Spanish ) national hero, its intense and expressive character a unique inspiration ( far from the "light" rumba flamenca that had been played before ) that influenced countless numbers of flamenco musicians. For the first time on record, Paco plays in an ensemble ( 2nd guitar, electric bass and congas ) that was at that time unusual in flamenco music. True to the (actually double) meaning in its title, "Entre Dos Aguas" has roots in two different but nonetheless compatible musical realms.
The remainder of the album is wonderful but more traditional, consisting either of solo pieces or those using conventional accompaniment. Two cuts in particular stand out.
"Fuente Y Caudal" ( a piece in the "taranta" form ) is dark and mournful, one of Paco's most profound creations ( it never fails to send chills up the spine ).
The other standout is "Cepa Andaluza", in the "buleria" style which Paco himself has described as the most complex and characteristic flamenco form. "Cepa Andaluza" is explosive, as Paco plays with volcanic energy accompanied "por fiesta" by flamencos using "palmas" and "jaleos" ( handclaps and shouts of encouragement ). This cut practically jumps out of the speaker!
One can explain Paco de Lucia's legendary status by pointing out specifics:
1) Phenomenal technical proficiency ( lightning "picado" scales, ferocious "rasgueado" and "pulgado" strumming, fluid left hand chord positioning and a flawless sense of rhythm )
2) Compositional talent ( longer stretches of melody, new chordal progressions that still sound "flamenco" )
3) An adventurous spirit ( collaborating with jazz musicians; investigating Brazilian music )
4) A wise and contemplative nature ( coupled with intense love and zeal for flamenco music and culture )
But a more basic, earthy and truly "flamenco" explanation would simply point out that Paco possesses an abundance of "duende"; the ability to summon up the profound and seemingly inexpressible and communicate it to others. There are quite a few moments of Paco's "duende" heard on "FUENTE Y CAUDAL", which is unreservedly recommended to all lovers of great music.
A1. Entre Dos Aguas (Rumba) 6:03
A2. Aires Choqueros (Fandangos De Huelva) 4:14
A3. Reflejo De Luna (Granaína) 3:52
A4. Solera (Bulerías por soleá) 3:46
B1. Fuente Y Caudal (Taranta) 5:12
B2. Cepa Andaluza (Bulería) 5:50
B3. Los Pinares (Tangos) 3:37
B4. Plaza De San Juan (Alegría) 3:10