Great Masters of Flamenco, Vol. 5

Perfect.

Until the release of  Flamenco 1924-1936 , this was the definitive Montoya album, containing tracks previously unavailable except on 78. Recorded in Paris on 21 and 22 October 1936 in single takes, it is a monument to the genius of the man (1880-1949) considered the greatest flamenco guitarist of the 20th century — even Sabicas and Paco de Lucía stood on the shoulders of Montoya.Much speculation has been generated by the fact that Montoya's compás, immaculate when he was accompanying, varies on his solo recordings from perfect to nonexistent: particularly strange in view of his famous remark (quoted on some editions of the "Arte Clásico Flamenco" LP) that however a beautiful a flamenco performance may be, if it's out of compás, it's worthless. Perhaps Donn Pohren was right when he said that Montoya considered solo playing solely a vehicle for self-expression, and not serious Flamenco.A further commentary would be easy, but I shall eschew it: this is simply essential listening for anyone who considers himself an aficionado of the flamenco guitar.As with many old flamenco recordings, there is some curious labelling which has got perpetuated down the years: the bulería would today be called a soleá por bulería, and the putative farruca is a milonga.For guitarists who can read staff notation, a  book of these pieces  (Affedis Publications), very capably transcribed by Alain Faucher, is available.P.S. For a list of (and links to) all 20 albums in this series, see my Listmania list.