Enrique Morente is a champion prize-fighter among world music performers: someone who needs only the simplest setting in which to demonstrate his mastery. All he needs to show his mettle is a song, a stage and a guitarist, and this album includes three such numbers, including the fabulous Solea de la Ciencia with fellow Spanish superstar Tomatito. However, Morente, in the manner of Paco de Lucia's recent recordings, is striving to push the limits of flamenco a little further in the studio.

Most striking of the "production numbers" is the opening track Martinete, a craggy, multi-tracked edifice of massed Morente vocals. The remaining elements are percussion, handclaps and a dancer. The closing La Ultima Carta, setting words by Cervantes, uses the same soundscape. Other ambitious numbers include Chiquilín de Bachín, a sentimental Piazzolla cover, and Cristalina Fuente, with gorgeous vocals from Morente's famous daughter, Estrella, who also adds fire to the exuberant La Alhambra Lloraba. Generalife and Donde Habite el Olvido make use of Pat Metheny's unmistakable sound, but there's something incongruous about the solos. Though sincere, the US guitarist's contribution doesn't match the life-and-death passion that Morente can conjure from the slightest phrase.