1 	Mi Niña Lola 	4:29
2 	Ojos Verdes 	5:27
3 	Te Camelo 	3:54
4 	Ay De Mi Primavera	4:26
5 	A Mi Manera	5:27
6 	Nostalgias    (Bass – Daniel Martínez Izquierdo)  	4:09
7 	Triunfo 	3:08
8 	Bulería Alegre 	3:38
9 	Love	2:35
10 	Loca	3:36
11 	Jodida Pero Contenta 	5:44

Lead Vocals, Backing Vocals – Buika
Acoustic Guitar [Flamenco Guitar] – Niño Josele
Backing Vocals, Handclaps [Palmas] – Barriga Blanca, El General
Bass – Alain Pérez (tracks: 1 to 5, 7 to 11)
Drums – Horacio "El Negro" Hernandez
Percussion, Backing Vocals, Handclaps [Palmas] – Ramón Porrina
Piano – José Reinoso (tracks: 1 to 4, 6 to 8, 10, 11)
Strings – Manuel Martínez, Pere Bardagí
Trumpet – Jerry González
Vocals [Voz Flamenca Invitada] – Montse Cortés

Released in 2006, Mi Niña Lola is the third album from Spanish singer Buika, and her second release from that year. Besides her usual mixing of flamenco music with R&B and jazz, Buika has included some traditional copla songs, including the title track. Guitarist Niño Josele provides accompaniment while flamenco veteran Javier Limón handles production. --- David Jeffries, AllMusic Review

Buika mixes contemporary production techniques with modern flamenco. It is very strong, indeed, I might say super-strong except it is no match for Mi Nina Lola, which mixes flamenco and jazz using acoustic instruments.

So when Concha digs her roots we get flamenco and jazz with touches of contemporary, hip-hop influenced pop. Again, it is both totally unexpected and totally delightful. The material is first rate. The arrangements are both appropriately and paradoxically both spare and simultaneously rich. The conceptual beauty and handsome execution notwithstanding, the real unifying chord is Concha Buika’s exquisite vocal work.

I had a hard time choosing the feature song. Finally, I boiled it down to “Nostalgias” and “Mi Nina Lola.” “Lola” got the nod simply because it is her major hit throughout Spain even among hardcore flamenco critics. One man noted he disliked the strings but absolutely adored the singing.

One other small note: Concha’s judicious use of English phrases as hooks and as part of choruses helps non-Spanish speaking listeners relate to her music. I don’t think it’s accidental but at the same time I don’t think it is a commercial calculation.

I think Concha Buika is genuinely and deeply smitten by jazz and evidences it throughout her recordings. In many ways she represents one of the most authentic black diaspora voices in contemporary music. Or as she notes in “New Afro Spanish Generation,” her anthem from Buika, she represents a quiet revolution. --- kalamu.com

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1.    New afro Spanish generation
2.    Little freaky girl
3.    Jodida pero contenta
4.    Échate a mi vera
5.    Qué pasa
6.    Talk to me (Háblame), written by José Vera Lopez
7.    Se me escapan las palabras
8.    Tu caramelo
9.    Soleá de libertad
10.    Niña de fiesta + Bailando mi pena
11.    Nostalgias, music by Juan Carlos Cobián, lyrics by Enrique Domingo Cadícamo

Influenced by Ella Fitzgerald and Dinah Washington, Queen of Flamenco Concha Buika's debut album fuses a wide range of genres, from traditional Spanish to jazz to electronic funk, with her smoky, soulful vocal tones. Released in 2005, Buika features snippets sung in English ("Talk to Me," "Little Freaky Girl") and includes the hit single "New Afro Spanish Generation." ---Jon O'Brien, Rovi

I first heard snippets on the BBC and I was already hooked. Between YouTube and Amazon I listened to pieces of this album and finally made the purchase. I was not disappointed. Buika, self titled after María Concepción Balboa Buika, aka Concha Buika, has a fabulous voice that is alternately clear or smoky, sexy, soulful, de tona clásica, ethnic yet traditional and mature and it demonstrates strengths in flamenco, copla, jazz, and rhythm and blues. Her phrasing and timing are excellent.

The album does suffer a couple weak selections - not that keen on "Little freaky girl" as it smacks of pop influence. She's better than the song. My favorites: "New afro Spanish generation" "Jodida pero contenta" ""Tu caramelo" and "Nostalgias".

She's an award winner (the award for Best Produced Album at the Premios de la Musica) for a previous album and she has worked with top notch musicians. This album, though a tad uneven, is recommended. Lastly, listen and enjoy "Soleá de libertad" a slow, jazzy, totally Spanish musical meal. The last two selections round out the meal with catchy, pieces that allow the musicians, percussion and technicians a chance to round out this project. --- steuben, amazon.com

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01. My One And Only Love (5:28)         play
02. Stand By Me (7:23)
03. Teatro (5:00)
04. Autumn Leaves (7:11)
05. Misty (5:32)
06. La Salvaora (3:38)
07. Bye Bye Black Bird (11:00)
08. Buika Le Planette (2:13)
09. Ragharab (2:52)                     play

She sings the music that moves her, whether it's (jazzy) American standards, Mexican rancheras, flamenco or Spanish coplas, and manages to slip into the skin of each style and make the song her own. Just her rendition of Misty on this disc makes me want to hear her do a whole album of American standards (even with the occasional mishits on the English). Jazz purists might not be persuaded (I hear gospel and soul/r&b influences, although without the showy vibrato), but I find her covers powerful (and the lady can scat), musically sensitive, thoughtful, and expressive (but without histrionics). Jacob Sureda's piano accompaniment is assured, sensitive, pared down, and winning. There's variety in musical selection on this disc (including a flamenco song and what sounds like a song inspired by Concha's parents' African homeland, Equatorial Guinea, an often-overlooked Spanish-speaking country in central Africa), as there is on everything Concha does. Her Niña de fuego (more flamenco, but with an extraordinary cover of the Mexican ranchera classic Volver, volver) and Ultimo trago (Afrocuban jazz arrangements of mainly Mexican rancheras and Spanish coplas) discs are also uniformly excellent. The arrangements and accompaniment invariably highlight rather than overwhelm the extraordinary voice, offer fresh angles on standards, and bring out something essential in the music and lyrics. ---Jason Argonaut, amazon.com

"Mestizüo" es el primer trabajo de la cantautora mallorquina de origen guineano Concha Buika. El disco fue grabado en el año 2000 cuando era todavía una desconocida para el gran público, pero ya disfrutaba de un gran éxito entre el público mallorquín, el cual, ya llevaba unos años degustando esa particular forma de interpretar que tiene la cantautora en la mayoría de clubs de jazz de la isla. En este primer trabajo, Buika desarrolla todo su talento interpretativo en estilos que van desde el jazz y el soul de Johnny Mercer, Errol Garner e incluso Ben E.King, de quien interpreta una desgarradora versión de "Stand By Me", hasta el flamenco más puro de Manolo Caracol o el conocido tema "Teatro". En "Mestizüo", está acompañada al piano por Jacob Sureda, músico que se encargó también junto a ella de la producción. ---conchabuikamusic.com

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01. La falsa moneda (3:29)
02. Culpa mia (4:08)
03. Mienteme bien (5:47)
04. La niña de fuego (3:35)
05. Arboles de agua (4:30)
06. La niebla (3:56)                    play
07. No habra nadie en el mundo (3:49)   play
08. Volver, volver (4:19)
09. Volveras (6:46)
10. Mentirosa (4:44)
11. Hay en la luz (3:40)

Concha Buika: 
Javier Limón (flamenco guitar); 
Dany Noel (banjo); 
Carlitos Sarduy (trumpet); 
Mandela (trombone); 
Ivan "Melon" Lewis (piano); 
Horacio "El Negro" Hernández (drum); 
Ramon Porrina, Pirana (percussion).

With a quivering, seductive, mournful, and remarkably flexible voice, Concha Buika earned a healthy following in her homeland as the great ‘00s chanteuse of flamenco. The singer enchanted crowds on a U.S. tour just prior to her 2008 stateside debut, NINA DE FUEGO, a bewitching and diverse record featuring echoes of everything from Coltrane to Jobim to Radiohead. The sound ranges from the dark offbeat artistry of the title track to the downright breezy playfulness of “Arboles de Agua,” on an engrossing opening statement of an album. ---Jason Thurston, Rovi

Trzeci studyjny album urodzonej na Majorce artystki. Poprzednie wydawnictwo, Mi Nina Lola wyprodukowane przez Javiera Limona, zebrało bardzo pochlebne recenzje, czego zwieńczeniem okazały się dwie hiszpańskie nagrody Grammy - za najlepszą produkcję i najlepszy album. Nina de Fuego, którego produkcją ponownie zajął się Limon, to utwory dwojakiego rodzaju: te w pełni autorskie oraz te inspirowane tradycyjnymi melodiami hiszpańskimi i meksykańskimi (copla, ranchera). Buika wraz z nową płytą jeszcze pełniej pokazuje siebie, swoją duszę, temperament i osobowość. (Warner)

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01. Soledad (2:49)             play
02. Sombras (4:16)
03. Las Ciudades (4:33)
04. Cruz De Olvido (4:14)
06. En El Ultimo Trago (2:48)
07. Se Me Hizo Facil (4:20)
08. Un Mundo Raro (4:51)
09. Las Simples Cosas (2:13)
10. Somos (4:11)
11. Luz De Luna (3:38)         play
12. Vamonos (4:09)

Concha Buika – vocals
Chucho Valdez – piano, arranger
Lazaro Rivero Alarcon – double bass
Juan Carlos Rojas Castro - drums
Yaroldy Abreu Robles – percussion
Javier Limon – flamenco guitar
Carlos Sarduy - trumpet

Concha Buika (ur.1972 w Palma de Mallorca) hiszpańska śpiewaczka i kompozytorka. Jej rodzina pochodzi z Gwinei Równikowej. Dorastała w społeczności cygańskiej na wyspie Majorka. Jej muzyka jest mieszaniną flamenco z soulem i jazzem. Ponadto śpiewa copla andaluza. W kwietniu 2009 roku Buika wraz z legendarnym pianistą i kompozytorem Chucho Valdesem spotkała się w kubańskim studio Abdala, gdzie zarejestrowali materiał na nowy album. "El Ultimo Trago" to hołd dla piosenkarki Chaveli Vargas złożony w 90. rocznicę jej urodzin i obejmujący przekrojowy repertuar z całej kariery tej meksykańskiej artystki.

Buika was born in Palma de Mallorca in 1972 where her family, originally from Guinea Ecuatorial, live. She learnt from her mother to listen to the great voices of jazz, and from the Spanish radio, the copla that rushed into her life. She started singing at bars & pubs in Mallorca, recording several songs (house style) and collaborated with La Fura del Baus in “Ombra”. In 2000, she dosen’t remember exactly how or why, she arrived to Las Vegas where she worked in Casinos as the double of Tina Turner and The Supremes where she got an invitation from Rachelle Ferrell, (a jazz mademoiselle) to act at Club Blue Note. When she moved to Madrid and recorded her first album, in it, she showed the never-ending possibility of her skills as a singer. At the recording studio she kept her style besides the insistence of four producers that wanted to change her personal style.

El Ultimo Trago is a celebration ofChavela Vargas's90th birthday. Recorded in Cuba with live musicians this album is a collection of Chavela's greatest hits performed with the powerful vocals only Buika can deliver and accompanied by masterful pianist Chucho Vlades. This album is truly a musical jewel any music lover will enjoy.

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