Paco de Lucía

Francisco Sánchez Gómez (21 December 194725 February 2014), known as Paco de Lucía (;), was a Spanish virtuoso flamenco guitarist, composer, and record producer. A leading proponent of the new flamenco style, he was one of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of ''Guitar: Music, History, Players'', describe de Lucía as a "titanic figure in the world of flamenco guitar", and Dennis Koster, author of ''Guitar Atlas, Flamenco'', has referred to de Lucía as "one of history's greatest guitarists".

De Lucía was noted for his fast and fluent picados (fingerstyle runs). A master of contrast, he often juxtaposed picados and rasgueados (flamenco strumming) with more sensitive playing and was known for adding abstract chords and scale tones to his compositions with jazz influences. These innovations saw him play a key role in the development of traditional flamenco and the evolution of new flamenco and Latin jazz fusion from the 1970s. He received acclaim for his recordings with flamenco singer Camarón de la Isla in the 1970s, recording ten albums which are considered some of the most important and influential in flamenco history.

Some of de Lucía's best known recordings include "Río Ancho" (later fused with Al Di Meola's " Mediterranean Sundance"), " Entre dos aguas", "La Barrosa", " Ímpetu", " Cepa Andaluza" and " Gloria al Niño Ricardo". His collaborations with guitarists John McLaughlin, Al Di Meola and Larry Coryell in the late 1970s saw him gain wider popularity outside his native Spain. De Lucía formed the Paco de Lucía Sextet in 1981 with his brothers, singer Pepe de Lucía and guitarist Ramón de Algeciras, and collaborated with jazz pianist Chick Corea on their 1990 album, ''Zyryab''. In 1992, he performed live at Expo '92 in Seville and a year later on the Plaza Mayor in Madrid. He also collaborated with guitarist Juan d'Anyelica on his album Cositas Buenas. After 2004 he greatly reduced his public performances, retiring from full touring, and typically only gave several concerts a year, usually in Spain and Germany and at European festivals during the summer months.

Biography

Early life

Paco de Lucía was born on 21 December 1947 as Francisco Sánchez Gómez in Algeciras, province of Cádiz, in southern Spain. He was the youngest of the five children of flamenco guitarist Antonio Sánchez Pecino and Portuguese mother Lúcia Gomes; his brothers include flamenco singer Pepe de Lucía and flamenco guitarist Ramón de Algeciras (now deceased).

Playing in the streets as a young boy, there were many Pacos and Pablos in Algeciras. In Spain and Latin America, any of these children with common first names would be referred to as follows: '"Name of Child", (son or daughter) of "Name of Mother"', or "Paco (son) of Lucía" in his case, instead of using the child's last name. Later, after learning to play the guitar and tasked with figuring out a way to bill himself, wanting to honor his Portuguese mother Lucía Gomes, he adopted the stage name ''Paco de Lucía''.

His father Antonio received guitar lessons from a cousin of Melchor de Marchena: Manuel Fernández (aka Titi de Marchena), a guitarist who arrived in Algeciras in the 1920s and established a school there. Antonio introduced Paco to the guitar at a young age and was extremely strict in his upbringing from the age of 5, forcing him to practice up to 12 hours a day, every day, to ensure that he could find success as a professional musician. At one point, his father took him out of school to concentrate solely on his guitar development. In a 2012 interview de Lucía stated that, "I learned the guitar like a child learns to speak."

Flamenco guitarist and biographer Donn Pohren and record producer José Torregrosa compared Paco's relationship with his father to the relationship of Wolfgang Amadeus Mozart and Leopold Mozart in the way both fathers "moulded their sons" into becoming world-class musicians, and both continued to dictate even after the latter became famous.

Paco's brother Ramón idolized Niño Ricardo, and taught his complex falsetas to his young brother, who would learn them with relative ease and change them to his own liking and embellish them. This initially angered Ramón, who considered Ricardo's works to be sacred and thought his brother was showing off; but he soon began to respect his brother immensely, and came to realize that he was a prodigious talent, ''fuera de serie'' (out of the ordinary).

As also with Ramón, Ricardo was Paco's most important influence, and his first guitar hero; Paco said "all of us youngsters would look up to him, trying to learn from him and copy him." In 1958, at age 11, Paco made his first public appearance on Radio Algeciras. That year, he met Sabicas for the first time in Málaga. A year later, he was awarded a special prize at the Festival Concurso International Flamenco de Jerez de la Frontera flamenco competition.

1960s

At the age of 14 he made his first record with his brother Pepe, ''Los Chiquitos de Algeciras'' (''The little ones from Algeciras''). In the early 1960s, de Lucía toured with the flamenco troupe of dancer José Greco. In New York City in 1963, at the age of 15, he had his second encounter with Sabicas and his first encounter with Mario Escudero, both of whom became de Lucía's mentors and later close friends. They urged him to start writing his own material, advice he took to heart. In 1964, he met Madrileño guitarist Ricardo Modrego with whom he recorded three albums: '' Dos guitarras flamencas'' (1964), '' 12 canciones de García Lorca para guitarra'' and '' 12 éxitos para 2 guitarras flamencas'' (1965).

His early albums were traditional flamenco recordings and he recorded classics such as '' Malagueña'' on the ''12 éxitos para 2 guitarras flamencas'' album. He toured again with José Greco in 1966 and recorded " Ímpetu", a bulerias composed by Mario Escudero, for his debut solo album, '' La fabulosa guitarra de Paco de Lucía'' (1967). He appeared at the 1967 Berlin Jazz Festival. According to Gerhard Klingenstein, top jazz musicians who appeared at the festival (i.e. Miles Davis, Thelonious Monk), profoundly influenced de Lucía, and sparked a fascination for jazz that remained with him throughout his life.

In the late 1960s, de Lucía toured Europe with a group called Festival Flamenco Gitano and encountered other new talents in the flamenco world including singer Camarón de la Isla, with whom he enjoyed a fruitful collaboration between 1968 and 1977. They recorded ten albums together and received considerable acclaim. Richard Nidel said that their partnership was "central to the history of flamenco in the last quarter of the twentieth century."

Organizers began offering de Lucía lucrative contracts for concert tours in 1967, which he declined as he preferred to tour in company, which he did with his brother Ramón, de la Isla and other musicians. De Lucía recorded many albums with his brother, including '' Canciones andaluzas para 2 guitarras'' (1967), '' Dos guitarras flamencas en América Latina'' (1967), '' Fantasía flamenca de Paco de Lucía'' (1969), and '' 12 Hits para 2 guitarras flamencas y orquesta de cuerda'' (1969). They met Esteban Sanlucar in Buenos Aires and Juan Serrano in Detroit, and during 1970 spent considerable time in New York City where they grew close to Sabicas and Mario Escudero, playing together into the night.

1970s

De Lucía made a cameo appearance, dressed as a Mexican guitarist, in the 1971 western ''Hannie Caulder'', playing the melody of Ken Thorne's main theme over a string section. That year, he released the album ''El mundo del flamenco'', which included a version of Mario Escudero's "Ímpetu", a bulerías. ''Guitar International'' mentioned his "very aggressive" approach to playing "Ímpetu". Escudero was a major influence on de Lucía during this period, inspiring him to explore new possibilities for flamenco. He began working with record producer José Torregrosa.

De Lucía's 1972 release '' El duende flamenco de Paco de Lucía'' was considered a groundbreaking album in the flamenco community. As the 1970s progressed, de Lucía continued to produce groundbreaking albums and ventured into an increasingly unconventional and innovative style of flamenco with jazz influences. His next release, '' Fuente y caudal'', acclaimed particularly for his " Entre dos aguas", which has become arguably his best-known composition, and also for "Solera" and " Cepa Andaluza". "Entre dos aguas", a rumba featuring bongos with an electric bass, means "Between two waters", referring to his home town of Algeciras, where the Mediterranean meets the Atlantic. Biographer Pohren describes "Cepa Andaluza" as a "phenomenal" bulerías, which is "accompanied by palmas, shouts of encouragement and general jaleo, and makes one want to leap up and dance." The album also features several other tracks named after Andalusian landmarks, a theme de Lucía continued in his later albums.

The ''Fuente y caudal'' album was one of the best-selling Spanish records for several months and de Lucía and Torregrosa found that the additional instruments and approach away from traditional flamenco proved more popular with the general public. The early influences of the traditional players became increasingly less apparent as de Lucía embraced jazz and other influences, creating his own voice and distinct style, yet never venturing too far from his roots.

On 18 February 1975, de Lucía became the first-ever flamenco performer to perform at the Teatro Real of Madrid. He played a set with his brother Ramón, in front of a relatively young audience without the use of effects. Pohren said that de Lucía's performance "was brilliant technically, and played a meaningful, moving, traditional brand of flamenco that did not betray what Paco had in store for the flamenco guitar in the future." The recording was released as '' En vivo desde el Teatro Real''.

His 1976 album, '' Almoraima'', was a wider success and featured "Almoraima" and "Río Ancho". The album was named after a former convent of the same name located about from Algeciras on the road to Jimena de la Frontera, which had recently been converted into a hotel complex. The album featured significant Arabic and jazz influences especially in the bulerías composition of the same name; the name Almoraima is of Arabic origin from the Moorish period. De Lucía performed on an episode of '' Parkinson'' on BBC
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