Paco De Lucia Could Not Read Music

Spanish flamenco, classical, jazz guitarist & musician

In this Castilian proper noun, the beginning or paternal surname is Sánchez and the second or maternal family name is Gómez.

Paco de Lucía
De Lucía performing in 2007
Background information
Birth name	Francisco Gustavo Sánchez Gómez
Born	(1947-12-21)21 December 1947 Algeciras, Cádiz, Spain
Died	25 February 2014(2014-02-25) (anile 66) Playa del Carmen, United mexican states
Genres	Flamenco classical
Occupation(s)	Guitarist Composer
Instruments	Flamenco guitar
Years agile	1958 (1958)–2014
Associated acts	Joaquín Rodrigo John McLaughlin Al Di Meola Larry Coryell Paco de Lucía Sextet Ricardo Modrego Camarón de la Isla Malú Bryan Adams
Website	Official website
Awards	Prince of Asturias Award Latin Grammy Award

Musical creative person

Francisco Gustavo Sánchez Gómez ^[i] (21 December 1947 – 25 February 2014), known as Paco de Lucía (;IPA: [ˈpako ðe luˈθi.a]), was a Spanish virtuoso flamenco guitarist, composer, and record producer. A leading proponent of the new flamenco fashion, he was 1 of the first flamenco guitarists to branch into classical and jazz. Richard Chapman and Eric Clapton, authors of Guitar: Music, History, Players, draw de Lucía as a "titanic figure in the world of flamenco guitar",^[2] and Dennis Koster, author of Guitar Atlas, Flamenco, has referred to de Lucía equally "one of history'southward greatest guitarists".^[three]

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 calibration 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 virtually important and influential in flamenco history.^[4]

Some of de Lucía'south 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 exterior his native Spain. De Lucía formed the Paco de Lucía Sextet in 1981 with his brothers, vocaliser 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 yr after on the Plaza Mayor in Madrid. Afterwards 2004 he greatly reduced his public performances, retiring from full touring, and typically only gave several concerts a year, unremarkably in Kingdom of spain and Germany and at European festivals during the summer months.

Biography [edit]

Early life [edit]

Paco de Lucía was born on 21 December 1947^[v] as Francisco Sánchez Gómez in Algeciras,^[6] province of Cádiz, in southern Spain. He was the youngest of the five children of flamenco guitarist Antonio Sánchez Pecino and Portuguese female parent Lúcia Gomes;^[7] his brothers include flamenco singer Pepe de Lucía and flamenco guitarist Ramón de Algeciras (at present 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 exist referred to as follows: '"Name of Child", (son or daughter) of "Name of Mother"', or "Paco (son) of Lucía" in his example, instead of using the kid'due south last proper noun. Later, later on learning to play the guitar and tasked with figuring out a way to nib himself, wanting to accolade his Portuguese mother Lucía Gomes, he adopted the stage name Paco de Lucía.^[8]

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 schoolhouse at that place. Antonio introduced Paco to the guitar at a immature historic period and was extremely strict in his upbringing from the age of 5, forcing him to exercise up to 12 hours a day, every day, to ensure that he could find success every bit a professional musician.^{[6] [nine] [x]} At one point, his father took him out of school to concentrate solely on his guitar evolution.^[eleven] In a 2012 interview de Lucía stated that, "I learned the guitar like a kid learns to speak."^[12]

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

Paco's brother Ramón idolized Niño Ricardo, and taught his complex falsetas to his young brother, who would acquire them with relative ease and alter them to his own liking and embellish them. This initially angered Ramón, who considered Ricardo's works to be sacred and thought his blood brother was showing off; just 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).^[14]

As also with Ramón, Ricardo was Paco's most important influence, and his get-go guitar hero; Paco said "all of us youngsters would expect upwardly to him, trying to learn from him and copy him."^[15] In 1958, at age 11, Paco fabricated his offset public appearance on Radio Algeciras. That year, he met Sabicas for the first fourth dimension in Málaga.^[16] A twelvemonth later, he was awarded a special prize at the Festival Concurso International Flamenco de Jerez de la Frontera flamenco competition.^[half-dozen]

1960s [edit]

At the age of xiv he made his commencement tape with his blood brother Pepe, Los Chiquitos de Algeciras (Kids of Algeciras).^[17] In the early 1960s, de Lucía toured with the flamenco troupe of dancer José Greco.^[5] In New York City in 1963, at the age of 15, he had his second encounter with Sabicas and his first run into with Mario Escudero, both of whom became de Lucía's mentors and afterwards close friends. They urged him to get-go writing his own cloth, advice he took to middle.^[sixteen] 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 equally 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, ^[18] for his debut solo album, La fabulosa guitarra de Paco de Lucía (1967).^[19] He appeared at the 1967 Berlin Jazz Festival. Co-ordinate to Gerhard Klingenstein, top jazz musicians who appeared at the festival (i.eastward. Miles Davis, Thelonious Monk), profoundly influenced de Lucía, and sparked a fascination for jazz that remained with him throughout his life.^[20]

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 acclamation.^[21] Richard Nidel said that their partnership was "central to the history of flamenco in the terminal quarter of the twentieth century."^[22]

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 blood 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.^[23]

1970s [edit]

De Lucía fabricated a cameo appearance, dressed every bit a Mexican guitarist, in the 1971 western Hannie Caulder, playing the melody of Ken Thorne'southward principal 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.^[24] Guitar International mentioned his "very ambitious" approach to playing Ímpetu.^[25] Escudero was a major influence on de Lucía during this period, inspiring him to explore new possibilities for flamenco.^[24] He began working with record producer José Torregrosa.

De Lucía'due south 1972 release El duende flamenco de Paco de Lucía was considered a groundbreaking anthology in the flamenco community.^{[26] [27]} As the 1970s progressed, de Lucía continued to produce groundbreaking albums and ventured into an increasingly anarchistic and innovative way of flamenco with jazz influences.^{[half dozen]} His next release, Fuente y caudal, acclaimed particularly for his Entre dos aguas, which has become arguably his all-time-known composition,^[28] and also for Solera and Cepa Andaluza. Entre dos aguas, a rumba featuring bongos with an electric bass, ways "Between two waters", referring to his home boondocks of Algeciras, where the Mediterranean meets the Atlantic.^[29] Biographer Pohren describes Cepa Andaluza as a "phenomenal" bulerías, which is "accompanied by palmas, shouts of encouragement and general jaleo, and makes i want to leap up and dance."^[29] The album also features several other tracks named later on 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.^[30] The early influences of the traditional players became increasingly less apparent as de Lucía embraced jazz and other influences, creating his ain voice and distinct style, yet never venturing too far from his roots.^{[30] [six]}

On 18 February 1975, de Lucía became the offset-ever flamenco performer to perform at the Teatro Existent of Madrid. He played a fix with his blood brother Ramón, in forepart of a relatively young audience without the use of effects. Pohren said that de Lucía'due south operation "was brilliant technically, and played a meaningful, moving, traditional brand of flamenco that did not beguile what Paco had in store for the flamenco guitar in the futurity."^[31] The recording was released every bit En vivo desde el Teatro Real.

His 1976 album, Almoraima, was a wider success and featured Almoraima and Río Ancho. The album was named later a former convent of the same proper noun located about 21 kilometres (13 mi) 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 menstruation.^[31] De Lucía performed on an episode of Parkinson on BBC in the UK, in which Michael Parkinson said "a marvelous immature musician who is making his very showtime advent on British television. His unconventional and modern approach to playing flamenco has already fabricated him a large star in Europe, peculiarly in his native Kingdom of spain."^[32]

In 1977, de Lucía married Casilda Varela, the girl of General Varela and descendant to a powerful Basque industrialist Ampuero family unit; they had three children.^[33] He released his terminal anthology, Castillo de Loonshit with Camarón de la Isla, The lyrics were written by Antonio Sánchez, with the exception of the bulerías Samara, which Sánchez and de la Isla wrote together. This would be his last LP with a singer for at least 15 years.^[34] He reportedly said that the human vox is "naturally likewise express" and that he prefers the exploration of different instrumentalists; he likewise said a busy schedule was the reason for lack of recordings with singers.^[34]

He performed extensively beyond the US and Europe during this flow, increasing his popularity outside Spain and the flamenco community in Europe, and met many jazz, Latin and other musicians who continued to influence de Lucía's evolution as a "Nuevo flamenco" player. He began to show a very keen interest in jazz fusion and rock, and in 1977 performed with Carlos Santana in the Plaza de toros de las Arenas bullring in Barcelona.^[35] He was invited by Al Di Meola to record on his "Mediterranean Sundance" piece for his album Elegant Gypsy. Despite considerable new interest in flamenco and de Lucía's playing generated by the album, traditionalist flamenco critics did not approve of the piece and hated that many people considered Mediterranean Sundance flamenco music and frowned upon de Lucía.^[36] Di Meola informed the critics not to worry and that "Paco is non leaving flamenco, simply expanding it."^[36] In 1978, Paco and his brothers recorded Interpreta a Manuel de Falla, a classical effort of compositions by Manuel de Falla.

In 1979, de Lucía, John McLaughlin, and Larry Coryell formed The Guitar Trio and together fabricated a tour of Europe and released a video recorded at London'southward Royal Albert Hall entitled Coming together of the Spirits. Pohren said that de Lucía's decision to work with musicians like McLaughlin, Di Meola, Coryell, and Chick Corea must accept been an "heady and stimulating" feel for him, given their technical musical knowledge and ability to improvise and said that they carried him "then far afield that at times he must have been profoundly confused, a man running the risk of losing his musical identity."^[37] This concerned de Lucía, who said in a late 1990s interview, "I take never lost the roots in my music, considering I would lose myself. What I have tried to do is have a hand holding onto tradition and the other scratching, earthworks in other places, trying to find new things I can bring into flamenco."^[6]

1980s [edit]

The Guitar Trio continued touring in 1980, with Larry Coryell being replaced by Al Di Meola in 1981. De Lucía reportedly suffered from headaches and backaches while performing because he found it difficult to improvise and follow McLaughlin and Coryell's avant-garde cognition of jazz improvisation.^[38] Paco professed, "Some people presume that they were learning from me, but I can tell you lot it was me learning from them. I accept never studied music, I am incapable of studying harmony—I don't have the discipline, playing with McLaughlin and Di Meola was about learning these things."^[39]

Also in 1981, The Guitar Trio released one of their most successful records, Fri Dark in San Francisco, which sold over ane million copies and generated a significant interest in flamenco music in America and Europe. Information technology featured an extended combination of Mediterranean Sundance and Río Ancho; this became arguably the slice most associated with the musicians. De Lucía too formed the Paco de Lucía Sextet in 1981 (which included his brothers Ramón and Pepe), and released the first of its three albums that same year. On 30 August 1981, de Lucía performed a solo set at St. Goarshausen in Germany, where he performed Monasterio de Sal and Montino amid others and afterwards performed with The Guitar Trio. The event was broadcast on national WDR television.^[40]

In 1982, Paco put on a series of concerts with jazz pianist Chick Corea.^[37] Corea was a considerable influence on him in the 1980s and he and McLaughlin adjusted a version of his piece Spain, performing it live together several times in the mid to belatedly 1980s. He released a "Gilded" double compilation album in 1982, La Guitarra de Oro de Paco de Lucía, covering Paco's earliest recordings with Ricardo Modrego of Federico García Lorca songs to date, and featured two siguiriyas, a flamenco form in which he hadn't indulged in his recordings since 1972.^[41]

In 1983, the Trio released Passion, Grace & Fire,^[42] and he had an interim role in Carlos Saura's highly acclaimed moving-picture show Carmen, for which he was also nominated for a BAFTA Film Award for Best Score. De Lucía composed original film scores for several films in the 1980s, including The Hit, a 1984 film in which he provided the soundtrack with Eric Clapton, with a minor contribution by Roger Waters.^[43]

On his 1984 anthology, Live... One Summer Dark, De Lucía not only played guitar, but too filled the role of producer.^[44] Paco de Lucía has also appeared as himself on goggle box in documentaries and Tv set shows and accepted a position as a judge at Seville's 1984 Biena.^[45]

By the mid-1980s, both the Sextet and the Guitar Trio had reached its plateau and stopped performing together,^{[46] [47]} although de Lucía would continue to perform with McLaughlin as a duo across Europe in 1986 and later on. In a 1986 interview with Downwards Shell magazine, Di Meola said that the reason for the breakup was that their performances were designed to "bulldoze the audience berserk" with a brandish of astonishing virtuosity and that they had run out of new spectacular fast runs to impress the audiences.^[47] Di Meola remarked that the music had become too "wild and crazy" and that he preferred to explore the quieter side of music, something Paco also felt, saying that he preferred "controlled expression to velocity."^[47] In May 1986, he performed at the Centro de Bellas Artes Rock music festival alongside the likes of Earl Klugh, Spyro Gyra, and Dave Valentin.^[48]

In 1987, de Lucía performed for the first time in the Soviet Union,^[49] and went back to his roots with his highly successful release, Siroco. Siroco is often cited equally his best album and ane of the greatest flamenco albums of all fourth dimension.^{[50] [51]}

His compositions La Cañada, the opening runway, a tango called La Barrosa, an alegrías named after the Playa la Barrosa in the province of Cadiz, and Gloria al Niño Ricardo, a soléa, received considerable attention and are considered modern flamenco classics.^[52] Eric Clapton and Richard Chapman described La Barrosa, a sugariness alegrías played in B major, as, "total of effortless effeminateness with cascading phrases."^[53] "Gloria al Niño Ricardo" is dedicated to Niño Ricardo who was de Lucía's "first hero" of the guitar.^{[54] [55]} Several of his compositions from that album form the staple of his gimmicky concert performances, and he often begins his concerts with La Cañada.

In 1989, de Lucía refused to perform at the bullring in Seville with Plácido Domingo and Julio Iglesias.^[56]

1990s [edit]

Although the sextet had declined after 1986, in 1990 they got together to record Zyryab, a groundbreaking Arabic flamenco/jazz album with jazz pianist Chick Corea and young man virtuoso flamenco guitarist Manolo Sanlúcar. The anthology is named later Ziryab, an eighth–ninth century Shiraz-born poet/musician at the Umayyad court in Córdoba, credited with introducing to Kingdom of spain the Persian lute, which evolved into the Spanish guitar—and co-ordinate to some, established flamenco itself.^{[57] [58]} One runway on the album, a tarantas, is dedicated to Sabicas.^[59] The album was critically well-received; Jazz Times praised the passion and rhythm of the musicians featuring on the album.^[threescore]

Until asked to perform and translate Joaquín Rodrigo's Concierto de Aranjuez in 1991, de Lucía was not proficient at reading musical notation.^[61] Biographer Pohren, nonetheless, at the time of writing his biography in 1992, said that he was still not good and had found a baroque way of learning the piece, locking himself away.^[62]

His functioning with the orchestra under Edmon Colomer was highly acclaimed, a sensitive, atmospheric rendition that composer Rodrigo himself praised, describing it equally "pretty, exotic, inspired ... I might add that Paco plays it with a not bad bargain of feeling, far more is usually heard. And that goes for the orchestra that backs him up."^[45] In 1992, he performed alive at the bullring at Seville Expo '92, and a twelvemonth later on on the Plaza Mayor in Madrid, playing "La Barrosa". In 1995, he and Bryan Adams recorded the hitting song and video "Take You E'er Actually Loved A Woman" on the soundtrack for the American film Don Juan DeMarco.

In 1996, his showtime "golden hits" album, Antología, was in the top 20 in Spain for at least 16 weeks, selling over 65,000 copies.^[63] In 1997, de Lucía performed in a tribute prove to the assassinated Castilian politician Miguel Affections Blanco, aslope Julio Iglesias, Los Del Rio, and other musicians.^[64] In 1998 he released and produced "Luzia", dedicated to his dying mother (hence the Portuguese spelling of her proper noun).^[65] It is considered to exist one of de Lucía's nigh complete and mature creative statements.^[66]

2000–14 [edit]

De Lucía lived for v years in Quintana Roo, United mexican states, but returned to his native Spain in 2003 later professing to take get actually tired with spending his whole life touring for half dozen to eight months a twelvemonth, getting up at the crevice of dawn and living in hotels.^[67] He continued to keep a holiday habitation in Mexico though and regularly visited with his family.

In 2004 he toured the United states and Canada with Seville flamenco singer La Tana,^[39] simply later profoundly reduced his live performances in public. He retired from full touring, and would but requite a few concerts a year, commonly in Spain and Germany and at European festivals during the summertime months. Pohren described de Lucía as "extremely timid and retiring", maxim that, "Being a very private person, [he] was dismayed at the ensuing popularity and lionization, and the increased pressure fame placed upon his shoulders, demanding that he constantly innovate and work harder to achieve technical and revolutionary perfection."^[68]

In 2003, de Lucía released Integral (2003), a 26CD Limited Edition Box Set, and Por Descubrir, a compilation album. In 2004, de Lucía released Cositas Buenas with Javier Limón. Information technology was released on Blue Thumb Records past Universal Music Espana S.L., and features four bulerías, two rumba tracks, a tangos and a tientos. It won the Latin Grammy Laurels for Best Flamenco Album in 2004 and the Billboard Latin Music Award for Latin Jazz Album of the Year in 2005.^{[69] [70]}

In 2005, he was nominated for producer of the twelvemonth past the Latin Grammy for La Tana's "Tu, Ven a Mi",^[71] which was De Lucía'due south first recording where he directed another artist since working on Camarón de la Isla's Potro de rabia y miel.^[72]

In 2004, he won the Prince of Asturias Awards in Arts, and on 23 March 2007, the University of Cadiz recognized de Lucía'southward musical and cultural contributions by conferring on him the championship of Doctor Honoris Causa. In 2010, he was awarded an honorary doctorate past Berklee Higher of Music in Boston,^[73] and performed at the Montreux Festival. He was also known for some years to select countries where he did not usually perform, and played at the Arena in Pula, Croatia in 2006 and 2010,^{[74] [75]} and in Turkey, Morocco and Tunisia in 2013. He appeared at the 49th Carthage International Festival on 31 July, playing at the Roman Theatre.^{[76] [77]}

Death [edit]

De Lucía died of a heart assail on 25 February 2014, while on holiday with his family unit in Playa del Carmen, Quintana Roo, Mexico. While playing soccer with his son on the beach, he asked his married woman to take him to the hospital considering he felt a "strange coolness in his throat." He was taken to a hospital and was able to enter the emergency room on his own, just had to exist helped into a gurney. Shortly after, he lost consciousness and died.

His brother Pepe commented that de Lucía had quit a 2-pack a twenty-four hours smoking habit twenty days earlier, and vowed to accept upwardly more sports action after the decease of his friend Félix Grande.^{[78] [79] [eighty] [81] [82]} His remains are buried at the municipal cemetery of his hometown Algeciras, Andalucía.^[83] De Lucía posthumously won the Latin Grammy Award for Album of the Year for his album Canción Andaluza at the 2014 awards ceremony.^[84] Shortly afterward his passing, the regional authorities of the Community of Madrid announced that the new northern terminus of Line 9 of the city's Metro system would be named later him as a tribute.^[85]

Legacy [edit]

At the San Vito Jazz Festival in July 2010

De Lucía was widely considered to be the world's premier flamenco guitarist and by many to be Spain's greatest musical export.^{[39] [86]} He had a revolutionary influence on flamenco music both as a composer and otherwise.^[87] His influence on flamenco guitar has been compared with that of Andrés Segovia's on classical guitar.^[88]

His album Fuente y Caudal (Fountain and Flow) has been cited by many to have changed the world of flamenco guitar beyond traditional flamenco civilisation.^[89] Forth with Enrique Morente and Camarón de la Isla, de Lucía was the first artist to break abroad from traditional flamenco and form what is now known as nuevo flamenco.^[90] As a composer, de Lucía was the first Spanish creative person to mix jazz with Andalusian music in a more or less systematic fashion.^[91] This includes, but is not limited to, his collaborations with Di Meola, McLaughlin, and Pedro Iturralde.^{[92] [93]}

Esteban de Sanlúcar and Mario Escudero were also major influences on him and sources of inspiration. According to biographer Pohren, de Lucía was "fascinated with jazz" and held a deep respect for loftier-tech jazz musicians, regarding Di Meola, McLaughlin, Coryell and Corea as highly as musicians as he did his flamenco mentors.^[94] Despite these influences, co-ordinate to the Jazz Times, "Most flamenco fans can trace the music'south history to either Earlier Paco or After Paco."^[87] In 2004 interview with El País he said "I accept ever found that the more technique you have the easier it is to express yourself. If y'all lack technique you lose the freedom to create."^[17] Like many other flamenco guitarists he oftentimes played a Hermanos Conde guitar and had his own signature model,^[95] but had a range of guitars in his collection.

Richard Chapman and Eric Clapton describe de Lucía equally a "titanic figure in the earth of flamenco guitar", highlighting his "astounding technique and creativity" and his wide range of musical ideas from other styles, such every bit Brazilian music and jazz.^[2] He is noted for his innovation and colour in harmony and his remarkable dexterity, technique, strength and fluidity in his correct manus, capable of executing extremely fast and fluent picados. A principal of dissimilarity, he often juxtaposes picados with rasgueados and other techniques and often adds abstract chords and calibration tones to his compositions with jazz influences.

Bill Milkowski of Down Beat out described him as "the portrait of studied concentration and pristine perfection: strong backed and stern faced, with a distinguished air about him that some might misread as haughtiness. He'due south proud and royal, similar a purple Arabian steed prancing with grace and elegance, notwithstanding able to reveal peachy power."^[96] Craig Harris of AllMusic noted his "securely personal melodic statements and modern instrumentation."^[6] Atlanta magazine said, "The guitar, when used properly, can be one of the most haunting and beautiful instruments to create sound ... when he brushes his fingers across the strings, [he] can create some of the about incredible music. It's nigh like a lullaby."^[97]

José Luis Acosta, president of the Spanish Artists and Editors Society stated that "Paco was and volition be a universal artist, who took the guitar and flamenco sentiment to the heart of the whole world."^[17] In 2015, Billboard magazine named de Lucía equally ane of The 30 Well-nigh Influential Latin Artists of All Time, an editor writes: "The virtuoso intrumentalist popularized flamenco worldwide, and brought the Spanish sound to the forefront of avant-garde jazz.".^[98] In the same year, he was posthumously inducted into the Latin Songwriters Hall of Fame for his contributions to flamenco music.^[99] On 21 December 2016, Google commemorated the anniversary of de Lucía's nascency with a Google Doodle created by Google creative person Sophie Diao that was shown in Kingdom of spain, United mexican states, and several South American nations.^[100]

Some other of Paco de Lucía's contributions was the inclusion of the cajón, an Afro-Peruvian instrument Caitro Soto exposed to him during his visit to Peru in the late 1970s. He understood this instrument, which he saw as a permanent solution to the need for percussion in flamenco. Along with Rubem Dantas, he added its percussive elements and it became an essential tool of contemporary flamenco and subsequently, other international musical trends.^[101]

A statue is dedicated to his retention ^[102] in his native urban center of Algeciras, overlooking the harbour.

Discography [edit]

Filmography [edit]

On 24 Oct 2014 was released a post-mortem documentary called Paco de Lucía: La búsqueda which is based on his life.^{[103] [104]}

Notes [edit]

1. ^ "Paco | pacodelucia.org" (in Castilian). Archived from the original on 3 February 2020. Retrieved 29 Jan 2020.
2. ^ ^{a b} Chapman & Clapton 2000, p. 40.
3. ^ Koster, Dennis (one June 2002). Guitar Atlas, Flamenco. Alfred Music Publishing. p. 5. ISBN978-0-7390-2478-2. Archived from the original on 13 May 2019. Retrieved four March 2013.
4. ^ Wald, Elijah (2007). Global Minstrels. Routledge. p. 185. ISBN978-0-415-97929-0. Archived from the original on iv Jan 2014. Retrieved four March 2013.
5. ^ ^{a b} Woodall 2007.
6. ^ ^{a b c d east f g} Harris, Craig. "Paco de Lucía: Biography". Allmusic. Retrieved 17 September 2011.
7. ^ "Biografia de Paco de Lucía". biografiasyvidas.com (in Spanish). Archived from the original on 21 Jan 2020. Retrieved 4 Feb 2020.
8. ^ "Paco de Lucia flamenco guitar principal and virtuoso". Flamenco-guitars.com. Archived from the original on 31 July 2010. Retrieved 22 September 2010.
9. ^ Bennett, Joe (2002). Guitar Facts. Hal Leonard Corporation. ISBN978-0-634-05192-0. Archived from the original on 17 June 2016. Retrieved 9 November 2015.
10. ^ Ross, Dorien (ane Oct 1995). Returning to "A" . City Lights Books. p. seventy. ISBN9780872863071 . Retrieved 4 May 2011.
11. ^ Pohren 1992, p. 41.
12. ^ "Renowned Spanish flamenco guitarist Paco de Lucia dies at 66". Reuters. 26 February 2014. Archived from the original on four March 2016. Retrieved 26 February 2014.
13. ^ Pohren 1992, p. 95.
14. ^ Pohren 1992, p. 29.
15. ^ Billboard. Nielsen Business concern Media, Inc. xi October 1997. p. 63. ISSN 0006-2510.
16. ^ ^{a b} Pohren 1992, p. 117.
17. ^ ^{a b c} "Spain: Flamenco guitarist Paco de Lucia dies at 66". Washington Post. 26 February 2014. Archived from the original on 26 February 2014. Retrieved 26 February 2014.
18. ^ Pohren 1992, p. 76.
19. ^ Custodio 2005, p. 106.
20. ^ Pohren 1992, pp. 100, 117.
21. ^ Pohren 1992, p. 118.
22. ^ Nidel, Richard (2005). World Music: The Basics . Routledge. p. 140. ISBN978-0-415-96800-3 . Retrieved 24 March 2013.
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References [edit]

• Chapman, Richard; Clapton, Eric (2000). Guitar: music, history, players. Dorling Kindersley Pub. p. 41. ISBN978-0-7894-5963-3 . Retrieved 9 Nov 2015.
• Custodio, Diana Pérez (November 2005). Paco de Lucía: La evolución del flamenco a través de sus rumbas. Servicio Publicaciones UCA. ISBN978-84-96274-75-four.
• Newman, Paul Jared (15 September 2009). A New Album of Falsetas for Flamenco Guitar. Assuming Strummer, Ltd. ISBN978-ane-57784-072-5.
• Pohren, D. E. (1992). Paco de Lucía and Family: The Chief Plan. Gild of Castilian Studies. ISBN978-0-933224-62-9 . Retrieved 9 Nov 2015.
• Woodall, James (2007). Lucía, Paco de. Grove Music Online. Oxford University Press.

Farther reading [edit]

• Mercurio, Paolo (2014). Il Flamenco di Paco De Lucía nella Spagna moderna, in "Amici della Musica Popolare", ISBN 978-60-50342-95-6 (in Italian)

External links [edit]

• Official website
• Paco de Lucía at IMDb
• BBC tribute
• (in Spanish) Spanish TV tribute (La2)

lewisthaversonly.blogspot.com

Source: https://en.wikipedia.org/wiki/Paco_de_Luc%C3%ADa

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