PACO DE LUCÍA, A GREAT MUSICIAN

No one has surpassed him and the guitar-playing world would be incomprehensible without him. He revolutionized flamenco guitar playing and accompaniment by bringing novel chords and rhythmic counterpoint to his musical expression, and contributed to the renewal of flamenco by integrating sounds and instruments from other forms of music. He is the premier flamenco guitarist in Spain, Paco de Lucia.
Francisco Sánchez Gómez was born in Algeciras, a city in the province of Cádiz, in the Southern tip of Spain on December 21st, 1947. His stage name is homage to his mother Lucia Gómez. In 1958, at only age 11, de Lucia made his first public appearance and a year later he was awarded a special prize in the Jerez flamenco competition. At 14 he was touring with the flamenco troupe of dancer Jose Greco; it was while on tour in the United States that he met the great guitarist Sabicas, an influential guitarist, who encouraged him to pursue a more personal style. Back in Spain, he joined Festival Flamenco Gitano, an annual flamenco showcase tour that lasted for seven years. He recorded his first album in 1964, at the age of 18.
After his first solo record, success arrived in 1967 with “La Fabulosa Guitarra de Paco de Lucia.” With this record de Lucia began to distance himself from the influence of past, he had defined his own style. His superb technique was displayed in well structured pieces that departed from the flamenco tradition of theme and variations.

In 1968, he met Camarón de la Isla, consider the most popular and influential flamenco "cantaor" (singer) of the modern period. Although their work brought criticism from some traditionalists, they were the first to feature an electric bass, drums, and saxophone in his songs. Their association has been chronicled on more than 10 records. Each step of this perfect couple generated passions even as deep in his detractors as in his followers. Paco de Lucía said: "While others sang songs with social contents, Camarón's cracked voice could evoke on its own the desperation of a people"

His creative genius and mastery of the instrument has led to Flamenco entering into a dialogue with the Spanish classical music composers: Falla, Rodrigo and Albéniz, with the bossa nova and jazz: Chick Corea, John McLaughlan, Larry Coryell, Al DiMeola and with many others.
He is also credited for introducing the Peruvian cajon (a wood percussion box) into flamenco, as he brought one back to Spain after his many travels worldwide. The "cajon" is now usual for the new generation of musicians.

“The training ground for a flamenco guitarist,” de Lucia once said, “is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la “juerga” (the party) drinking. And then you work on technique. Guitarists do not need to study. And, as it is with any music, the great ones will spend some time working with the young players who show special talent. You must understand that a Gypsy's life is a life of anarchy. That is a reason why the way of flamenco music is a way without discipline, as you know it. We don't try to organize things with our minds; we don't go to school to find out. We just live... music is everywhere in our lives.”

For more information, you can visit:
About Paco de Lucía:
http://www.pacodelucia.org/flash_ingles.htm
http://www.flamenco-world.com/guitar/pacodelucia/pacodelucia.htm
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=210466379
About Camarón de la Isla:
http://www.flamenco-world.com/magazine/camaron/camaron.htm
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=82287363