Paco de Lucía
About this Artist
Following five years of creative silence, PACO DE LUCÍA is back to change the face of music with “Cositas Buenas”. Torn between Spain and Mexico, plotting a course between sanity and “the hereafter”, Paco has once again done battle with the dark side and won. This is a rounded and polished album that is, above all, loyal to Flamenco. Eight completely new tracks as regards both his own music and music in general. Three Bulerías blaze the trail: Patio Custodio, Volar and Que Venga el Alba. On the last of these Paco reaches back in time to rescue his inner voice, Camarón de la Isla, and plays alongside the third of the holy trinity, Tomatito. Antonia, a Soleá-style Bulería dedicated to his daughter, on which Paco sings and she “throws in” three olés; a couple of Tangos, Cositas Buenas, that serve to vindicate the value of melody; two Rumbas, El Dengue and Casa Bernardo (with the collaboration of his friend Alejandro Sanz) and a few Tientos, El Tesorillo, held together by the vocals of Diego el Cigala. The voices of La Tana, Montse Cortés and El Potito raise this masterpiece to even greater heights while Jerry González and Juan D’Angelyca are there to guarantee the musical quality.
Francisco Sánchez Gómez was born in Algeciras, Cadiz, on December 21, 1947. Ever since the day when, as a five year old, he corrected his father, Antonio Sánchez, (a professional guitarist) as to the rhythm of a flourish, Paco’s dedication to the guitar has been exhaustive. 25 albums released, hundreds of awards and the consensus of the critics regarding the spectacular musical revolution he has instigated, all go towards making him the universal artist that he is. In 1965 he recorded his first LP, Dos Guitarras Flamencas. In 1975, with his album Fuente y Caudal, Paco began his dialogues with improvisation, and with the Rumba Entre Dos Aguas, he transformed the Flamenco guitar from a marginal instrument into a worldwide phenomenon. Simply by introducing the cajon drum, the bass and percussion, he lays the foundation of the current Flamenco idiom; Almoraima, on which he definitively surpasses the sounds produced by his masters, Niño Ricardo and Sabicas; Siroco, the greatest melodic and harmonious homage to Flamenco there is, and Luzía, fruit of a dark decade of absence, are just some of the landmarks that demonstrate the revolutionary genius, intuition and talent that are Paco de Lucía’s trademark. The dialogue that exists between his music and the rhythms of Brazil, the Jazz of Larry Coryell, Chick Corea, Al Di Meola or John Mclaughlin, and the Classical Music of Albeniz, Falla and Rodrigo, restate both his musical restlessness and his omnipotence. There is no doubt whatsoever that the name Paco de Lucía is one of those few that will be used by history to open a new chapter.