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Paco de Lucía

Spanish flamenco, classical, jazz guitarist & musician

In this Spanish name, the first or paternal surname is Sánchez and the second or maternal family name is Gómez.

Musical artist

Francisco Gustavo Sánchez Gómez[1] (21 December &#;&#;&#;25 February ), known as Paco de Lucía (IPA:&#;[ˈpako ðe luˈθi.a]), was a Spanish virtuosoflamenco 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".[3]

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 s. He received acclaim for his recordings with flamenco singer Camarón de la Isla in the s, recording ten albums which are considered some of the most important and influential in flamenco history.[4]

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 s saw him gain wider popularity outside his native Spain. De Lucía formed the Paco de Lucía Sextet in with his brothers, singer Pepe de Lucía and guitarist Ramón de Algeciras, and collaborated with jazz pianist Chick Corea on their album, Zyryab. In , he performed live at Expo '92 in Seville and a year later on the Plaza Mayor in Madrid. After 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.


Early life[edit]

Paco de Lucía was born on 21 December as Francisco Sánchez Gómez in Algeciras,[6] a city near the far southern point of Spain in the province of Cádiz. He was the youngest of the five children of flamenco guitarist Antonio Sánchez Pecino and Portuguese mother Lúcia Gomes;[7] 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.[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 s 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.[6][9][10] At one point, his father took him out of school to concentrate solely on his guitar development. In a interview de Lucía stated that, "I learned the guitar like a child learns to speak."[12]

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."[15] In , 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.[6]


At the age of 14 he made his first record with his brother Pepe, Los Chiquitos de Algeciras (Kids of Algeciras).[17] In the early s, de Lucía toured with the flamenco troupe of dancer José Greco. In New York City in , 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 , he met Madrileño guitarist Ricardo Modrego with whom he recorded three albums: Dos guitarras flamencas (), 12 canciones de García Lorca para guitarra and 12 éxitos para 2 guitarras flamencas ().

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 and recorded Ímpetu, a bulerias composed by Mario Escudero, for his debut solo album, La fabulosa guitarra de Paco de Lucía (). He appeared at the 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 s, 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 and 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."[22]

Organizers began offering de Lucía lucrative contracts for concert tours in , 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 (), Dos guitarras flamencas en América Latina (), Fantasía flamenca de Paco de Lucía (), and 12 Hits para 2 guitarras flamencas y orquesta de cuerda (). They met Esteban Sanlucar in Buenos Aires and Juan Serrano in Detroit, and during spent considerable time in New York City where they grew close to Sabicas and Mario Escudero, playing together into the night.


De Lucía made a cameo appearance, dressed as a Mexican guitarist, in the 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.[24]Guitar International mentioned his "very aggressive" 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's release El duende flamenco de Paco de Lucía was considered a groundbreaking album in the flamenco community. As the s progressed, de Lucía continued to produce groundbreaking albums and ventured into an increasingly unconventional and innovative style of flamenco with jazz influences.[6] His next release, Fuente y caudal, acclaimed particularly for his Entre dos aguas, which has become arguably his best-known composition,[28] 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.[6]

On 18 February , 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 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 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 period. De Lucía performed on an episode of Parkinson on BBC in the UK, in which Michael Parkinson said "a marvelous young musician who is making his very first appearance on British television. His unconventional and modern approach to playing flamenco has already made him a big star in Europe, particularly in his native Spain."[32]

In , de Lucía married Casilda Varela, the daughter of General Varela and descendant to a powerful Basque industrialist Ampuero family; they had three children.[33] He released his final album, Castillo de Arena 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. He reportedly said that the human voice is "naturally too limited" and that he prefers the exploration of different instrumentalists; he also said a busy schedule was the reason for lack of recordings with singers.

He performed extensively across the US and Europe during this period, 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 performed with Carlos Santana in the Plaza de toros de las Arenas bullring in Barcelona. 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. Di Meola informed the critics not to worry and that "Paco is not leaving flamenco, but expanding it." In , Paco and his brothers recorded Interpreta a Manuel de Falla, a classical effort of compositions by Manuel de Falla.

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


The Guitar Trio continued touring in , with Larry Coryell being replaced by Al Di Meola in De Lucía reportedly suffered from headaches and backaches while performing because he found it difficult to improvise and follow McLaughlin and Coryell's advanced knowledge of jazz improvisation.[38] Paco professed, "Some people assume that they were learning from me, but I can tell you it was me learning from them. I have 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 , The Guitar Trio released one of their most successful records, Friday Night in San Francisco, which sold over 1 million copies and generated a significant interest in flamenco music in America and Europe. It featured an extended combination of Mediterranean Sundance and Río Ancho; this became arguably the piece most associated with the musicians. De Lucía also formed the Paco de Lucía Sextet in (which included his brothers Ramón and Pepe), and released the first of its three albums that same year. On 30 August , de Lucía performed a solo set at St. Goarshausen in Germany, where he performed Monasterio de Sal and Montino among others and later performed with The Guitar Trio. The event was broadcast on national WDR television.[40]

In , Paco put on a series of concerts with jazz pianist Chick Corea. Corea was a considerable influence on him in the s and he and McLaughlin adapted a version of his piece Spain, performing it live together several times in the mid to late s. He released a "Golden" double compilation album in , 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

In , the Trio released Passion, Grace & Fire,[42] and he had an acting role in Carlos Saura's highly acclaimed film 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 s, including The Hit, a film in which he provided the soundtrack with Eric Clapton, with a minor contribution by Roger Waters.[43]

On his album, Live One Summer Night, De Lucía not only played guitar, but also filled the role of producer.[44] Paco de Lucía has also appeared as himself on television in documentaries and TV shows and accepted a position as a judge at Seville's Biena.

By the mids, both the Sextet and the Guitar Trio had reached its plateau and stopped performing together, although de Lucía would continue to perform with McLaughlin as a duo across Europe in and later. In a interview with Down Beat magazine, Di Meola said that the reason for the breakdown was that their performances were designed to "drive the audience berserk" with a display of astonishing virtuosity and that they had run out of new spectacular fast runs to impress the audiences. 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." In May , he performed at the Centro de Bellas Artes Rock music festival alongside the likes of Earl Klugh, Spyro Gyra, and Dave Valentin.[48]

In , 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 as his best album and one of the greatest flamenco albums of all time.[50][51]

His compositions La Cañada, the opening track, 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. Eric Clapton and Richard Chapman described La Barrosa, a sweet alegrías played in B major, as, "full of effortless delicacy with cascading phrases." "Gloria al Niño Ricardo" is dedicated to Niño Ricardo who was de Lucía's "first hero" of the guitar. Several of his compositions from that album form the staple of his contemporary concert performances, and he often begins his concerts with La Cañada.

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


Although the sextet had declined after , in they got together to record Zyryab, a groundbreaking Arabic flamenco/jazz album with jazz pianist Chick Corea and fellow virtuoso flamenco guitarist Manolo Sanlúcar. The album is named after Ziryab, an 8th–9th century Shiraz-born poet/musician at the Umayyad court in Córdoba, credited with introducing to Spain the Persian lute, which evolved into the Spanish guitar—and according to some, established flamenco itself.[57] One track 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.[60]

Until asked to perform and interpret Joaquín Rodrigo's Concierto de Aranjuez in , de Lucía was not proficient at reading musical notation. Biographer Pohren, however, at the time of writing his biography in , said that he was still not proficient and had found a bizarre way of learning the piece, locking himself away.

His performance with the orchestra under Edmon Colomer was highly acclaimed, a sensitive, atmospheric rendition that composer Rodrigo himself praised, describing it as "pretty, exotic, inspired I might add that Paco plays it with a great deal of feeling, far more than is normally heard. And that goes for the orchestra that backs him up." In , he performed live at the bullring at Seville Expo '92, and a year later on the Plaza Mayor in Madrid, playing "La Barrosa". In , he and Bryan Adams recorded the hit song and video "Have You Ever Really Loved A Woman" on the soundtrack for the American film Don Juan DeMarco.

In , his first "golden hits" album, Antología, was in the top 20 in Spain for at least 16 weeks, selling over 65, copies.[63] In , de Lucía performed in a tribute show to the assassinated Spanish politician Miguel Angel Blanco, alongside Julio Iglesias, Los Del Rio, and other musicians.[64] In he released and produced "Luzia", dedicated to his dying mother (hence the Portuguese spelling of her name).[65] It is considered to be one of de Lucía's most complete and mature artistic statements.[66]


De Lucía lived for five years in Quintana Roo, Mexico, but returned to his native Spain in after professing to have become really tired with spending his whole life touring for six to eight months a year, getting up at the crack of dawn and living in hotels.[67] He continued to keep a holiday home in Mexico though and regularly visited with his family.

In he toured the United States and Canada with Seville flamenco singer La Tana,[39] but subsequently greatly reduced his live performances in public. He retired from full touring, and would only give a few concerts a year, usually in Spain and Germany and at European festivals during the summer months. Pohren described de Lucía as "extremely timid and retiring", saying 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."

In , de Lucía released Integral (), a 26&#;CD Limited Edition Box Set, and Por Descubrir, a compilation album. In , de Lucía released Cositas Buenas with Javier Limón. It was released on Blue Thumb Records by Universal Music Spain S.L., and features four bulerías, two rumba tracks, a tangos and a tientos. It won the Latin Grammy Award for Best Flamenco Album in and the Billboard Latin Music Award for Latin Jazz Album of the Year in [69][70]

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

In , he won the Prince of Asturias Awards in Arts, and on 23 March , the University of Cadiz recognized de Lucía's musical and cultural contributions by conferring on him the title of Doctor Honoris Causa. In , he was awarded an honorary doctorate by Berklee College 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 and ,[74][75] and in Turkey, Morocco and Tunisia in He appeared at the 49th Carthage International Festival on 31 July, playing at the Roman Theatre.[76][77]


De Lucía died of a heart attack on 25 February , while on holiday with his family in Playa del Carmen, Quintana Roo, Mexico. While playing soccer with his son on the beach, he asked his wife to take him to the hospital because 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, but had to be helped into a gurney. Soon after, he lost consciousness and died.

His brother Pepe commented that de Lucía had quit a two-pack a day smoking habit 20 days earlier, and vowed to take up more sports activity after the death of his friend Félix Grande.[78][79][80][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 awards ceremony.[84] Shortly after his passing, the regional government of the Community of Madrid announced that the new northern terminus of Line 9 of the city's Metro system would be named after him as a tribute.[85]


At the San Vito Jazz Festival in July

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 culture.[89] Along with Enrique Morente and Camarón de la Isla, de Lucía was the first artist to break away from traditional flamenco and form what is now known as nuevo flamenco.[90] As a composer, de Lucía was the first Spanish artist to mix jazz with Andalusian music in a more or less systematic way.[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 high-tech jazz musicians, regarding Di Meola, McLaughlin, Coryell and Corea as highly as musicians as he did his flamenco mentors. Despite these influences, according to the Jazz Times, "Most flamenco fans can trace the music's history to either Before Paco or After Paco."[87] In interview with El País he said "I have always found that the more technique you have the easier it is to express yourself. If you lack technique you lose the freedom to create."[17] Like many other flamenco guitarists he often 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 as a "titanic figure in the world of flamenco guitar", highlighting his "astounding technique and inventiveness" and his broad range of musical ideas from other styles, such as Brazilian music and jazz. He is noted for his innovation and colour in harmony and his remarkable dexterity, technique, strength and fluidity in his right hand, capable of executing extremely fast and fluent picados. A master of contrast, he often juxtaposes picados with rasgueados and other techniques and often adds abstract chords and scale tones to his compositions with jazz influences.

Bill Milkowski of Down Beat described him as "the portrait of studied concentration and pristine perfection: stiff backed and stern faced, with a distinguished air about him that some might misread as haughtiness. He's proud and majestic, like a regal Arabian steed prancing with grace and elegance, yet able to reveal great power."[96] Craig Harris of AllMusic noted his "deeply 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 most incredible music. It's almost like a lullaby."[97]

José Luis Acosta, president of the Spanish Artists and Editors Society stated that "Paco was and will be a universal artist, who took the guitar and flamenco sentiment to the heart of the whole world."[17] In , Billboard magazine named de Lucía as one of The 30 Most 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 , Google commemorated the anniversary of de Lucía's birth with a Google Doodle created by Google artist Sophie Diao that was shown in Spain, Mexico, and several South American nations.[]

Another 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 s. 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 later, other international musical trends.[]

A statue is dedicated to his memory [] in his native city of Algeciras, overlooking the harbour.


Main article: Paco de Lucía discography


On 24 October was released a post-mortem documentary called Paco de Lucía: La búsqueda which is based on his life.[][]


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  47. ^"PGJE confirma muerte de Paco de Lucía en Playa del Carmen". El Universal (in Spanish). 26 February Retrieved 26 February
  48. ^"Paco de Lucía murió en Playa del Carmen: Procuraduría de Quintana Roo". La Crónica de Hoy (in Spanish). 26 February Retrieved 26 February
  49. ^"Paco de Lucía llegó por su propio pie al hospital donde murió". El Nacional (in Spanish). 26 February Archived from the original on 26 February Retrieved 26 February
  50. ^"Paco de Lucía, a su mujer: "Gabriela, llévame al hospital que tengo un frío muy raro en la garganta"". (in Spanish). 27 February Retrieved 26 February
  51. ^"Los restos de Paco de Lucía reposan en el antiguo cementerio municipal de Algeciras" (in Spanish). RTVE. 1 March Retrieved 22 November
  52. ^Jue, Teresa (21 November ). "Enrique Iglesias, Calle 13 take home multiple Latin Grammys". Entertainment Weekly. Time Inc. Retrieved 22 November
  53. ^"Paco de Lucía dará nombre a una estación de Metro". (in Spanish). 27 February Retrieved 4 February
  54. ^Billboard. Nielsen Business Media, Inc. 18 July p.&#; ISSN&#; Retrieved 4 March
  55. ^ abContreras, Felix (August ). "Paco de Lucía: Flamenco Bueno". Jazz Times. Retrieved 20 August
  56. ^A. Bennett; K. Dawe (), Guitar Cultures, New York: Berg Publishers, p.&#;66, retrieved 9 November
  57. ^E. Rodgers; V. Rodgers (), Encyclopedia of Contemporary Spanish Culture, London: Routledge, p.&#;, retrieved 9 November
  58. ^E. Rodgers; V. Rodgers (), Encyclopedia of Contemporary Spanish Culture, London: Routledge, p.&#;, retrieved 9 November
  59. ^Stanton, Edward F. (), Handbook of Spanish Popular Culture, Westport, CT: Greenwood Press, p.&#;, retrieved 9 November
  60. ^Claus Schreiner (), Flamenco: Gypsy Dance and Music from Andalusia, Portland, OR: Amadeus Press, p.&#;32, retrieved 9 November
  61. ^Gioia, Ted (), The History of Jazz, New York: Oxford University Press, p.&#;, retrieved 9 November
  62. ^"Modelo Paco de Lucía" (in Spanish). Retrieved 31 March
  63. ^"Paco de Lucia". Gale Musician's Profiles. Retrieved 31 March
  64. ^Atlanta. Emmis Communications. February p.&#; ISSN&#; Retrieved 24 March
  65. ^"The 30 Most Influential Latin Artists of All Time". Billboard. Prometheus Global Media. 28 April Retrieved 1 May
  66. ^" Inductees". Latin Songwriters Hall of Fame. Retrieved 17 October
  67. ^"Paco de Lucía's 69th Birthday". Google. Retrieved 21 December
  68. ^"Cajon-flamenco". Retrieved 22 April
  69. ^
  70. ^Batlle Caminal, Jordi (24 October ). "'Paco de Lucía :La búsqueda': Retrato del artista". La Vanguardia (in Spanish). Retrieved 19 July
  71. ^Rodríguez Marchante, Oti (24 October ). "Crítica de "Paco de Lucía, la búsqueda" (****): Magnífico dibujo entre dos aguas". ABC (in Spanish). Retrieved 19 July


  • Chapman, Richard; Clapton, Eric (). Guitar: music, history, players. Dorling Kindersley Pub. p.&#; ISBN&#;. Retrieved 9 November
  • Custodio, Diana Pérez (November ). Paco de Lucía: La evolución del flamenco a través de sus rumbas. Servicio Publicaciones UCA. ISBN&#;.
  • Newman, Paul Jared (15 September ). A New Anthology of Falsetas for Flamenco Guitar. Bold Strummer, Ltd. ISBN&#;.
  • Pohren, D. E. (). Paco de Lucía and Family: The Master Plan. Society of Spanish Studies. ISBN&#;. Retrieved 9 November
  • Woodall, James (). Lucía, Paco de. Grove Music Online. Oxford University Press.

Further reading[edit]

  • Mercurio, Paolo (). Il Flamenco di Paco De Lucía nella Spagna moderna, in "Amici della Musica Popolare", ISBN&#;(in Italian)

External links[edit]


Paco De Lucía & Ricardo ModregoSpain

The best album credited to Paco De Lucía & Ricardo Modrego is 12 Éxitos Para 2 Guitarras Flamencas which is ranked number 35, in the overall greatest album chart with a total rank score of

Paco De Lucía & Ricardo Modrego is ranked number 11, in the overall artist rankings with a total rank score of

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Paco De Lucía & Ricardo Modrego best albums

The following albums by Paco De Lucía & Ricardo Modrego are ranked highest in the greatest album charts:

This may not be a complete discography for Paco De Lucía & Ricardo Modrego.This listing only shows those albums by this artist that appear in at least one chart on this site. If an album is 'missing' that you think deserves to be here, you can include it in your own chart from the My Charts page!

Paco De Lucía & Ricardo Modrego bestography composition

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Paco de Lucía discography

The discography of Spanish flamenco guitarist Paco de Lucía:


Studio albums[edit]

Collaborative albums[edit]

Compilation albums[edit]

Live albums[edit]

Albums accompanying singers[edit]

Paco de Lucía was the lead guitarist accompanying singers on their albums, often with his name noted in the album's title.[39]

  • Flamenco Festival Gitano recorded -
    • Volume 3 (L&R records L&R ) (in cuadro) released
    • Volume 4 (L& R Records L&R 12L recorded , released
  • El Chato de La Isla
    • (Polydor EP FEP)
    • Canta El Chato de la Isla (Fontana WPY)
  • Manuel Soto "El Sordera"
  • Gaspar de Utrera
  • El Sevillano
    • six Polydor EPs,
    • El Sevillano con Paco de Lucía ( LP)
  • El Lebrijano
    • EL Lebrijano: De Sevilla a Cádiz (Columbia LP CS )
    • El Lebrijano con la Collaboración Especial de Paco de Lucía (Polydor 23 85 )
  • Juan de la Vara
    • (Hispavox EP 16/)
  • Enrique Montoya
  • Niño de Barbate
    • Niño de Barbate con la Collaboración Especial de Paco de Lucía (TIP 24 56 and 24 56 )
  • Naranjito de Triana
    • Naranjito de Triana: A Triana (RCA Victor LPM 10 )
  • Pepe de Lucía
    • Pepe de Algeciras (Polydor ), (malagueña "De Mi Larga Enfermedad", bulerías "Desterrado Me Fui Para El Sur", tientos "Pesaba Este Cuerpo Mío", soleá "La Muerte Pedía Yo")
    • El Mundo Flamenco de Paco de Lucia (Philips 63 28 ),
    • Pepe de Lucia y Paco de Lucia (Triumph S ),
    • Caminando (Polydor ),
    • El Orgullo De Mi Padre (Nuevos Medios NM 15 CD),
  • Fosforito
    • EPs: Belter 52 , 52 , 52 , 52
    • LPs: Belter 22 , 22 , 22 , 22 , 22
    • Fosforito: Selección Antológica (Belter , , , , re-released on 2-CD set as Fosforito con Paco de Lucía, Selección Antológica del Cante Flamenco, Iris Music France BMH91)
  • Antonio Mairena
    • Antonio Mairena: Cantes en Londres ye en La Union Pasarela PRD (Live performance with Manuel Morao in London in and with Paco at La Union, February 16, , released )
  • Camarón de la Isla
    • Officially, the simple descriptive title for five of the first six collaborative albums by these two performers, excluding Canastera, was El Camarón de la Isla con la colaboración especial de Paco de Lucía, but each of the five came to be identified by the title of their first track.
    • Al Verte las Flores Lloran ()
    • Cada Vez que Nos Miramos ()
    • Son Tus Ojos Dos Estrellas ()
    • Canastera ()
    • Una Noche en Torres Bermejas (, but recorded in ), Philips 63 28 ), live with Camarón and Pepa de Utrera.
    • Caminito de Totana ()
    • Soy Caminante ()
    • Arte y Majestad ()
    • Rosa María ()
    • Castillo de Arena ()
    • Camarón en la Venta de Vargas ()
  • Camarón de la Isla (also with Tomatito)
    • Como el Agua ()
    • Calle Real ()
    • Viviré ()
    • Potro de Rabia y Miel ()

Other contributions[edit]

Further information[edit]

A tentatively complete discography of Lucía, including cover-photos and listing all his appearances, both in his own right and with other artists whomsoever, has been compiled by the flamenco guitarist Mark Shurey "Pimientito", and was presented by him on the flamenco forum[41]


  1. ^ abcde"Passion, Grace & Fire - Al di Meola,Paco de Lucía,John McLaughlin &#; Awards". AllMusic. Retrieved
  2. ^ abcSteffen Hung. "Spanish charts portal". Retrieved
  3. ^"Paco De Lucia - Cositas buenas". Retrieved
  4. ^ abcSteffen Hung. "Les charts français". Retrieved
  5. ^"iTunes - Music - Solo Quiero Caminar by Paco de Lucía". Retrieved
  6. ^"iTunes - Music - Siroco by Paco de Lucía". Retrieved
  7. ^"iTunes - Music - Zyryab by Paco de Lucía". Retrieved
  8. ^"iTunes - Music - Concierto de Aranjuez by Edmon Colomer, Orquesta de Cadaqués & Paco de Lucía". Retrieved
  9. ^"iTunes - Music - Luzia by Paco de Lucía". Retrieved
  10. ^"iTunes - Music - Cositas Buenas (Edicion Limitada) by Paco de Lucía". Retrieved
  11. ^"Espectáculos - Canción andaluza , disco póstumo de Paco de Lucía". El Universal. Retrieved
  12. ^"iTunes - Music - Canción Andaluza by Paco de Lucía". Retrieved
  13. ^"The Guitar Trio: Paco de Lucia/John McLaughlin/Al Di Meola - Al di Meola,Paco de Lucía,John McLaughlin &#; Awards". AllMusic. Retrieved
  14. ^"Friday Night in San Francisco - Al di Meola,Paco de Lucía,John McLaughlin &#; Awards". AllMusic. Retrieved
  15. ^ ab"". Retrieved
  16. ^ abSteffen Hung (). "Austria Top 40 - Hitparade Österreich". Retrieved
  17. ^"iTunes - Music - Dos Guitarras Flamencas en Stereo by Ricardo Modrego & Paco de Lucía". Retrieved
  18. ^"iTunes - Music - 12 Canciones de Garcia Lorca para Guitarra (Instrumental) by Ricardo Modrego & Paco de Lucía". Retrieved
  19. ^"iTunes - Music - 12 Éxitos para Dos Guitarras Flamencas (Instrumental) by Paco de Lucía & Ricardo Modrego". Retrieved
  20. ^"iTunes - Music - Canciones Andaluzas para Dos Guitarras (Instrumental) by Paco de Lucía & Ramón Algeciras". Retrieved
  21. ^"iTunes - Music - Dos Guitarras Flamencas en America Latina by Paco de Lucía & Ramón Algeciras". Retrieved
  22. ^"iTunes - Music - Paco de Lucia / Ramon de Algeciras en Hispanoamerica (Instrumental) by Paco de Lucía & Ramón Algeciras". Retrieved
  23. ^"iTunes - Music - 12 Hits para 2 Guitarras Flamencas y Orquesta de Cuerda (Instrumental) by Paco de Lucía & Ramón Algeciras". Retrieved
  24. ^"iTunes - Music - Castro Marin by Paco de Lucía". Retrieved
  25. ^"iTunes - Music - Passion, Grace & Fire by Al Di Meola, John McLaughlin & Paco de Lucía". Retrieved
  26. ^"iTunes - Music - Guitar Trio - Paco De Lucía/John McLaughlin/Al Di Meola by Paco De Lucía, John McLaughlin & Al Di Meola". Retrieved
  27. ^Steffen Hung (). "Portuguese charts portal". Retrieved
  28. ^"iTunes - Music - Entre Dos Aguas by Paco de Lucía". Retrieved
  29. ^"iTunes - Music - Antología, Vol. 1 by Paco de Lucía". Retrieved
  30. ^"iTunes - Music - Antología, Vol. 2 by Paco de Lucía". Retrieved
  31. ^"iTunes - Music - Por Descubrir by Paco de Lucía". Retrieved
  32. ^Steffen Hung. "Dutch Charts". Retrieved
  33. ^Steffen Hung (). "New Zealand charts portal". Retrieved
  34. ^"iTunes - Music - Paco de Lucia (En Vivo) by Paco de Lucía". Retrieved
  35. ^"iTunes - Music - Friday Night In San Francisco (Live) by Al Di Meola, John McLaughlin, Paco De Lucia". Archived from the original on Retrieved
  36. ^"iTunes - Music - Live One Summer Night by The Paco de Lucia Sextet". Retrieved
  37. ^"iTunes - Music - Live in America by Paco de Lucía". Retrieved
  38. ^"iTunes - Music - En Vivo - Conciertos Live In Spain by Paco de Lucía". Retrieved
  39. ^Sevilla, Paco (). Paco de Lucia&#;: a new tradition for the flamenco guitar. Sevilla Press, San Diego, Ca. ISBN&#;.
  40. ^Poets In New York at Discogs (list of releases)
  41. ^"Paco de Lucia discography by Mark Shurey "Pimientito"". Archived from the original on Retrieved CS1 maint: bot: original URL status unknown (link)

And swam along them. Shaken by rhythmic jerks, the girl plunged into some kind of magical dream. She did not feel his persistent lips caressing her tongue, greedy hands sliding over her thighs and tormenting her breasts. Her body shuddered from the experienced orgasms. Eugene received real pleasure from just the contemplation of these divine long legs, thrown up, the pretty face of a girl, constantly licking her brightly painted lips.

Canciones lucía paco de

Grasping her waist, he hammered his dignity with bestial strength and soon finished. But even after that he continued to fuck her at the same pace. - Have you finished. - She asked fearfully when she felt something flowing out of her.

Paco de Lucia - Cancion de Amor / Entre dos Aguas (Live in Sevilla)

I saw his penis and was a little surprised, it was not big like in porn movies for men, it was quite small. So, after thinking better, I began to slowly suck his head, The taste of course was not so pleasant, but this is. Just for a while. He started fucking me with his mouth, you can say, and it was unforgettable.

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