Year: 1973
File: MP3@320K/s
Time: 35:43
Size: 82,2 MB
Art: Front
(6:01) 1. Entre Dos Aguas
(4:16) 2. Aires Choqueros
(3:54) 3. Reflejo De Luna
(3:42) 4. Solera
(5:14) 5. Fuente Y Caudal
(5:48) 6. Cepa Andaluza
(3:35) 7. Los Pinares
(3:12) 8. Plaza De San Juan
Francisco Gustavo Sánchez Gómez (21 December 1947 – 25 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. 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. https://en.wikipedia.org/wiki/Paco_de_Luc%C3%ADa
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. 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. https://en.wikipedia.org/wiki/Paco_de_Luc%C3%ADa
Fuente y Caudal
Thank you very much for your kind attention, Giulia.
ReplyDeleteThank you Alfred Bayle!
DeleteIn this bulería he plays solo guitar, accompanying guitar and percussion with his foot. It was incredible.
DeleteSorry. The link is this:
Deletehttps://www.youtube.com/watch?v=-nEWuMKiSjc
His complete perfomance is in this link:
Deletehttps://tinyurl.com/silkydenims
I found the last one in youtube:
Deletehttps://www.youtube.com/watch?v=kMG9RwDe8E0
Do you know any other flamenco guitarist who is good?
Manolo Sanlucar and Pepe Cepedo. The problem is that Paco played at 45 rpm and these go at 33 rpm.
Deletehttps://www.youtube.com/watch?v=aiLXOjf8kpo
TYVM!!!
ReplyDeletePaco always disliked the percussion of “Entre dos aguas”. In flamenco, the most authentic rhythm is carried by the footwork of the dancers. Clapping and castanets act as substitutes. The bongos were the producer's idea, but to Paco they seemed more typical of Latin American music. The Spanish record companies were betting on fusion (now we call it multiculturalism), but such an orientation destroys flamenco. It was during the tour that he made in Peru in 1977 that he found the Peruvian cajon that he would always bring out later.
The first link shows the use of the Peruvian cajon in one of his concerts. In the second, Paco de Lucía himself speaks about his discovery.
https://www.youtube.com/watch?v=976aVPPx2Zc
https://www.youtube.com/watch?v=6uEmntKOQcE
Thank you Akenaten!
DeleteOne of Paco's best Lps was his second solo album, when he was 22 years old, entitled "Fantasia flamenca de Paco de Lucía". It's seminal, as well as a purist flamenco Lp. "El Tempul", for example, marks the canon of all later bulerías, including "Almoraima". It is a solo Lp and, therefore, difficult to listen to, but it is the work more analyzed by all subsequent flamenco guitarists.
ReplyDelete