Jazz
For the time being, nobody has surpassed him and today's guitar-playing would be incomprehensible without him. He revolutionised the way of accompanying and of understanding flamenco guitar playing. With Camarón de la Isla, he formed the great artistic partnership in the final quarter of the twentieth century. He opened up the ears of the younger crowd to the flamenco guitar with the rumba Entre dos aguas (1973) which spent twenty weeks in the Spanish hit parade. Since the decade of the seventies, Paco de Lucía has contributed to the renewal of flamenco by integrating sounds and instruments from other forms of music like jazz, salsa or bossa nova into it. The record Friday night in San Francisco, recorded with John Mc Laughlin and Al Di Meola, sold over a million copies, a figure that was unimaginable for a flamenco artist.
He started playing the guitar with his father and with his elder brother Ramón when he was seven years old. He was only fourteen when he recorded his first record alongside his brother Pepe, in the duo Los Chiquitos de Algeciras, and they won the competition in Jerez de la Frontera in 1962. Both the brothers travelled around the world in José Greco's company, in which Paco came into contact with Sabicas, who encouraged him to stop following the tradition of Niño Ricardo to establish his own tradition.
In 1964 he made his first solo record, and his first success arrived in 1967 with La fabulosa guitarra de Paco de Lucía. He made several records with Camarón from 1969 to 1979, and it was with Almoraima (1976) that he definitively broke away from his roots to unveil his own consolidated personality. He started to think of setting up a flamenco band, after working with the band Dolores on one of his records, which he dedicated to Manuel de Falla (1978). Thus, a new period started that found its expression in the record Sólo quiero caminar (1983), with which the sextet that he formed with his brothers, Ramón de Algeciras and Pepe de Lucía, and with Jorge Pardo, Carles Benavent and Rubem Dantas, made its debut. Afterwards, they were joined by Manuel Soler, who danced. He also formed a flamenco trio with Juan Manuel Cañizares and his nephew José María Bandera. He re-established the septet later, and Cañizares was replaced by El Viejín, Manolo Soler was replaced by El Grilo, and Duquende took Pepe de Lucía's place. With this band he recorded Luzía in 1998, a tribute to his mother, who had died shortly before. This work also includes a rondeña that he dedicated to Camarón.
Paco de Lucía's ample recording history, which includes over twenty records without taking guest appearances into account, bore its latest fruit in 2004 with the record "Cositas Buenas". Moreover, with the record "Tú, ven a mí" by the young cantaora La Tana, which appeared in 2005, he appears to have recovered his facet as a producer, which he had abandoned in 1992 after "Potro de rabia y miel" by Camarón.
**
“ A recording of the concert by the guitarist with the accompaniment of his septet in the Gemeringer Jazztage in Germany in 1996. Paco's guitar plays alongside those of Cañizares and Ramón de Algeciras, joining the music of great jazz masters, with Joaquín Grilo dancing. The repertoire, which is very similar to that of 'Live in America', includes songs from 'Siroco' and 'Zyryab' and is finished off in a rumba style with 'Buana, buana, King Kong'. ”
**
Joaquín Grilo- Male Flamenco Dancer
Pepe de Lucía- Male Flamenco Singer
Cañizares- Guitar
Ramón de Algeciras- Guitar
Rubem Dantas- Percussion
Jorge Pardo- Saxophone
Carles Benavent- Bass
Paco de Lucía- Guitar
**
01. Mi Nino Curro
02. El Panuelo
03. Alcazar De Sevilla
04. Playa Del Carmen
05. Zyryab
06. Buana Buana King Kong
**
NoPassword
*
DLinks
*
1 2 3 4 5 6 7 8 9 10
*
No comments:
Post a Comment