{"id":387238,"date":"2023-07-09T01:50:55","date_gmt":"2023-07-09T01:50:55","guid":{"rendered":"http:\/\/new.allflamenco.net\/paco-lucia\/"},"modified":"2026-09-09T09:43:29","modified_gmt":"2026-09-09T07:43:29","slug":"paco-lucia","status":"publish","type":"post","link":"https:\/\/allflamenco.net\/en\/blog\/paco-lucia\/","title":{"rendered":"Paco de Luc\u00eda: the Guitarist Who Changed Flamenco Forever"},"content":{"rendered":"

Madrid, 1973. Paco de Luc\u00eda<\/strong> was a few minutes short of a finished album, so he sat down in the studio and improvised over a rumba. It took four takes. He called it \u00abEntre dos aguas\u00bb<\/em> and used it as filler on \u00abFuente y caudal\u00bb<\/strong>, a record that sold almost nothing on release and was close to being deleted from the catalogue within months.<\/p>\n

It was his manager at the time, Jes\u00fas Quintero<\/strong>, who insisted on releasing that rumba as a single and who pushed journalists \u2014Moncho Alpuente, Carlos Tena, Gonzalo Garc\u00eda Pelayo\u2014 to get it played on Spanish national radio and television. The single came out in October 1974<\/strong>. It spent twenty-two weeks<\/strong> high in the charts, passed 300,000 copies<\/strong> and was certified gold in 1976. A flamenco guitarist was suddenly the best-selling artist in Spain.<\/p>\n

Everything else grows out of that misunderstanding \u2014a throwaway track turned anthem. Because what Paco de Luc\u00eda did to flamenco from then on was not to popularise it. It was to rebuild it from the inside<\/strong>.<\/p>\n

The Boy Whose Childhood the Guitar Took Away<\/h2>\n

Francisco S\u00e1nchez G\u00f3mez<\/strong> was born in Algeciras<\/strong> (C\u00e1diz) on 21 December 1947<\/strong>, the youngest of five children in a poor household of the Campo de Gibraltar. His father, Antonio S\u00e1nchez Pecino<\/strong>, was a guitarist known locally as \u00abel Gitano Rubio\u00bb, the fair-haired gypsy. His mother, Luc\u00eda Gomes Gon\u00e7alves<\/strong>, was Portuguese. The name comes from her: in the street he was not Francisco but \u00abPaco, Luc\u00eda’s boy\u00bb. It stuck for life, and in 1998 he gave her a whole album, \u00abLuz\u00eda\u00bb<\/em>.<\/p>\n

He picked up a guitar at six. At nine, the family’s poverty turned that into a trade: hours of practice every day, far more than any child would choose. It is the part of the legend usually told as heroism and which he told as what it was \u2014a childhood handed over to an instrument\u2014 but also as the reason he could make a living from playing by the age of fifteen.<\/p>\n

Madrid, America and the Advice That Changed His Course<\/h2>\n

The family moved to Madrid in search of a better life. Paco was fifteen and joined the company of the dancer Jos\u00e9 Greco<\/strong>, touring the Americas for months. On that trip he met Sabicas<\/strong>, the exiled guitarist from Navarre who had taken flamenco abroad before anyone else, and Sabicas told him the one thing he needed to hear: stop playing like Ni\u00f1o Ricardo<\/strong> and find your own way.<\/p>\n

He took the advice, though it took time. In 1964<\/strong> he recorded his first album already signing as Paco de Luc\u00eda \u2014he still alternated it with Paco de Algeciras\u2014 and began accompanying singers of the stature of Fosforito<\/strong> and El Lebrijano<\/strong>. In 1967<\/strong> came \u00abLa fabulosa guitarra de Paco de Luc\u00eda\u00bb<\/em>, his first real success: Ni\u00f1o Ricardo is still audible in it, but something else is showing through. By 1969<\/strong>, with \u00abFantas\u00eda flamenca\u00bb<\/em>, that something else has a name of its own. Paco was twenty-two.<\/p>\n

\n\"Close-up
Paco de Luc\u00eda’s hands on the strings, in \u00abPaco de Luc\u00eda. The Search\u00bb. The guitar rests on the crossed leg: the posture he introduced at the Teatro Real in 1975 and which half the world now uses.<\/figcaption><\/figure>\n

18 February 1975: the Crossed Leg at the Teatro Real<\/h2>\n

Madrid’s Teatro Real<\/a> was the temple of classical music in Spain, and no flamenco artist had ever played there. Paco de Luc\u00eda did, on 18 February 1975<\/strong>, with his brother Ram\u00f3n de Algeciras<\/strong> beside him and the house full. That night produced his first live album, \u00abEn vivo desde el Teatro Real\u00bb<\/em>, with eight forms \u2014alegr\u00edas, tarantas, grana\u00ednas, zapateado, sole\u00e1, fandangos, guajiras and rumba\u2014 summing up his career so far.<\/p>\n

The concert was controversial for two reasons, and the second has outlasted the first. The first was that a flamenco player was on that stage at all. The second was that he sat with one leg crossed<\/strong>, resting the guitar on it, instead of the traditional posture. It gave him the reach to chain chords in fewer bars. Today it is how half the world sits down to play.<\/p>\n

Camar\u00f3n, or the Decade Flamenco Split in Two<\/h2>\n

They met in the early sixties at the juergas<\/em> of Torres Bermejas<\/strong>, where Camar\u00f3n de la Isla<\/strong> was singing for far less than he was worth. They worked together from 1969 to 1979<\/strong>, made nine albums<\/strong> and became close friends. Those sleeves carried the period’s \u00abwith the special collaboration of Paco de Luc\u00eda\u00bb, and inside was flamenco that was at once the most orthodox and the newest being made. They even invented a form of their own, the canastera<\/strong>.<\/p>\n

The relationship later broke down over rights, over Camar\u00f3n’s private life and partly over the role of Paco’s father, who controlled the production of those records. It was patched up in stretches and finally came apart. What never came apart was the admiration. In the profile Spain’s Ministry of Culture<\/a> devotes to him, Paco puts it like this.<\/p>\n

\n

I never wanted to be a concert performer, because what I have loved since I was a child was singing; I hid behind the guitar. I am a frustrated cantaor.<\/p>\n<\/blockquote>\n

BIO<\/h2>\n

Name and birth<\/h3>\n

Francisco S\u00e1nchez G\u00f3mez, \u00abPaco de Luc\u00eda\u00bb.
\nAlgeciras (C\u00e1diz), 21 December 1947. The youngest of five.
\nThe nickname comes from his mother: in the street he was \u00abPaco, Luc\u00eda’s boy\u00bb.<\/p>\n

A flamenco family<\/h3>\n

Father: Antonio S\u00e1nchez Pecino<\/em>, guitarist, \u00abel Gitano Rubio\u00bb.
\nMother: Luc\u00eda Gomes Gon\u00e7alves<\/em>, Portuguese.
\nBrothers: Ram\u00f3n de Algeciras<\/em> (guitar) and Pepe de Luc\u00eda<\/em> (voice), both in his sextet.<\/p>\n

The albums that mark the road<\/h3>\n

La fabulosa guitarra de Paco de Luc\u00eda<\/em> (1967), the first success.
\nFuente y caudal<\/em> (1973), with \u00abEntre dos aguas\u00bb.
\nFriday Night in San Francisco<\/em> (1981), with McLaughlin and Di Meola.
\nLuz\u00eda<\/em> (1998), dedicated to his mother.
\nCanci\u00f3n andaluza<\/em> (2014), the last one he finished.
\nSaturday Night in San Francisco<\/em> (2022), released eight years after his death.<\/p>\n

Awards<\/h3>\n

National Flamenco Art Competition of C\u00f3rdoba (1968).
\nGold Medal of Merit in the Fine Arts (1992).
\nPrince of Asturias Award for the Arts (2004).
\nDoctor honoris causa<\/em>, Berklee College of Music (8 May 2010).
\nGold Medal of Merit at Work, posthumously (2014).<\/p>\n

Death<\/h3>\n

Playa del Carmen (Quintana Roo, Mexico), 25 February 2014, aged sixty-six.<\/p>\n

The Sextet, or How to Put a Flute Inside Flamenco<\/h2>\n

In 1981<\/strong> he formed the Paco de Luc\u00eda Sextet<\/strong> and with it invented what we now take for granted: the modern flamenco group. Two guitars \u2014his own and Ram\u00f3n de Algeciras’s\u2014, his brother Pepe de Luc\u00eda<\/strong> on vocals, Jorge Pardo<\/strong> on flute and saxophone, Carles Benavent<\/strong> on electric bass and Rubem Dantas<\/strong> on percussion. In the flamenco of the day there was simply no precedent for it. (The Princess of Asturias Foundation dates the sextet to 1981; other biographies bring it forward to 1980, when he was already playing with that line-up under no fixed name.)<\/p>\n

It was Dantas who brought from Peru the instrument that has changed the sound of the genre most since: the caj\u00f3n<\/strong>. Today a flamenco group is unthinkable without it, and it has been here for less than fifty years. On ALL FLAMENCO you can watch that same flautist tell his own story in \u00abTrance\u00bb<\/a>, and the Camerata Flamenco Project<\/a> showing where that language enters chamber music.<\/p>\n

\u00abFriday Night\u00bb, a Million Copies and a Night That Took Forty Years to Surface<\/h2>\n

His other door was jazz, and he opened it early: by 1967 he had already recorded with the saxophonist Pedro Iturralde<\/strong>. But the leap came in 1980<\/strong>, in San Francisco, with guitarists John McLaughlin<\/strong> and Al Di Meola<\/strong>. Those nights produced \u00abFriday Night in San Francisco\u00bb<\/em>, which according to the Princess of Asturias Foundation<\/a> passed a million copies<\/strong> \u2014 an unimaginable figure for someone coming out of flamenco.<\/p>\n

And there is an epilogue almost nobody saw coming: the recording of the following night<\/strong> sat in a drawer for forty-two years and was released in 2022<\/strong> as \u00abSaturday Night in San Francisco\u00bb<\/em>. Eight years after his death, Paco de Luc\u00eda was still putting out records. His albums, one by one, are listed on his Foundation’s website<\/a>.<\/p>\n

\n\"Paco
Paco de Luc\u00eda alone on stage, in \u00abPaco de Luc\u00eda. The Search\u00bb. The documentary was filmed between 2010 and 2014, in the last years of his life.<\/figcaption><\/figure>\n

Aranjuez, Asturias and a Doctorate in Boston<\/h2>\n

He never left traditional flamenco behind while doing everything else, and that is why he was never accused of having walked away. In 1991<\/strong> he recorded Joaqu\u00edn Rodrigo’s Concierto de Aranjuez<\/em> in a reading so personal it became one of the reference versions. In 1992<\/strong> he received the Gold Medal of Merit in the Fine Arts; in 2004<\/strong>, the Prince of Asturias Award for the Arts<\/strong>, whose jury described him as a musician who had transcended borders and styles to become a musician of universal stature<\/em>.<\/p>\n

And on 8 May 2010<\/strong>, Berklee College of Music<\/a> in Boston made him a doctor honoris causa<\/em> in front of six thousand people. He was the first Spanish composer to receive it, on a list that begins with Duke Ellington.<\/p>\n

Playa del Carmen<\/h2>\n

Paco de Luc\u00eda died on 25 February 2014<\/strong>, aged sixty-six, in Playa del Carmen<\/strong>, the town on the Mexican Caribbean where he spent long stretches resting. That same year the Spanish government awarded him, posthumously, the Gold Medal of Merit at Work<\/a>, presented on 4 November at the National Library.<\/p>\n

What He Left Behind, and What You Still Hear Every Day<\/h2>\n

It is easy to reduce Paco de Luc\u00eda to speed and get him completely wrong. What he actually did was something else: he widened flamenco’s harmony<\/strong>, brought in instruments it did not have \u2014electric bass, bongo, flute, caj\u00f3n\u2014, took it out of the tablao and put it in concert halls. And he did it without breaking its structure or its comp\u00e1s, which is the hard part. He described it with an image that explains it better than any analysis: he played \u00abwith one hand holding on to tradition and the other scratching around, searching\u00bb<\/em>.<\/p>\n

You hear it every time a guitarist sits down with one leg crossed, every time a caj\u00f3n sounds in a flamenco group, and you hear it literally in our catalogue: \u00abEntre dos aguas\u00bb played by Santiago Lara<\/a> at the Festival de Jerez, inside his show \u00abLa Guitarra en el Tiempo\u00bb<\/a>, or the Maureen Choi Quartet’s \u00abCepa andaluza\u00bb<\/a>, where the filler rumba ends up in the hands of a jazz violin.<\/p>\n

The Foundation, on the Same Stage as in ’75<\/h2>\n

On 24 September 2021<\/strong> the family presented the Paco de Luc\u00eda Foundation<\/a> in the Falla room of the Teatro Real: the same theatre where he had opened the door forty-six years earlier. It is chaired by his widow, Gabriela Canseco<\/strong>; his brother Pepe de Luc\u00eda<\/strong> is honorary trustee, and the board includes his children alongside Sara Baras, Alejandro Sanz and Javier Lim\u00f3n. The stated aim<\/a> is to look after the legacy and carry on what he wanted: to give flamenco the standing he believed it still lacks.<\/p>\n

\n\"Paco
Paco de Luc\u00eda, in a frame from the documentary \u00abPaco de Luc\u00eda. The Search\u00bb, available in full in the ALL FLAMENCO catalogue.<\/figcaption><\/figure>\n

Where to Watch Paco de Luc\u00eda on ALL FLAMENCO<\/h2>\n

The catalogue has \u00abPaco de Luc\u00eda. The Search\u00bb<\/a>, the ninety-minute documentary that follows his life through interviews filmed between 2010 and 2014, with Paco himself telling most of it. Beside it, two that explain where he came from and where he went: \u00abThe Fabulous Sabicas\u00bb<\/a>, about the guitarist who told him to find his own way, and \u00abTrance\u00bb<\/a>, about Jorge Pardo, his sextet’s flautist. Everything of his is gathered on his artist page<\/a>.<\/p>\n

\n

\n\"Paco1 h 33 min<\/span><\/span>
\nPaco de Luc\u00eda. The Search<\/strong>
\n<\/a><\/div>\n

\n\"Portrait1 h 26 min<\/span><\/span>
\nThe Fabulous Sabicas<\/strong>
\n<\/a><\/div>\n

\n\"Flautist1 h 44 min<\/span><\/span>
\nTrance. Jorge Pardo<\/strong>
\n<\/a><\/div>\n

\n\"Santiago48 min<\/span><\/span>
\nSantiago Lara. \u00abLa Guitarra en el Tiempo\u00bb<\/strong>
\n<\/a><\/div>\n

\n\"Santiago6 min<\/span><\/span>
\n\u00abEntre dos aguas\u00bb, by Santiago Lara<\/strong>
\n<\/a><\/div>\n

\n\"Violinist2 min<\/span><\/span>
\n\u00abCepa andaluza\u00bb. Maureen Choi Quartet<\/strong>
\n<\/a><\/div>\n<\/div>\n

And if the world he came from interests you, the report on the \u00abSagas Flamencas\u00bb exhibition<\/a>, by photographer Pepe Lamarca, portrays flamenco’s families: the households where the trade is inherited exactly as it was in his.<\/p>\n","protected":false},"excerpt":{"rendered":"

He recorded it as filler, because the album was running short. It was called \u00abEntre dos aguas\u00bb, the record flopped and nearly vanished. Eighteen months later that rumba was the best-selling track in Spain.<\/p>\n","protected":false},"author":1,"featured_media":410196,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[134,1],"tags":[],"class_list":["post-387238","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bios-en","category-sin-categorizar"],"yoast_head":"\nPaco de Luc\u00eda: Biography, Albums and Legacy of a Guitar Genius<\/title>\n<meta name=\"description\" content=\"From a filler rumba to the Teatro Real and Berklee. 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