With fluid fingering, a flare for the dramatic, and compositions that flit and flutter like birds over a pastoral valley, or soar like eagles atop the winds of the world, de Luc\u00eda was among the most highly regarded guitarists of the twentieth century. Among the vanguard of the New Flamenco movement, he was instrumental in the evolution of Latin Fusion through the 1970s and 80s, going on to be an elder ambassador of music, doing for Flamenco guitar what Ravi Shankar had done for the sitar, popularize it around the globe.<\/p>\n
Born Francisco S\u00e1nchez Gomes, as a teenager Paco recorded traditional Flamenco albums and toured with dancer Jos\u00e9 Greco. But it was his collaborations in the 1970s with many artists beyond the Spanish-speaking world and his appearance in Carlos Saura’s 1983 film adaptation of Carmen<\/em>, set among a Spanish Flamenco troupe, which exposed a wider audience to the guitarist’s phenomenal talents. His concerts and recording with American Jazz guitarist Al Di Meola and Britain John McLaughlin, in duets and as The Guitar Trio, shall inspire awe and joy after they and we are long gone.<\/p>\n And I mourn our loss of Paco, and send my best wishes of peace to his family.<\/p>\n Fortunately we have a large collection of recordings and live concerts preserved on film and video. There is already an aging generation of guitarists who owe their life’s path to the slender fingers and brilliant imagination of Paco de Luc\u00eda, and they in turn are inspiring young guitarists to embrace traditional technique and composition, while daring to seek out new directions through experimentation and improvisation.<\/p>\n Here then is the master himself, playing one of my favorite compositions from his younger days, followed by one selection as an older man, recorded just over a year ago, and then some jaw dropping performances as a member of The Guitar Trio. I remain amazed how di Meola achieves lightening fast playing with a flat pick, while Paco remains true to classic Flamenco technique, using only bare fingers with a touch of fingernail, and McLaughlin uses his own hybrid approach.<\/p>\n Rio Ancho – 1970sR.I.P. Paco, y gracias por la m\u00fasica!<\/h3>\n
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