The Definitive Paco De Lucia Clearinghouse

Between the two waters of the Atlantic and the Mediterranean, in the province of Cadiz, at the southernmost tip of the Iberian Peninsula, there sits a little port town and fishing village called Algeciras. (above photo)

It was here in the little house at No. 8 Calle San Franscisco that the one who would come to be known as Paco De Lucia came into the world on December 21,1947. Francisco, as he was named, was the youngest of five children born to parents Antonio and Lucia Sanchez.

Paco's father was a jack of all trades who supplemented his income by playing flamenco guitar in 'juergas' (parties) for the 'senoritos' (wealthy folks) at night. After being paid for their art the flamencos would gather at the home of Antonio Sanchez to continue into the wee hours playing and singing for their own enjoyment.

This was, for Paco, his most fundamental training. He recalls, "It was a natural occurrence. It was something that was going on in my house when I was born... my father, my brother... I'm the youngest in the family. So when I first became conscious that I was a human being, I already had a guitar in my hands. I already knew compás [flamenco rhythm], I already knew how to play even before I began to play the guitar, I knew all the rhythms." (quoted from 'Paco de Lucía: A new tradition for the flamenco guitar' P. Sevilla)

Father Antonio Sanchez Pecino recognized the need to be in a Flamenco center and Paco, Pepe and Ramon quickly found their way to the tablaos and inner circles in Madrid.

It was also around this time that Paco began touring outside of Spain. With brother Pepe, he found work in the dance company of Jose Greco and toured the US. Later, he was a soloist in 'Festival Flamenco Gitano' which featured Camaron and other artists in the touring ensemble.

There is a story often repeated about a meeting that occurred on one of these tours to America between the legendary Sabicas and a young Paco. The details are in dispute, but Paco himself says that Sabicas instructed him that great guitarists don't copy other guitarists and that he must create his own material.

From that point forward Paco stopped playing the toque of Ricardo and began to forge his own style.

This all began back in the 70's with the bongos and bass on 'Entre Dos Aguas'. Then, in the late 70's when he started experimenting with non-traditional instruments in the group which was at first called 'Dolores'.

The group was: flute player Jorge Pardo, fretless bassist Carlos Benavent and percussionist Rubem Dantas and of course Paco and Ramon. It would evolve into the touring juggernaut known as 'The Paco De Lucia Sextet'.

Afficionados were less than receptive. It was the instrumentation that many had a problem with. Flute in Flamenco? What would Mairena say? And the cajon. That damned cajon.

It was Brazilian Rubem Dantas who most people credit with having brought the Peruvian Cajon to Flamenco. The cajon is, as it's name suggests, a wooden box. The face or 'head' of which is strung like a snare drum. It has had a lasting impact in Flamenco. At times threatenting to make the art of Palmas (rhythmic hand clapping) obsolete.

Make no mistake, Dantas got the credit for bringing it to Flamenco. But it was Paco who got all the blame. And then, he went and left altogether to play with John McLaughlin and Al Dimeola/L. Coryell in the "kill the man with the ball" circus act known as The Guitar Trio. (see below for more on the trio)

And, so it has gone for literally the last 30 years. Some continue to reject Paco because of this while his defenders say flamenco has to evolve to be alive, to survive. I see both sides.

At this point in his career, IMHO, Paco could re-connect with many afficionados if he found an undiscovered 'fenomeno' cantaor like a Duquende or??? And did an album/tour of por derecho cante accompaniment. Just him and the singer like the old days. No flutes, no cajons or bass, just raw flamenco.

I'd drop everything and follow that tour around the world like it was the Grateful Dead and my name was Thumper.

Let's just say that guitar fans the world over collectively dropped their jaws when, in 1981, this line-up hit the scene. A truly dazzling display of technique unsurpassed to this day.

I have never met a NON guitar player who was into this stuff and I have never met a Flamenco who didn't hate it. Paco viewed it as a competition and a chance to learn from other accomplished guitarists in another genre.

However, there is some terrific music here, it's just going by very fast.... "like the light poles when you're riding the train....whoosh, whoosh, whoosh." -As Paco said when describing the chord changes.

The Trio also spawned a sort of sub genre. Strunz & Farah et al.

Spaniard Ruben Diaz teaches the Paco de Lucia Technique of Flamenco Guitar at the Royal Conservatory of Music in Toronto.

I saw Ruben perform in Sevilla way back in 1999, he's a great player.

I think it would be more accurately described as the Paco De Lucia 'school' as in 'tradition' or 'lineage' that's being offered here.

See below for links to some videos of the classes at RCM.