Paco de Lucía

Paco de Lucía, stage name of Francisco Sánchez Gómez ( Algeciras , December 21 1947 - Cancun , February 25 2014 ) was a Spanish guitarist and composer offlamenco music .



Content
*1 General  ==General [  edit ] == Paco de Lucía was considered a technically very gifted flamenco guitarist (tocaor or tocador). By him, initially in collaboration with flamenco singer (cantaor) Camarón de la Isla style developed variant of the flamenco guitar, is also Flamenco Nuevo called [https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.co.uk&sl=nl&u=https://nl.wikipedia.org/wiki/Wikipedia:Bronvermelding&usg=ALkJrhhjq7vkeBs3RcXjdtY-F9G34Sf_PQ#Bron_gevraagd [source? ]] . He was one of the few flamenco guitarists who successfully ventured into other musical styles, such as classical music (eg Concierto de Aranjuez by Joaquin Rodrigo ), jazz and fusion .
 * 2 Biography
 * 2.1 First appearances
 * 2.2 First recordings
 * 2.3 Camarón de la Isla
 * 2.4 Definitive international breakthrough
 * 2.5 End of the seventies and eighties
 * 2.6 The Guitar Trio
 * 2.7 Nineties until 2014
 * 2.8 Death
 * 3 Influences on and characteristic of the music of Paco De Lucía
 * 4 Paco de Lucía classic
 * 5 Further reading
 * 5.1 Used literature
 * 5.2 Used journal articles
 * 6 Discography
 * 6.1 Paco de Lucía, solo guitar
 * 6.2 Paco de Lucía with others, guitar
 * 6.3   Paco de Lucía as cante' supervisor

Paco de Lucía was many times honored with major awards, including El Premio Nacional de Guitarra de Arte Flamenco (1968), La Medalla de Oro al Mérito de las Bellas Artes (1992) and El Premio de Honor de la Academia de las Artes y las Ciencias de la Música (2002). In 2004 he was honored with El Premio Príncipe de Asturias de las Artes and a Latin Grammy Award for Best Flamenco Album. He received honorary degrees from the Spanish University of Cádiz (March 2007) and the Berklee College of Music in Boston, USA (May 2010). ==[Biography  edit ] == Francisco Sánchez Gómez (Paco de Lucía) was born on December 21, 1947 Algeciras in the Spanish province of Cadiz as the youngest of five children. His father was a flamenco guitarist Antonio Sánchez Pecino (Algeciras 1908 - Madrid 1994) by artist name Antonio de Algeciras . His mother was Luzia Gómez, a Portuguese immigrant who early 30s came to Algeciras. Also, two of his brothers are well known flamenco celebrities: brother José (Algeciras 1945), the cantaor (flamenco singer) Pepe de Lucía, ten years older brother Ramón (Algeciras 1938 - Madrid 2009) was flamenco guitarist Ramón de Algeciras .

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">The Sanchez family lived in Algeciras in the barrio mestizo La Bajadilla, where poor Spaniards and Gitanos (Gypsies) living next to each other and carried the struggle for survival.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Francisco started its fifth year playing the guitar. He was taught by his father and more than a decade older brother Ramon - both professional flamenco guitarist and great admirers of El Niño Ricardo (Antonio Serrapi), which was initially also an example of Paco. Paco then studied until the age of twelve each falsetas (guitar), Ricardo. Also Sabicas, whom he much later in New York gave an emotional concert, had a very important influence. ===First appearances <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1958, eleven years old, Paco made his first official public appearance on Radio Algeciras. A year later he accompanied his brother Pepe (as Los Chiquitos de Algeciras) and he received El Premio Especial del Jurado (special jury prize) in the Concurso Certamen Flamenco de Jerez (Jerez flamenco competition).

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Paco, fourteen years (1961), proved too young to compete for the overall prize of La catedra the Flamencologia in Jerez . Still, his performance there so overwhelming that he received a special prize: El Premio Internacional de acompañamiento.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1961 he was appointed by the bailaor (dancer) José Greco taken along on tour in America. Here he met a personal hero of him and one of the great flamenco guitarists of the time: Sabicas . This was so impressed by the youthful super talent that he encouraged him to pay close attention to develop their own style. ===First recordings <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">After his meeting with the Madrid guitarist Ricardo Modrego (1964) were recorded three albums together: Dos Guitarras Flamencas, Dos guitarras Flamencas and stereo and Doce canciones de Federico García Lorca para guitarra.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Next came The Lucía with older brother Ramón under the name "Los Chiquitos de Algeciras' touring, accompanying singers and dancers as he had always done. There are recordings and billboards known showing that De Lucía during that time during solo performances called Paco de Algeciras.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Quite soon after he took his final stage name Paco de Lucía, as a tribute to his mother Luzia Gomez. In the same period did his brother Pepe same.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In this initial period, he performed with many cantaores such as (El) Pericón de Cádiz (especially in the vicinity of the latter his birthplace) and Antonio Mairena (in La Union, 1974). His father, now a producer, let him accompany an extensive procession of cantaores during recordings, from Fosforito to El Sevillano , El Lebrijano and many others. He also met Camarón. ===Camarón de la Isla <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === Paco de Lucía y Camarón de la Isla<p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">After 1968, there was a very fruitful cooperation with the Gitano ( Gypsy ) cantaor Camarón de la Isla . This cooperation was instigated by his father Antonio Sánchez and was initially under his supervision. Their later work, a mix of popular contemporary and traditional styles, was the beginning of Paco's controversial and successful career. Familiar with all technical aspects of the profession, started De Lucía chords, chord sequences and musical scales that are commonly associated with jazz. "The feeling of flamenco and jazz seems very similar," he explained once. "The difference is that flamenco is ultimately much more anarchic." Paco and Camarón names together ten LPs, which byaficionados (flamenco devotees) are generally regarded as masterpieces. Especially the last recordings were found to be full of innovation. After 1977 the intensity of their collaboration declined, partly due to drug use of Camarón. The Lucía also looked beyond the Spanish land. ===International breakthrough <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1976 De Lucia took a rumba, "Entre Dos Aguas", op. This was never done before in the history of flamenco. The single sold immediately, was in the Top 20, underlining its status as an international superstar was established. Flamenco purists were outraged, considered the single as a hybrid in their music. The Lucía defended his concept by stating that he would always remain faithful to the traditional forms of flamenco, but that there must be room for development. "I grew up in a flamenco environment, the only thing I feel is flamenco, and I would like to play carefree." ===End of the seventies, and <span class="mw-editsection-bracket" style="color:rgb(85,85,85);"><span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;">[the  eighties <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;">edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">]  === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1977 he participated with the American fusion guitarist Al Di Meola 's album 'Elegant Gypsy' on. He thus continued to explore its limits. Again the flamencotraditionalisten proved deeply shocked about the album recorded mostly with electric guitar. Di Meola took it to his companion by stating that he did not leave the flamenco idiom, but he's the musical boundaries of the genre was expanding. For a musician emotionally as De Lucía, which is all on his hearing and his sense plays (he did not read musical notation) that experimental influences as Jimi Hendrix studied, it must be almost impossible to develop and yet faithful to the past remain. The Lucía about then says that he can not do anything with what he would like flamenco, because flamenco would lose its identity. What the traditionalists say, De Lucía forged a refreshing new style,Flamenco Nuevo, which proved extremely welcome by the audience. From 1977 to 1981 he won the "Guitar Player Readers' Poll Award for Best Flamenco Guitarist" four years in a row! ===The Guitar Trio <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In 1979 formed The Lucía, John McLaughlin and Larry Coryell The Guitar Trio (Guitar Trio). They made ​​a short joint tour of Europe, which was released the video Meeting of Spirits. After Coryell in 1981 was replaced by Al Di Meola, the trio recorded three albums with this line: Friday Night in San Francisco (1981), Passion, grace and fire (1983) and The guitar trio (1996). Of his own band, the Paco de Lucía Sextet (with include his brothers Ramón and Pepe) saw the first of three albums in the same year (1981) the daylight. ===Nineties to 2014 <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Since the last decade of the last century, his music in ever-widening circles accepted. Increasingly flamenco guitarists influenced by the style of play Paco de Lucía. He took in 1990 to around 27 albums, both solo albums as albums serving others.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Since the beginning of his career, De Lucía many times honored with awards. In recent years visitors to El Premio Nacional de Guitarra de Arte FlamencoI (National Guitar Award for Flamenco Art), the Medalla de Oro al Mérito de las Bellas Artes (1992; Gold Medal of Merit of the Fine Arts) and la distincion Honorífica the loose Premios de la Musica (2002 Highest Award for Exceptional Merit **) in the Music). In 2004 he was honored with El Premio Príncipe de Asturias de las Artes (the Grand Prix of Asturias for the Arts). In 2014 he won a Latin Grammy for the album Canción andaluza. ===Death <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Paco de Lucia was unwell during his vacation on a beach near Cancun in Mexico, in the presence of his family, and died en route to hospital. ==Influences on and characteristic of the music of Paco De Lucía <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Between the fifth and twelfth year was Paco "lesson" of his father and his older brother Ramón. This recalls: "I was his teacher, but I was by no means the only influence he underwent! Paco had from the very beginning an almost unbelievable great talent ... "

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Paco's greatest influence was primarily from two schools: the first was that of the Niño Ricardo . Ricardo was one of the most characteristic flamenco guitarists in his time and in fact a direct predecessor of Paco de Lucía. The young Paco has until his twelfth year all music, falsetas and compases recorded by Ricardo, studied thoroughly. The other school was that of Sabicas . Sabicas had an enormous influence on the development and perfection of the flamenco guitar as a concert instrument, where the guitar was previously seen mainly as an accompanying instrument of the cantaor (flamenco singer). Sabicas' contribution to flamenco is twofold. First there is his part in the development of flamenco guitar technique: he invented the alzapúa, a thumb technique on one string, and the rasgueo tres dedos, the three-fingered rasgueado . He was flamenco composer, with an oeuvre that not only characterizing his falsetas - lyrical phrases played by the guitarist when the cantaor has rest, but also to create a melodic structure and a harmonic rhythm that continues until the end of the piece.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">The Lucía came in 1998 with his album project Luzia (Blue Thumb label, PolyGram). The album explored the possibilities of the guitar to the boundaries of the traditional aspects of flamenco, jazz and classical musicplaying. "The flamenco guitarist is a lot of time with the teaching of expression in his right hand, contrary to the classical guitarist, which puts special attention in the sound of his left hand. Flamenco music is harmonically quite primitive, so the players stabbing all the energy in the right hand rhythmically play with a tight, intense and emotional feeling. This allows the right of a flamenco guitarist is faster and has more class (esprit *) than any other guitar player, "said De Lucía [https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.co.uk&sl=nl&u=https://nl.wikipedia.org/wiki/Wikipedia:Bronvermelding&usg=ALkJrhhjq7vkeBs3RcXjdtY-F9G34Sf_PQ#Bron_gevraagd <sup class="noprint nopopups" style="line-height:1;">[source? ]] . The "fireworks" that many guitar heroes of every genre have often boastful look horrified de Lucía: "Technique is something you can not see. I love to see the fearful when someone does something very difficult, while the difficulty is more than visible dripping. That just can not! Technique is something you need to work hard and own, and then have to forget. " [https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.co.uk&sl=nl&u=https://nl.wikipedia.org/wiki/Wikipedia:Bronvermelding&usg=ALkJrhhjq7vkeBs3RcXjdtY-F9G34Sf_PQ#Bron_gevraagd <sup class="noprint nopopups" style="line-height:1;">[source? ]] The Lucía was considered a master of the rasgueados and melodic picados and was able to play it with incredible speed on the flamenco guitar.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Paco played since the seventies specially built for him Esteso Conde Hermanos -gitaren, mostly of the "negra" type (see the Conde Hermanos page).

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">In flamenco nuevo, but now also in the more traditional flamenco, is cajón widely used. This wooden box percussion by De Lucía (re) introduces from (Latin) America, where the Spaniards ever as cheap percussion instrument introduced himself. He left the instrument for the first time "involved" in his international hit "Entre dos aguas" of 1973, a rumba also with bass accompaniment, which appeared on his LP Fuente y Caudal.[https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.co.uk&sl=nl&u=https://nl.wikipedia.org/wiki/Wikipedia:Bronvermelding&usg=ALkJrhhjq7vkeBs3RcXjdtY-F9G34Sf_PQ#Bron_gevraagd <sup class="noprint nopopups" style="line-height:1;">[source? ]] ==Paco de Lucía classic <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Until De Lucía in 1991 was asked to Joaquín Rodrigo 's Concierto de Aranjuez perform, De Lucía was unfamiliar with music notation . As a flamenco guitarist, declared Paco, he had in his performance of the Concierto given the utmost attention to the rhythmic accuracy at the expense of the perfect tone, usually pursued by classical guitarists. Joaquín Rodrigo stated that "nobody composition ever such Brilliant Way "was implemented. Earlier, he took a classic album: interpretations a Manuel de Falla (Philips, 1978). This was, as the title suggests, its own interpretation of and homage to the music of the composer that was once so important for flamenco.

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Paco de Lucía played until his death flamenco music forms part of the Spanish gitano -erfenis. He did this in his own way, with its roots in the past, but understandable for contemporary audiences. His dedication to the flamenco shows in the following statements of Lucía: "I do not play guitar for myself. I play guitar for flamenco. My own flamenco! I need to be a star, or have lots of money. I work for my village for my country, for my music, to enhance the tradition of the art form and I try music. " [https://translate.googleusercontent.com/translate_c?depth=1&hl=en&prev=search&rurl=translate.google.co.uk&sl=nl&u=https://nl.wikipedia.org/wiki/Wikipedia:Bronvermelding&usg=ALkJrhhjq7vkeBs3RcXjdtY-F9G34Sf_PQ#Bron_gevraagd <sup class="noprint nopopups" style="line-height:1;">[source? ]]

<p style="margin-top:0.5em;margin-bottom:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Paco de Lucía has included many flamenco albums in four decades, both in the traditional style as the nuevo flamenco style. As a result of his extensive discography, he has a whole new way of looking (and listening) initiated to flamenco and has launched a groundbreaking technical and musical progress with his instrument. But perhaps the most important contribution of Paco de Lucía has been extremely great contribution in the international popularization of flamenco. Yet also may be contributing to the popularization of flamenco in Spain itself absolutely can not be underestimated. The University of Cadiz recognized Paco de Lucía's musical and cultural contributions above and granted him on March 23, 2007 the title of Honoris Causa Doctoratus at this university. ==Further reading <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Used literature <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ===Used journal articles <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === ==<span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;font-family:sans-serif;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[Discography  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] == ===Paco de Lucía, solo guitar <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ===
 * Guitars From the Renaissance to Rock, Facts on File; Evans, Tom and Mary Anne Evans, 1977
 * Paco de Lucía and family; Pohren, Donn. E., The Masterplan
 * Downbeat, April 1981; November 1985
 * Guitar, April 1976
 * Guitar Player, June 1977; May 1979; March 1981; Jan. 2000 June 2004.
 * Library Journal, Sept. 1, 1999
 * <p style="margin-top:0.5em;line-height:inherit;">80
 * 
 * <p style="margin-top:0.5em;line-height:inherit;">Flamenco Festival in Málaga, September 2007
 * <p style="margin-top:0.5em;line-height:inherit;">Málaga, September 2007

===Paco de Lucía with others, guitar <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] ===
 * Paco Gomez family (Pepe Lucía / Ramón de Algeciras)
 * Dos and Stereo (1965).
 * Paco de Lucía y Ricardo Modrego


 * Los hijos de Luzia (2 CDs) Grabaciones Históricas. Vol. 25 .; Polydor (1966) (Remasterizado 1983)
 * with Paco de Lucía, Ramón de Algeciras y Pepe de Lucía (cante).


 * Andaluzas Canciones para dos guitarras, Philips (1967)
 * with Ramón de Algeciras


 * Dos Guitarras Flamencas en América Latina ; Philips (1967)
 * with Ramón de Algeciras


 * Paco de Lucía y Ramón de Algeciras and Hispanoamérica; Philips (1969)
 * 12 hits para Dos Guitarras y orquestra the cuerda; Philips (1969)
 * with Ramón de Algeciras


 * Caminando Paco de Lucía sextet 1981 / Polydor in 1986
 * Pepe de Lucía and Ramón de Algeciras,


 * Live one summer night The Paco de Lucía Sextet; Philips, 1984.
 * Live and América The Paco de Lucía Sextet; Philips, 1993/1994.
 * El Chato de la Isla El Chato de la Isla; Paco de Lucía Guitarras y Ramón de Algeciras (2006)
 * "Origin aria mente and vinilo and 1969 y 1971."

===Paco de Lucía as cante' supervisor <span class="mw-editsection" style="-webkit-user-select:none;font-size:small;margin-left:1em;line-height:1em;display:inline-block;white-space:nowrap;unicode-bidi:-webkit-isolate;"><span class="mw-editsection-bracket" style="color:rgb(85,85,85);">[  edit <span class="mw-editsection-bracket" style="color:rgb(85,85,85);">] === <p style="margin-top:0.5em;line-height:22.3999996185303px;color:rgb(37,37,37);font-family:sans-serif;font-size:14px;">Remarkably, the titles of the first five albums with Camarón, with the exception of the fourth album, the names that they gave in its usage. Formally wore these first five titled "El Camarón de la Isla con la colaboración especial de Paco de Lucía" (Camarón de la Isla, with the special collaboration of Paco de Lucía). Only with the fourth album (Canastera) got a real title along.
 * The Guitar Trio
 * Castro Marin (1981) Paco de Lucía, Larry Coryell , John McLaughlin
 * Friday Night In San Francisco (1981) John McLaughlin, Al Di Meola y Paco de Lucía
 * Passion, Grace & Fire (1983) John McLaughlin, Al Di Meola and Paco de Lucía
 * Paco de Lucía with Camarón de la Isla


 * 1) Al verte las Flores Lloran (1969)
 * 2) Cada Vez que nos Miramos (1970)
 * 3) Son Tus Ojos Dos Estrellas (1971)
 * 4) Canastera (1972)
 * 5) Caminito de Totana (1973)
 * 6) Soy Caminante (1974)
 * 7) Arte y Majestad (1975)
 * 8) Rosa María (1976)
 * 9) Castillo de Arena (1977)
 * 10) Camaron and La Venta de Vargas (2006)
 * With Camarón and Tomatito
 * 1) Como el Agua (1981)
 * 2) Calle Real (1983)
 * 3) Viviré (1984)
 * 4) Potro Rabia y Miel (1992)
 * Paco and Fosforito
 * Selección Antologia del Cante Flamenco Belter (1974)
 * Antologia del Cante Flamenco (Box of three, Volumes 1, 2 and 3; often sold separately) (1996)
 * Paco and others
 * El Lebrijano con la colaboración especial de Paco de Lucía (1970, Polygram)
 * Samaruco Duquende, Guitarristas: Paco de Lucía y Juan Manuel Cañizares (2000)
 * Tu ven a mí La Tana y Paco de Lucía (2007)