World renowned flamenco innovator Paco de Lucía returns to U.S. after five year absence; on 25 North American dates Paco will perform music from his groundbreaking new album Cositas Buenas.
One of the greatest heroes of modern flamenco, de Lucía blends spellbinding virtuosity and highly refined musicality." Billboard
Internationally renowned flamenco guitarist Paco de Lucía will embark on a tour of the U.S. and Canada beginning January 20, 2004, in support of his first new studio recording in five years, Cositas Buenas. To reflect the new music on the CD, De Lucía has radically changed the structure of his touring band, which, in addition to his guitar, will feature Alain Perez Rodriguez on bass, Israel Suarez Escobar on percussion, Bobby Martinez on flute, and three flamenco singers: Enrique Heredia Carbonell, Hermenia Borjas Gabarri, and Victoria Santiago Borja.
Paco de Lucía, who recently turned 56, has defined flamenco for a worldwide audience. Ever since the day when, as a five-year old, he corrected his father, Antonio Sánchez (a professional guitarist) as to the rhythm of a flourish, Paco's dedication to the guitar has been exhaustive. Twenty-five albums released, hundreds of awards and the consensus of the critics regarding the spectacular musical revolution he has sparked, all go towards making him the universal artist that he is.
De Lucía's discography is a virtual compendium of the evolving potential of flamencoa blend of the many cultures including Gypsy, Muslim, Jewishthat at one time settled in Andalucia, in the south of Spain. Their influences can be heard distinctly in the melisma of the singer, the rhythms, and the slowly curling harmonic lines of the guitars.
In 1965, he recorded his first LP, Dos Guitarras Flamencas. In 1975, with his album Fuente y Caudal, Paco began his dialogues with improvisation, and with Entre Dos Aguas, he transformed the flamenco guitar from a marginal instrument into a worldwide phenomenon. Simply by introducing the cajón drum, the bass and percussion, he laid the foundation of the current flamenco idiom; Almoraima, on which he definitively surpasses the sounds produced by his masters, Niño Ricardo and Sabicas; Siroco, the greatest melodic and harmonious homage to flamenco there is, and Luzía, fruit of a dark decade of absence, are just some of the landmarks that demonstrate the revolutionary genius, intuition and talent that are Paco de Lucía's trademark.
With the January 27, 2004 release of Cositas Buenas, de Lucía breaks five years of creative silence, departing from the framework of his longtime touring sextet organized in 1981, to explore the fundamental connection between guitar and voice in flamenco with breathtaking originality. This is a rounded and polished album that is, above all, loyal to flamenco. With Cositas Buenas, de Lucía reinvents nuevo flamenco, layering his exquisite guitar playing with lute, bouzouki, and mandolin, accompanied by lead vocals from seven great flamenco singers (including de Lucía himself), percussion, palmas (handclaps) and vocals from a chorus of seven, and percussion.
The eight completely new tracks include three Bulerías; Patio Custodio", Volar" and Que Venga el Alba." On the last of these, Paco reaches back in time to rescue the inner voice of his long-time collaborator, the great cantaor, Camarón de la Isla (who died in 1992 at age 43) and plays alongside his now-famous protégé, guitarist Tomatito. The CD also includes Antonia," a Soleá-style Bulería dedicated to his daughter, on which Paco sings and she throws in" three olés; a Tango, Cositas Buenas", that serves to vindicate the value of melody; two Rumbas, El Dengue" and Casa Bernardo" (featuring Alejandro Sanz on tres, trumpeter, Jerry Gonzalez, and bassist Alain Pérez) and one Tientos, El Tesorillo", held together by the vocals of Diego el Cigala. The voices of La Tana, Montse Cortés and el Potito raise this masterpiece to even greater heights.
De Lucía's forays into other styles (his previous touring sextet included bass, drums, flute and saxophone) and his high profile collaborations, especially with jazz musicians including pianist Chick Corea and fellow guitarists John McLaughlin, Larry Coryell and Al DiMeola, have helped to expand the vocabulary of modern flamenco and bring it to a wider audience. The often dazzling results of these collaborations have been documented in several releases including the guitar trio albums Castro Marin (1979), Passion Grace and Fire (1982), Friday Night in San Francisco (1981), and The Guitar Trio (1996) reunion album.
Paco de Lucía 2004 Tour Dates
01/20 Mondavi Center for the Performing Arts Davis, CA 01/21 Van Duzer Theatre, Humboldt State Univ. Arcata, CA 01/23 Laxson Auditorium/Cal. State Univ. Chico, CA 01/24-25 Zellerbach Auditorium at UC Berkeley Berkeley, CA 01/26 Santa Cruz Civic Auditorium, Univ. of CA Santa Cruz, CA 01/29-30 Royce Hall, UCLA Center for the Arts Los Angeles, CA 01/31 California Center for the Arts Escondido, CA 02/03 Popejoy Hall-Univ. of New Mexico Albuquerque, NM 02/04 Centennial Hall, University of Arizona Tucson, AZ 02/06 Boulder Theatre Boulder, CO 02/14 Orpheum Theatre Boston, MA 02/16 Chicago Symphony Orchestra Chicago, IL 02/18 Bass Performance Hall Ft. Worth, TX 02/19 Gusman Theatre Miami, FL 02/21 Rialto Theatre Atlanta, GA 02/22 Page Auditorium, Duke University Durham, NC 02/24 Warner Theatre Washington, DC 02/26 McCarter Theatre Princeton, NJ 02/27 Beacon Theatre New York, NY 02/28 New Jersey Performing Arts Center Newark, NJ