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Paco de Lucia was born in 1947 started out studying the guitar as a child, and started his career as a professional guitar player at the age of thirteen with Jose Greco’s flamenco dance company. Paco expended much of his time locked in his room practicing on his guitar.
The most evident result to friends and family of Paco’s devotion to his music was the emergence of a blindingly fast picado technique. Picado is the name for the rest stroke employed by flamenco guitar players to play scale passages. This fast picking was to a considerable degree featured in Paco de Lucia’s early flamenco guitar records and concerts. Paco also begun making use of his interest in jazz to fetch galore new sounds to flamenco guitar solos.
For some years Flamenco guitar solo playing was overshadowed by Sabicas who drew to a great extent on the works of Spanish classical music composers for his falsetas – the themes used to make up flamenco guitar solos and instrumental breaks in flamenco ensemble performances. Paco de Lucia made a break from the influence of Sabicas, sparking a new interest in flamenco guitar playing from a generation of young Spanish men who had been more fascinated in American music than flamenco.
Paco de Lucia expended the years 1969 to 1977 playing and recording with the legendary flamenco singer Cameron de la Isla. The whole of Spain fell underneath the spell of Cameron’s distinguishable singing style and Paco’s time with him formulated a collection of unforgettable records and videos.
In 1979 Paco de Lucia toured with jazz guitarists John McLaughlin and Larry Coryell. The power of Paco’s guitar playing in his performances with these jazz greats is recorded in a video called Meeting Of The Spirits. Paco is on record telling of his struggles to learn how to improvise in order to keep up with his fellow guitarists.
This trio of guitar virtuosos was finalized when Al Dimeola substituted Larry Coryell and they have continued to carry out together. Paco likewise performs with his own jazz influenced group, the Paco De Lucia Sextet. The wider audience of music lovers was exposed to the beauty of Paco De Lucia’s flamenco guitar playing in 1995 when he played on Have You Ever Really Loved A Woman? by Bryan Adams.
In the early nineteen seventies Paco recorded a double album of the works of Spanish composer Manuel De Falla. This was not exceptionally well received but his 1991 performance of Joaquin Rodrigo’s Concierto de Aranjuez gave Paco a heap of street cred with classical guitar fans.
Rodrigo’s two “greatest hits,” these works for guitar and orchestra made a commodious and ordinary LP coupling, but they are a skimpy CD program. One recommendable feature of this CD is the inclusion of two lovely works for solo guitar along with an evenly lovely piece for violin and orchestra. Rodrigo deserves to be more than a two-hit wonder, and bravo to Philips for exposing a little more of his music like this. Still, the performances of the “hits” are our major concern here. Pepe Romero plays with finish command of the music, and in the affecting slow motion of the “Concierto” (composed, as we learned only after his death, to mourn the loss of a child who passed away at birth), he plays his heart out. Marriner and the not so little orchestra give to an outstanding degree crisp and sensible support, and the recording manages the difficult feat of balancing guitar and orchestra so that the solo instrument remains audible without sounding artificially boosted. There are a heap of fine versions of the concertos on CD, including one by Pepe’s brother Angel, assorted by John Williams, and one by Manuel Barrueco with Placido Domingo conducting. But this Philips disc is as good as any and does have the vantage of the extra music. –Leslie Gerber
Rodrigo Concierto De Aranjuez Picture
Rodrigo Concierto De Aranjuez Picture
Rodrigo Concierto De Aranjuez Photo
Rodrigo Concierto De Aranjuez Pic
Rodrigo Concierto De Aranjuez Pic
Rodrigo Concierto De Aranjuez Photo
Most helpful customer reviews
51 of 53 people found the following review helpful.
 Elegant Spanish ambience
By Enrique Torres
It would be hard to find more beautiful music or better interpretations of Rodrigo’s music than what is on this disc. Besides the “Concierto de Aranjuez” and “Fantasia para un gentilhombre,” probably the most recognizeable Rodrigo songs, this disc features many more equally compelling Rodrigo numbers. Recorded in 1992 at Watford Town Hall in London ,the musicianship featured by Pepe Romero is stupendous and equal to other versions I own of Rodrigo’s music. If you love Spanish guitar you will love this music that creates images of court life in old world Spain. His technical skill on classical Spanish guitar is only matched by his sensitivity to the gentle nuances of the music. His virtuosity is masterful and blends wonderfully with the SMTF, creating a heavenly marriage of sound. Sir Neville Mariner does a masterful job conducting the various horns and violins to soothe the soul. This is music to lift the spirit when it is a little down. When the whole world seems upside down and insane the beauty of Rodrio’s music can create feelings of hope amidst the chaos. In a post 9/11 world it was the music of Rodrigo that helped me get back into music and on with life. Although the accompanying booklet is a treat, written in four languages and includes nice photographs of the participating artists, including Rodrigo, it is the music that makes this disc a valuable addition to one’s collection. Technically the music is way beyond my understanding, although the booklet helps, I only know that I appreciate the sound and love it. I would dare say, if you buy it, you’ll love it too. This is music that those not versed in any classical training or do not listen to regularly can appreciate for it’s sheer beauty. You don’t have to be a classical purist to enjoy this disc, so don’t be shy, add this to your collection.
22 of 24 people found the following review helpful.
As good as it gets
By J. Buxton
An extraordinary recording and really a triumph for both Romero and ASMF/Marriner. Beautiful recorded sound and just the right amount of cultural flair and virtuosity make this a winning disc in every way. Romero was a friend of Rodrigo and there is every indication that this is a definitive performance. I saw Romero perform this work several years ago in Colorado and seeing him live was breathtaking. This recording effectively brings that concert back to life for me. The other works on the disc are equally fine.
20 of 22 people found the following review helpful.
A breathtaking performance!
By A
This is without question the definitive recording of the Concierto de Aranjuez. Every classical CD collection should contain this album. Pepe Romero has performed the perfect marriage between technical virtuosity and emotional interpretation. As well, the SMTF Orchestra matches Romero note-for-note making for a truly magical listening experience.
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