Paco and Manolo's guitar

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When Paco gave me a guitar – The things (XI)

There is no doubt that the two most influential masters of flamenco guitar are the Algeciras native Paco de Lucía and the Sanluqueño Manolo Sanlucar. Both of them, from their guitar concept, have placed the flamenco guitar at the top of the flamenco and musical pyramid. They left a legacy, apart from the discographic, conceptual and philosophical of what both the flamenco guitar and the figure of the guitarist mean. And given the importance of these two figures, they deserve a separate chapter. Both for the significance of their work and for the magnitude and influence as artists. It is impossible to portray both figures in conventional writing, but we will try to bring the reader closer to the most relevant intricacies of these two masters with the utmost respect and affection.

Manuel Muñoz Alcón was born in Sanlúcar de Barramenda in 1943. And, unfortunately, he leaves us in August 2022 in Jerez de la Frontera. His father is his first teacher. And he even shares his vocation with his brothers. In the words of Manolo himself, his main schools are those of Nino Ricardo y Diego the SpenderAt just fourteen years old he joined the company Pepe Marchena. From there he would accompany the most important flamenco figures. And he learned from masters such as Alberto Velez, since they coincide at the Tablao Las Brujas in Madrid.

In 1972 he began publishing his trilogy World and forms of flamenco guitar. There are two of my favorite works, Colombian of the Lower Guide y Underwear Garrotin. His publications continue with works of maximum substance loaded with an unusual musicality, such as Recital Flamenco, Fantasy for guitar and orchestra, Feeling, Sanlucar, To the wind, orange blossoms, Candle, Oripando, Trebujena, Medea o Soleá. Also a culminating work, bullfighting. where everything revolves around the life of the brave bull. But we do not leave behind Cistern and Madness of breeze and trillThis latest work grants him the National Music Prize, the Puerta de Alcalá Prize and the Flamenco Today, in addition to being a member of the Royal Provincial Academy of Fine Arts of Cádiz since 1997, he holds the National Prize for Flamenco Guitar from the Chair of Flamencology of Jerez. We add that Manolo was always accompanied by his family Isidro Munoz y Jose Miguel Evora in most of their projects.

Despite suffering various misfortunes throughout his life, Manolo Sanlúcar did not stop his research and compositions. A staunch defender of Andalusian culture in all its breadth, he is considered a teacher of teachers. The philosophy of his teaching is based on the concepts of Ancient Greece. The teacher instructs his disciple in the search for his own path. He even welcomes him into his home. Among them are: Vicente Friend, Jose Antonio Rodriguez, Manolo Franco, Pure Child, Rafael Riqueni, Juan Carlos Romero, David Carmona o Can Wan, The Gypsy of BeijingHis teaching at the Córdoba Guitar Festival is notable edition after edition. Special mention to the guitarist Santiago Lara, that keeps alive the essence of bullfighting y Medea in both shows.

Manolo not only leaves behind his legacy as a guitarist and composer, but also a vast discography rich in sound nuances, invaluable teaching work and an unsurpassed technical study of the flamenco guitar. All of this in a great and sublime work: Flamenco Guitar, Manolo Sanlúcar. Composed, written, directed and produced by Manolo himself, without any help. A fifteen-year study spread over twelve DVDs and five encyclopedic volumes, with the collaboration of more than forty artists. It takes a historical, cultural and artistic journey through our flamenco through the guitar. It is the greatest work of research, didactic and artistic in the history of flamenco. Apart from that, his books About Flamenco Guitar. Theory and System y The Shared Soul. Plus all the transcriptions of his work.

And as the culmination of his career, on the day of his retirement, he premieres the Song of Andalusia. At the Nerja Cave Festival, after the performance of Medea, Manolo delights the audience with an unofficial anthem that he would record in 2005.

«I must not forget that, although I feel an extraordinary devotion to the work of Manolo Sanlúcar, I grew up listening to Paco. And through his guitar I discovered an infinite, wonderful and splendid musical world. With the Sanlúcar maestro I learned to value what is ours, our roots, where we come from and where we are going»

Paco de Lucía

Francisco Sanchez Gomez Born in 1947 in Algeciras, Cadiz. And with sad regret he left the guitar orphaned in 2014. In Cancun, Mexico. His story begins to take shape at home. On the one hand with his father, Antonio Sanchez Pecino, and later his older brother, Ramon from Algeciras, learns the first important touches. His mother, Luzia Gomes Goncalves, brings serenity and joy to the home.

At the age of twelve, he began giving recitals with his brother Pepe de Lucia with The Little Ones of AlgecirasAt fourteen he won a prize in the International Art Competition Flamenco from Jerez de la Frontera. From there, Jose Greco hires him as the third guitarist for his Spanish Classical Ballet Company for the tour of the United States. Paco follows the school of Nino Ricardo, but in the United States he meets You know and Mario EscuderoBoth of them advise him and influence his playing. Mario Escudero even introduces him to fans at his guitar academy.

With his father as artistic director, he recorded his first albums with his brother Pepe. Later, he performed as a duet with his brother Ramón and also with Ricardo Modrego, Phosphorite, The Lebrijano and, above all, with Camarón. It is part of a project with Matilde Coral, Paco Cepero y The Farruco, and begins his stellar and majestic solo career. He records The fabulous guitar of Paco de Lucía (1967) and Flamenco fantasy (1969)

His arrival in Madrid allowed him to evolve astronomically. The duo had just given birth Camarón de la Isla and Paco de Lucía, with unique and masterful artistic qualities, embarked on a career that was, to say the least, sublime, influential and transcendental. In fact, their more than a dozen recordings demonstrate the truth and flamenco of that moment. Moments that Paco carries in his memories. In 1981 he created the famous sextet, and with it the current concept of a group. flamencoIt is formed by Pepe and Ramón from Algeciras, Jorge Pardo, Carlos Benavent y Rubem Dantas, which would introduce the Peruvian cajón into the genre flamenco. Later the dancer would join Manolo Soler.

A year later he created a trio with Juan Manuel Canizares y Jose Maria BanderaIn 1998 he restructured the septet with the old man, The Cricket y Duquende. After a few years he reinvented the group with The Piranha, Child Josele, Alain Perez, Antonio Serrano y Duquende, Tana y Montse Cortes, along with other artists who also collaborate with Paco's groups such as Juan Ramirez, The Farru, Rafael de Utrera, David de Jacoba, Dani de Moron, Antonio Rey o Antonio Sanchez.

But at the end of the 20th century he spent a few years disconnected for various reasons, including the deaths of his parents and Camarón. Between his residences in Mexico and other Spanish enclaves, Good things. But we do not ignore his recording career with Source and Flow, The Elf flamenco, Live from the Royal Theatre, Almoraima, I just want to walk, Sirocco, Zyriab, Luzia o Andalusian Song. Live performances with his groups from 1993, Live in America, and in 2010, Paco de Lucia, live. His classical music works revolve around the figures of Manuel de Falla, Joaquín Rodrigo e Isaac Albéniz. Interact with the bossa nova of Tom JobimMore, the tango of Astor Piazzolla, country, salsa, Arabic music, rock, jazz or blues. And he joins figures such as Pedro Iturralde, Chick Corea, Larry Coryell, Santana o Bryan Adams. Significantly, his trios with John McLaughlin y Al Di MeolaMore had a huge musical impact. And the masterful Friday night in San Francisco, from 1980, sells more than a million copies.

In July 2004 he was awarded the Prince of Asturias Award for the Arts. That same year he received a Latin Grammy for good things, which he presented during the year on a world tour marked by its intensity. But the maestro from Algeciras obtains all kinds of awards and distinctions throughout his career. An example of this is the Goya Award for the best original music for Montoyas and Tarantos, Castillete de Oro for La Unión, National Flamenco Guitar Award, Gold Medal for Merit in Fine Arts, National Award Pastora Pavón Niña de los Peines, Silver Palm of the City of Algeciras, Medal of Andalusia or Doctor Honoris Causa of the Berklee College of Music.

Beyond what each of these teachers have bequeathed to the flamenco, the guitar and music, have favoured an evolution and openness to other music and styles, from the roots of our own identity. The constant contributions influence the development of the guitar to this day. It is of such depth that it infers on the conception of playing.

I must not forget that, although I feel an extraordinary devotion to the work of Manolo Sanlúcar, I grew up listening to Paco. And through his guitar I discovered an infinite, wonderful and splendid musical world. With the Sanlúcar maestro I learned to value what is ours, our roots, where we come from and where we are going. A language that, through the six strings, becomes great. How well adapted the words that Blas Infante composed for our famous anthem, from Andalusia for Spain and Humanity. In fact, Paco is our most internationally illustrious person.

Each teacher with his language collaborates in the expansion of art flamenco through his guitar. Both with an unparalleled friendship of enormous respect and admiration, they carry the essence of flamenco to cross all kinds of borders. And from that moment on, people began to play with greater spontaneity. They allowed themselves unusual freedoms that turned out to be enriching. Despite the initial clash with purist traditionalism, Paco and Manolo's guitars do not detract one iota from preserving the roots of flamenco. Testimony to this genuine, indigenous and universalist identity are the numerous recordings of both masters.

In the guitar of these masters, the melody flows in a harmonic mattress overflowing with rhythm, with pauses that transport the most contemporary metropolis to a tide of flamenco. From the serene neck of Bajo de Guía to the waves of the Algeciras headstock. And like salt in the sand, there remains an eternal and universal legacy. This is for you, Eternal Masters.