Lucia Noceglia

Paco de Lucia - Concierto de Aranjuez & Iberia (1991) {2010 Nueva Integral Box Set CD 22 of 27}
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© 1991, 2010 Philips / Universal Music Spain | 510 301-2
Jazz / Flamenco / International Jazz / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Spanish classical music had always aroused profound interest in Paco de Lucía. First came the album Lorca (1967), the records of Andalusian and Iberoamerican classics (65-69), afterwards came his magnificent work with Falla (1968) and from 1991 we must add this Concierto de Aranjuez and three pieces from the ‘Suite Iberia’ by Albeniz. His pledge here is clear: to offer out of the most profound respect a new perspective on the Classical Spanish canon, in Flamenco.

Paco de Lucia , Al Di Meola & John McLaughlin - The Guitar Trio (1996) {2010 Nueva Integral Box Set CD 24 of 27}
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© 1996, 2010 Verve / PolyGram / Polydor / Universal Music Spain | 533-215-2
Jazz / Flamenco / International Jazz / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Flamenco is not improvised: everything is carefully rehearsed. Every falseta, every step of the dance, although it may appear spontaneous is based on conscientious preparation. Flamenco artists are not fans of improvisation in their public performances; only in the dance are small spaces left. In the singing and above all the guitar there is no place for improvisation.

Paco de Lucia - Luzia (1998) {2010 Nueva Integral Box Set CD 25 of 27}
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© 1998, 2010 Mercury / Polygram Iberica / Universal Music Spain | 558 165-2
Jazz / Flamenco / International Jazz / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. In an interview given during the editing of this album, Paco de Lucía confessed: “Making a record is having something new to say, you have to live, you have to feel things, fill yourself with new things so that this record is not a repetition of the previous. Every time I make a new record, I like to have something new to say, to create a surprise, so that the guitarist who puts on this album has something new to learn or to feel. That’s why they can take a bit of time.” And he had taken 8 years after Zyryab, and 10 since Siroco.

Paco de Lucia - Cositas Buenas (2003) {2010 Nueva Integral Box Set CD 27 of 27}
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© 2003, 2010 Universal Music Spain | 0602498661345
Jazz / Flamenco / International Jazz / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. On his first outing in five years, and the first of the new century, flamenco guitarist Paco De Lucia has given us one of the most sublime recordings in his long career. This collection of "Good Little Things" (Cositas Buenas) is a step away from Nuevo flamenco, and back to the grain of the source music itself. It is a record full of handclapped rhythms, organic spare percussion, and burning, passionate songwriting and singing. The various singers – including Paco himself – wail, chant, moan, and ecstatically intone his new songs to the sheer rough-hewn grace of his playing.

Anna Moffo, as the young and vulnerable heroine Lucia, produces a wonderfully sincere, yet highly romantic performance in this classic recording of Donizetti's Lucia Di Lammermoor. Featuring Georges Prêtre conducting the RCA Italian Opera Chorus and Orchestra, the recording features a stellar cast of singers, including the incomparable Carlo Bergonzi, Mario Sereni, and Ezio Flagello.

In the six years that had passed since 1953, and her first recording of Lucia di Lammermoor, Callas’s voice had maybe become less robust,but her singing had become still more perceptive. As Gramophone said: ‘Mme Callas has refined her interpretation of the role, and made it more exquisite, more fascinating,musically and dramatically more subtle – in a word, more beautiful.’

Paco de Lucia, one of the greatest living guitarist in the world, was born Francisco Sanchez Gomez in Algeciras, a city in the province of Cadiz, in the Southernmost tip of Spain on December 21st, 1947. His stage name is an homage to his mother Lucia Gomez.

His father, Antonio Sanchez, a day laborer, played guitar at night as a way to supplement his income. He, Paco's elder brother Ramon de Algeciras and flamenco master Ni–o Ricardo were de Lucia's main influences. His first performance was on Radio Algeciras in 1958. The brothers Ramon, Pepe (a singer) and Paco now compromise half of the Paco de Lucia sextet.

The training ground for a flamenco guitarist, de Lucia once said, "is the music around you, made by people you see, the people you make music with. You learn it from your family, from your friends, in la juerga (the party) drinking. And then you work on technique. Guitarists do not need to study. And, as it is with any music, the great ones will spend some time working with the young players who show special talent. You must understand that a Gypsy's life is a life of anarchy. That is a reason why the way of flamenco music is a way without discipline as you know it. We don't try to organize things with our minds, we don't go to school to find out. We just live…….. music is everywhere in our lives."

The origins of the word flamenco are somewhat in dispute. Some argue that the word refers to the Flemish people who arrived in Spain in the 16th Century and once meant simply foreigner or non-Spanish. Others suggest that the word derives from the Arabic phrase "felah mengu," meaning pleasant in flight.

What is indisputable is that flamenco is a blend of the many cultures - Gypsy, Muslim, Jewish - that at one time settled in Andalucia, in the South of Spain. Their influences can be heard distinctively in the melisma of the singer, the rhythms, the slowly curling harmonic lines of the guitars.

Paco de Lucia - Fantasia Flamenca de Paco de Lucia (1969) {2010 Nueva Integral Box Set CD 07of27}
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© 1969, 2010 Mercury / Universal Music | 0042284295321
Flamenco / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. The stamp of Sabicas is present in this second solo LP, with ten Flamenco numbers written alone for the first time, with the exception of ‘Los Panaderos Flamencos’ and ‘Mantilla de Feria’ which are by Esteban de Sanlúcar. It is recorded with a different guitar to the previous records, now made from rosewood, black as opposed to the white Cypress.

Paco de Lucia & Ricardo Modrego - 12 Canciones de Garcia Lorca para Guitarra (1965) {2010 Nueva Integral Box Set CD 02of27}
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© 1965, 2010 Polygram / Universal / Philips | 0042284854221
Flamenco / World Music / Guitar

New version of the Paco de Lucía Integral, 27 CDs his complete work remastered. "Cositas Buenas", his last album, comes as a new in this new Integral. Now in a new economic format. This collection is a unique tour of the work of Paco de Lucia from 1964 to 2004. Paco de Lucía arranges and interprets, along with Ricardo Modrego, the songs brought together in the twenties by Federico García Lorca, most of which were collected from the canon of popular songs from the 18th century which Federico recorded in 1931, accompanied on the piano by Encarnación López, “La Argentinita”. The accompaniment given to every song is based on the rhythm of the songs as they were adapted by Lorca, above the basic tune they considered fitted with the Flamenco toque.