Paco de Lucía attained the necessary revival of flamenco by dignifying a genre that was reviled by a society that undervalued his most precious treasure, which had been acquired from an ancient culture; he enriched it, and he opened it up to the world.

In a masterly manner he created fusion experiences with musical cultures. He became interested in popular Spanish and Latin American music, jazz, the bossa-nova, in enriching the language of the left hand, in classical Spanish music, addressing Falla, Albéniz or Rodrigo with “tú”, undeterred, aware of the specific importance of flamenco.

He experimented with improvisation together with John McLaughlin, Larry Corryell and Al Di Meola removing the restraints imposed by the flamenco traditions but always staying true to its culture. His time with Chick Corea and Carlos Santana was essential. This is how he was inspired to form the flamenco group of the 21st century.

What he learned he put into future endeavours, crystallizing his ideals in the Sextet. He gave flamenco the Peruvian cajón, the sitar from India, the bongo, the flute, the saxophone, the harmonica and the electric bass guitar.

He took flamenco to the best stages of the world bringing together thousands of people in large public venues, turning it into universal music just like pop, jazz or rock. Thanks to him flamenco singers and dancers also obtained tools to make progress.

He achieved everything by deeply loving flamenco, feeling responsible for taking it around the world, without fanfare, with simplicity, humbleness and effort.

His origins were always present. The music of the Isla Verde (Green Island), as Félix Grande called it, he never forgot Algeciras; his town was his primary inspiration.

Nobody had done so much in so little time. Thanks to the music and the touch of the genius the world has come closer to flamenco, learning it, understanding it and loving it.

Paco de Lucía, luxury ambassador of the flamenco guitar, turned flamenco into an authentic trademark of Spain.