“The packaging may be important, the content should be.”
Paco de Lucía was born in Algeciras (Cádiz, Spain) on December 21, 1947 under the name Francisco Sánchez Gómez. His capacity to dominate a multitude of styles and tendencies make him, in opinion of many, one of the greatest guitarists to date.
De Lucía lived this passion from a very early age. He was a son, brother and a protégé of great protagonists of the Flamenco culture. His numerous collaborations with international artists, countless prizes he received along his trajectory are a reflection of a historic tendency of the youngest of the de Lucía family.
The figure of Paco de Lucía has left a profound mark on our 100 year history as guitar makers during which, many greats of the flamenco and classical genres defiled through our workshop over different time periods. Paco de Lucía represented the point of inflexion in the history of the flamenco guitar with respect to his predecessors such as Niño Ricardo, Manolo de Huelva, Mario Escudero, Melchor de Marchena, Esteban de Sanlúcar, Ramón Montoya and others.
Felipe Conde and his family always maintained a personal relationship with Paco de Lucía and his family, with which they still have contact despite the death of the maestro.
Rare was a day in which Antonio Sánchez, Paco’s father, wouldn’t come to the workshop to spend time with Felipe’s father Mariano and his uncle Faustino Conde. In this way, from very early on, at the age of 14 when he begun apprenticing at the workshop, Felipe was very lucky to have close and personal contact with Paco de Lucía and members of his family, Ramón de Algeciras and Pepe.
The most magical moments in the workshop were when Paco would test guitars for hours, playing one after another until he found one that he is more comfortable with.
Despite his international fame and recognition, Paco de Lucía did not the attention he deserved in Spain until his historic and controversial concert at the Teatro Real. This was the culminating moment where Paco de Lucía became a very much relevant figure on the national scene, taking the flamenco guitar to heights it was never awarded before, having been always confined to the realm of the informal and popular.
We should point out that this first flamenco concert guitar was conceived by the Conde family, in particular by Mariano Sr. and Faustino, and it was Paco de Lucía, thanks to his great talent as a guitarist, who propelled this instrument that was built with rosewood back and sides and not with traditional cypress. The main advantages of the rosewood are mainly the greater volume, depth, and clarity of sound, as opposed to the brilliant and acute sound so characteristic of cypress.