Alfredo Lagos and Israel Galván, guitarist and bailaor (October,
2005)
“We're not pressured to make a good
impression on the audience or be a hit”
Antonio Rey, guitarist (January, 2008)
“Guitar is now at the point where playing
old-time is going to become modern”
Cañizares,
guitarist (April, 2012)
“Tradition is a source of possibilities, not a burden to carry”
Cañizares,
guitarist (September, 2010)
“I have a music court in my head which
tells me what is and isn’t flamenco”
Cañizares, guitarist. Interview (February, 2007)
“The prestige of ignorance has done
a lot of damage to flamenco”
Cañizares,
guitarist (November, 2000)
"I have a great amount of respect
for the word 'fusion', but I can't do that: I think it's impossible
to know two cultures well enough in a single lifetime."
Flamenco x 2. Carlos and Curro Piñana, guitarist and cantaor
(July, 2007)
“We like researching flamenco and bringing
out new ideas”
Juan Antonio Suárez ‘Cano’, guitarist (May 2008)
“I don’t think my evolution is
incompatible with tradition”
Carlos Piñana
(1999)
"I'm a flamenco guitarist to
the core, but I live with the times"
Chano Lobato, Matilde Coral and Juan Habichuela (September, 2003)
While they're with us
Chicuelo, guitarist (February, 2008)
“In music, the lack of humility isn’t
good”
Chicuelo
(September, 2000)
"I listen to everything, but
Brazilian music is what I like best. Jazz is more hard-edged, more
acerbic."
Daniel Casares, guitarist (December, 2007)
“I’ve always felt like a concert
guitarist”
Daniel Méndez, guitarist (October, 2002)
"Morón isn't a style of playing, but a way
of touching the strings"
Diego
del Gastor, guitarist. Historic interview (1969)
"Feeling and technique are not the
same"
Diego
del Morao, guitarist (December, 2010)
“My weapon is rhythm”
Diego
del Morao, guitarist (January, 2005)
“Three years ago I was buying albums
by the artists I'm now playing with”
Enrique de Melchor (1999)
"There are two ways to study the guitar,
one is where youplay for your own enjoyment, and the other is when
you force yourself to study it."
Gerardo Núñez, guitarist (March, 2003)
"Flamenco guitarists have to make a concerted
effort to earn respect"
Gerardo
Nuñez, guitarist (1999)
The hard thing is to find your own language
in flamenco
Javier
Molina, guitarist. Historic interview (1955)
"I've played for the best and the
worst singers"
Javier
Patino, flamenco guitarist (April, 2009)
“There are a lot of us guitarists playing
at the back who are always obscured”
Jerónimo, guitarist (May, 2004)
“I'm in search of the artist that I
have in my mind and in my heart, but I still haven't reached him”
Jesús de Rosario, guitarist (November, 2005)
“The most important thing to me is
knowing how to share music with my fellow guitarists”
Jesús Torres, flamenco guitarist (March, 2008)
“I think ignorance causes a lot of
boldness in flamenco nowadays”
José Antonio Rodríguez, guitarist (May, 2007)
“An artist is much more than an album,
at least in flamenco”
José Antonio Rodríguez, guitarist (April, 2004)
"I like listening to other guitarists because
they have another way of feeling, I love the difference"
José
Luis Montón, guitarist (2001)
"Camarón and Paco have influenced
every living creature"
José Manuel León, guitarist (June, 2006)
“A solo guitarist has to seek out new
ways”
Josemi
Carmona, Guitarist (April, 2006)
“The two of us go hand in hand
in ‘Sumando’, without a fuss, without virtuosities”
Juan
Carlos Romero, guitarist (February, 2011)
"Flamenco’s challenge is to keep
on growing while staying who we are"
Juan Carlos Romero, guitarist (November, 2004)
“It isn't easy to make flamenco progress
musically”
Juan Carlos
Romero (1998)
"My experimentation within flamenco
music is based on a deep knowledge of the roots. There is no break
with the origins. Otherwise it would be impossible to create any
sense of continuity."
Juan
Diego, Flamenco guitarist. Interview about 'Respira!' (November
2010)
“Through guitar, I try to express that
peace we all have inside”
Juan Diego, guitarist (December, 2003)
"The guitarist is a frustrated cantaor"
Juan Habichuela, guitarist (June, 2007)
“I like playing to the beat the same
as freely. I’ve studied it all”
Juan Habichuela
(2000)
"Today there are many who dominate
the guitar, who play it wonderfully. But when accompanying, the
guitar player has to pause and listen to the cantaor"
Juan
Habichuela (1999)
"That is what I know how to do,
simple and easy things.Since I'm not a virtuoso, why would I deceive
people?"
Juan Maya Marote (August, 2001)
"Playing has evolved guitar-wise,
but not flamenco-wise..."
Manolo Sanlúcar, guitarist (September, 2008)
“The first person I see in the mirror
every morning is my father”
Manolo Sanlúcar, guitarist (November, 2005)
“The more time goes by, the further
the new generations drift away from tradition, and that's dangerous”
Manolo Sanlúcar, guitarist (July, 2002)
"Flamenco is a scholastic culture. Improvisation
is a very small part of it all"
Manuel Granados, guitarist and instructor (January, 2005)
“I feel the need to dignify flamenco”
Manuel Morao,
guitarist (1999)
"All of the records that
I have produced were recorded live because I prefer to give them
the warmth of live performance, of improvisation, and of experience."
Melchor
de Marchena, guitarist. Historical interview (1972)
"I like singing por seguiriya,
por soleá, por fandango puro, por malagueña, por taranta, taranto,
tangos, bulería a golpe. That's the singing I like."
Miguel Ochando, guitarist (octubre, 2007)
“Young people have to remember that
there are old-time guitarists who were also good and who had musical
entity and technique”
Miguel Ángel Cortés, guitarist (May, 2006)
“There are no falsetas now, there’s
music”
Moraíto Chico, guitarist. (March, 2005)
“I consider myself a musician who's
open to the vanguard, but without losing sight of my classical edge”
Moraíto,
guitarist (October, 2000)
"I've always got a pocket
full of rhythm."
Niño Josele, guitarist (November, 2009)
“Flamenco is crying out for a change”
Video
interview. Niño Josele (November, 2009)
Niño Josele, guitarist (May, 2006)
“Now I feel more flamenco than before”
Niño Josele, guitarist (January, 2003)
"The way to find inspiration is through working"
Nono García, guitarist (June, 2003)
"Flamenco is a form of localism, which is
what you need to be universal"
Óscar Herrero, guitarist (March, 2006)
“You can say a lot with two notes and
little with two thousand”
Oscar
Herrero, guitarist (April, 1999)
"I'm very demanding, too much
I sometimes think. In the end I tried to get beyond this a bit,
but honestly I think I wore out the sound technicians."
Paco Cepero, guitarist (November, 2007)
“Now I’m discovering what I have
inside”
Paco Cepero,
guitarist (June, 2001)
Paco Cepero (b.1942 Jerez de
la Frontera, Cádiz) is without a doubt one of the few remaining
witnesses of a generation that has been very important for an understanding
of flamenco.
Paco
de Lucia, guitarist (September, 2002)
"I am very self critical, after recording
an album I rarely listen to it again"
Paco
de Lucía, guitarist (March, 2001)
"We all copied a maestro and everyone
copied Ricardo's or Sabicas' falsetas, others copied Mairena's cantes,
and everyone played the same and sang the same"
Paco
de Lucía, guitarist (1998)
"The idea is to make the album
the most flamenco as possible, and as new as possible at the same
time; it is almost paradoxical, a contradiction"
Paco de Lucía, guitarist (1992)
"People say that in order to
be universal you have to be from your own town first. I believe
that, if you only think about what others would like, you go crazy"
Paco Jarana, guitarist (2002)
"A deaf person can make a record of cante,
and a one-armed man of guitar"
Parrilla de Jerez, guitarist (April, 2002)
"The artists of today produce modern stuff
and prostitute their art in order to earn more money and they care
little about purity"
Pedro Sierra, flamenco guitarist (January, 2006)
“You can't build a present or look
to the future without going through the past”
Pedro Sierra, guitarist (2001)
"Some of today's guitarists are trying for
death-defying stunts"
Pepe Habichuela and Josemi Carmona, guitarists (November 2005)
“My flamenco comes in a constant trickle”
Pepe
Habichuela, guitarist (2001)
“I’m a very classical
guitarist, but at the same time, I’m also modern and current”
Pepe Justicia, flamenco guitarist (December, 2006)
“I try never to let flamenco get out
of hand”
Ramón Jiménez, guitarist (May, 2003)
"Guitarists Are the Driving Force Behind
Flamenco"
Ramón
Montoya, Historical interview (1937)
"In cante jondo the greatest artist
to have been born in Spain is Antonio Chacón"
Santiago Lara, guitarist (April, 2007)
“My career as a flamenco guitarist
is a continuous final exam”
Serranito, guitarist. Interview (October, 2004)
"The guitar has been the driving force behind the enrichment
of flamenco"
Tino van der Sman, guitarist (September, 2007)
“We’re living in an era in whichrhythm
is overrated”
Tomatito,
guitarist (April, 2010)
“There’s always been a bit of
musical racism towards flamenco”
Tomatito
and Michel Camilo, guitarist and pianist (May, 2006)
“The field of improvisation
is complicated for flamenco”
Tomatito,
guitarist (2001)
"When you go up on stage you have
to have a good time"
Tomatito, guitarist (July, 2004)
"Competition shouldn't enter into music"
Vicente
Amigo, guitarist (May, 2009)
“Sometimes I can’t stand the
pressure I put on myself”
Vicente Amigo, guitarist (April, 2005)
“I've been searching for that moment
in sound since I started playing the guitar”
Vicente Amigo and El Pele on 'Canto' (October, 2003)
"We both hurt on the same side"
Vicente
Amigo (October, 2001)
"The Grammy is dedicated to Paco
de Lucía because it's his fault I'm a guitarrist"
Vicente
Amigo (January, 2001)
"I think it takes more work to get
down into a mine and not see the sun. Or climb up on a scaffold"
|
Complete
catalogue 
