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. 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”

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 (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"

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 (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, 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 (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 (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 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 (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"