The modern flamenco guitar is first cousin to the modern classical guitar. The two have a common ancestry, and are handbuilt by essentially the same methods. The flamenco guitar, however, has a particularly distinctive sound and playing action of its own, achieved by the use of different timbers for the body and subtly different dimensions and proportions.
There are three primary differences between the flamenco and classical instruments: The classical guitar is typically made of rosewood, with a cedar or spruce top. The traditional flamenco instrument is made entirely of cypress, and is generally lighter in construction, giving it overall a lighter and more percussive sound. Some flamenco guitarists actually prefer the depth of the classical instrument for their solo playing, while others use a hybrid instrument.
The flamenco guitar has plastic tapping plates called golpeadores. These protect the face of the guitar from the taps with the right-hand fingernails, a feature of the flamenco music. Flamenco guitars still often have push-pegs (like a violin) for tuning. On the classical guitar, these have been replaced by geared machine heads.
Like the modern classical guitar, the flamenco guitar is an instrument of comparatively recent invention. Available evidence suggests that Antonio de Torres should be credited with the development and stabilization of the flamenco guitar in the 1850's, at the same period and in the same way he defined the classical guitar.
An examination of an early flamenco guitar, made by Torres in 1867, reveals the basic characteristics of the type. The six strings are tuned by wooden pegs, and the body is a little smaller than the equivalent classical type. The two most important characteristics of the typical flamenco guitar, however, are the use of Spanish cypress for the back and sides, and the extreme lightness of the construction. The use of very thin, light cypress sides and backs helps to give the flamenco guitar its distinctive sound. The whole internal construction is simpler than on the classical model. The action of the flamenco guitar is set lower than that of the classical, with the strings closer to the frets for rapid fingering, and the fingerboard itself is usually slightly narrower. Finally, the table carries the distinctive tap plate to protect it against the drumming and slapping of the guitarist's fingers, which forms an essential part of flamenco technique.
It has been suggested that many of the characteristics of the flamenco guitar initially arose from the need for an inexpensive instrument. There is an element of truth in this argument: flamenco guitarists have not, traditionally, been rich men.
Over the last century and a quarter, the basic flamenco guitar has undergone few modifications, although it has increased a little in size. Trials have been made with maple rather than cypress bodies. The most recent introduction has been the hybrid "concerto flamenco" guitar, which combines the flamenco fingerboard and tap plate with the classical rosewood and machine tuning.
He has been called "The Bruce Lee of Flamenco", "greatest guitarist alive" by jazz guitarist Pat Metheny, World's Best Guitarist", and has legions of fans worldwide.
Vicente Amigo has been called "the natural continuation of Paco De Lucia". A former child prodigy, Amigo has continued to evolve as a musician and vocalist. In a 1998 interview, Amigo explained, "I believe that flamenco has always been something for adults, not just for children. To understand flamenco, you need maturity. You can learn to play the guitar as a child, you understand the technique. Also, of the singing, you can more or less understand the technique.
But, the essence of flamenco is something that requires maturity". Amigo's involvement with music began at a very young age. At the age of five, he studied with influential flamenco guitarist Merenque De Cordoba. By the age of fifteen, Amigo was attracting attention as a protege of Paco Pena. Although he launched his professional career as a member of a band, Manolo Sanlucar, Amigo has performed most of his concerts as a soloist. Amigo has also accompanied numerous vocalists including El Pele and Luis De Cordoba and dancers including Javier La Torre and Israel Galvan. Amigo collaborated with singer Jose Merce on an album, "De Amanacer". He is one of the most outstanding flamenco concert guitarists, although he has also played as a backing guitarist on recordings by PelŽ, Camar—n de la Isla, Vicente Soto, Luis de C—rdoba and the rociero band Salmarina, and he has acted as a producer for Remedios Amaya and JosŽ MercŽ. His last work, Ciudad de las Ideas, won the Latin Grammy for the Best Flamenco Album in 2001 and the 2002 Ondas award for the best Flamenco Work.
Although he is Sevillian by birth, he was raised and lives in Cordoba, where he attended his first guitar lessons with El Tomate and El Merengue, and later, he perfected his guitar playing with Manolo Sanlœcar, with whom he worked for ten years. After a period of accompaniment which began alongside PelŽ, he started to devote himself almost exclusively to playing concerts in 1988. De mi coraz—n al aire (1991) was his first record. A childhood admirer of Paco de Luc’a, he took part with him in the show Leyendas de la guitarra (Guitar legends) that was held in Seville as a foretaste of the Expo '92 exhibition, and featured Bob Dylan, Keith Richards, Phil Manzanera, Joe Cocker, Jack Bruce and Richard Thompson. By that time, he had already been awarded some of the most prestigious flamenco guitar prizes.
In 1992, alongside Leo Brouwer, he composed and recorded the Concierto para un marinero en tierra, a tribute to Rafael Alberti, which was included later as part of his album Poeta (1997) for which he obtained Premios de la Mœsica (Music Awards) in the Best Flamenco Artist and Best Flamenco Composer categories. He is open to experimenting and gaining in-depth knowledge about other forms of music, and he has taken part in recordings by Miguel BosŽ, Carmen Linares, Manolo Sanlœcar, Wagner Tiso, Rosario, Nacho Cano, Alejandro Sanz... and has shared the stage with the greatest artists: Paco de Luc’a, Stanley Jordan, John Mc Laughlin, Al Di Meola, Milton NascimientoÉ
While flamenco remains the foundation of his sound, Amigo has been equally inspired by the jazz of Stanley Jordan, John McLaughlin and Al DiMeola.