“The evolution of ‘el toque’ follows the three A’s: agressive, accelerated, arrogant.”
Mario Escudero was born in Alicante on October 11, 1928. The diffusion of the flamenco guitar around the world cannot be understood without him, given that he resided and developed most of his career in the United States since the 1950’s. Mario was the son of Jesus Escudero and Alfonsa Josefna Valero. He was married to dancers María Amaya and later to Anita Ramos. Escudero, one of the greatest flamenco guitar players ever, was recognized with the National Flamencology Cathedra Prize in 1987. He died in Miami in 2004.
Escudero was a technical and creative master shoulder to shoulder with Sabicas or Niño Ricardo even though his name doesn’t resound as much as the latter two on the Spanish national panorama.
He was always strongly tied to the Conde family and always faithful to our guitars. He passed long hours at the workshop testing different guitars although his visits were few and far in between given the fact that he resided in New York.
He was also a composer and he stood out with his authenticity and own style. He greatly influenced Sabicas with whom he passed long periods in New York.
Mario Escudero’s guitars belong to two principal eras of our family history: Viuda y Sobrinos de Esteso and Conde Hermanos. He preferred cypress for his guitars as most traditional players did at the time until Paco de Lucía. His guitars were equivalent to today’s FC26.