Remembering Manuel

by Eugene Clark, Armin Kelly, Robert Ruck, Jeffrey Elliott, Cyndy Burton, and Paul Szmanda

Originally published in American Lutherie #119, 2014



Manuel Velázquez was making fine guitars in the 1940s, before I knew what a guitar was. I had always assumed his presence, that he would always be with us, like the New York Yankees, like the Statue of Liberty. But now he is gone.

Manuel visited Tacoma with his son Alfredo in 2006. Alfredo thanked me for recognizing his father in some of my published articles. I explained that Manuel meant a lot to me — not so much for the guitars he made, but for the man he was. I have said to many people over the years that the most important thing in making guitars is the name that is on the label. It is because of Manuel that I have come to that position. Manuel’s guitars do not sound like the work he has copied ever so carefully. They sound like Manuel — warm and loving, very clear, very Latin. His student-grade guitars, better than many first-class guitars, are very popular in New York City.