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As far as "phrygian mode", pretty much any key of the chromatic scale, except for F and Bb and G. C phyrigian has been used by Gerardo but with a special tuning.
A=por medio traditional bulerias. B=Lots of bulerias in B like Chicuelo's album opener. C=Nunez "calima". C#=Soniquete by Paco, Mandaito by V. Amigo. Many others use this key nowadays. D=Trafalgar by Nunez again. D#(Eb)=Jucal by Nunez. Amigo has many pieces in this tonality. E=Por arriba. traditional stuff. Or Paco's album opener for Cositas Buenas, but in 7th postition. F#= Tomatito, Enrique del melchor, Vicente's "ojos de la Alhambra". Popular one in Tarantas key. G#=Nunez "Amor de Dios", at least the first part. I have heard this key used by others but can't think of any titles off hand. Minera key, and often relates to Alegrias dance.
To this list you can add the harmonic major and minor keys...
I think it was said that bulerias is a compás palo and that all kinds of "keys" or modes are allowed.
Some of them moves around in a grey zone. I sometimes find it difficult when listening to old recordings to distinguish between Bulerias por Soleá and Bulerias por arriba. I could imagine its in the singing and that I´m not capable of hearing the difference.
Yep. It sort of depends where on the neck you keep the tonic chord. For example, Patio Custodio is in E phrygian, but he plays tonic always on the 7th fret. So it would be sort of silly to describe that piece as "por Arriba". Likewise, a lot of modern stuff in D (re) will have tonic chord at 5th fret so you would not call it abajo. Puerta de Principe is an alegrias (ooops I mean bulerias ) with the tonic chord "abajo". Although that is not phrygian so usually they simply call it "en re". But a singer may describe the visual chord position as "abajo".
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) with the tonic chord "abajo". Although that is not phrygian so usually they simply call it "en re". But a singer may describe the visual chord position as "abajo". 
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