Winter 2021
The Gothenburg Combo, "Nomad," 2021
Swedish classical guitar duo The Gothenburg Combo (David Hansson and Thomas Hansy) have played a broad repertoire, including 20th century classical guitar literature. But the music on Nomad was written by Hannson and
Hansy (with a large dose of improvisation), inspired by the pair's extensive touring schedule. It is a single piece divided into eight parts, each associated with a world city where they have performed, and accompanied
by colorful memories and impressions in the accompanying booklet. The musical style is an amalgam of minimalism, contemporary classical music, and traditional music from all over the world. Part 1 is associated with Shanghai,
but the sound of the prepared guitars (using small pieces of thick paper) recalls John Cage's prepared piano music, and the Indonesian Gamelan music that inspired it, as well as the West African mbira. Part 2 is from Peru:
it continues the use of preparations, with a driving moto perpetuo that leads right into Part 3. Part 4 is an atmospheric rubato interlude built on the plaintive descending C# Phrygian melody line heard at the beginning of the piece.
Much of the expression in this piece comes from the technically difficult playing of same melodies "out of phase" with each other. This creates a delay-like effect, the "echoes" or "delays" actually carefully thought out and
meticulously performed live. Although a listener may feel as if he is hearing overdubs, there are only two guitars, two tracks, and no effects on the entire album. Part 6 is the longest track, and moves from an insistent
pattern repetition to a calm space, and back again. Part 7 goes into Spanish guitar territory, the most traditional part of the album. Part 8 ends the program with a contemplative duet, a fitting ending to this wide-ranging
travelogue.
Billy Strings, "Renewal," 2021
Billy Strings is on fire. His previous CD, Home, earned a Grammy, and he's been Pollstar's Breakthrough Artist of the Pandemic, the International Bluegrass Music Association's Guitar Player of the Year and
New Artist of the Year. The singer/songwriter and guitarist extraordinaire, not yet 30, should be poised for more honors with Renewal, on Rounder Records, for which he's had a hand in composing 13 of the 16
tracks. This collection is like bluegrass on rocket fuel, with some mescaline liberally mixed in. Renewal opens with two mostly traditional - and absolutely breathless - numbers, "Know It All" and "Secrets," and
after that, all bets are off and it's off to the races with nods to country, pop, Americana, rock, psychedelia and various combinations thereof. It's mostly acoustic but totally electrifying. The vibe is reminiscent
of 1973's Old and In The Way, a seminal hybrid that pushed bluegrass toward new frontiers. Billy Strings (birth name William Apostol) gathers a bevy of accomplished players: touring bandmates Billy Failing on banjo,
Royal Masat on bass, Jarrod Walker on mandolin, plus John Mailander on violin, and Spencer Cullum Jr. on pedal steel, all of whom play tight, yet collectively exhibit a freedom that points to the improvisational
tradition of bluegrass. In the same vein, Jonathan Wilson's production emphasizes a camaraderie among the same-page musicians. Born in Michigan and steeped in bluegrass as a young boy playing with his father,
Strings since 2015 has lived in Nashville. His voice is versatile and easy on the ears. Strings has said: "I never set out to be the best singer. My goal was just to master expressing myself through bluegrass music
and so many of those players just sing how they talk. Then, when I grew up, I learned that I liked Black Sabbath, Jimi Hendrix, and Led Zeppelin, so that influenced me, too." While it is no secret that Strings has
been through dark times of emotion and dependence, Renewal stands as a strong testament to his belief in finding his own path.
Giorgos Tabakis, "hEre nOw theN," 2021
Somewhere between Villa Lobos and Ernst Krenek, on the imaginary map of the musical globe, dwells Giorgos Tabakis. Composer, performer and, now, musical instrument designer, Tabakis' new release is hEre nOw theN.
(In 1939, Krenek famously published a book called Music Here and Now.) The internal capitals in Tabakis' title suggest it is a new "eon" for him as both a player and composer: this album is an ambitious sojourn into
the 8-string guitar. But not just any 8-string. Tabakis says that "The Greek guitar firm Moov Guitars and Yorgos Bechlivanoglou built a superb instrument for me: the GT 8-string guitar. This was an idea I had for a
long time and they made it happen. It is a unique 8-string guitar in that it is both a concert and a travel instrument at the same time. The tuning is a personal conception, although it is close to the 'Brahms
tuning'. Form the highest to the lowest note is AEBGDAEB." Switching from six to eight strings is a challenge and Tabakis says he spent many hours endlessly exploring the possibilities of the instrument, its "spectrum
of sound, frequencies, harmonics, and of course its endless compositional and improvisational possibilities." From the earliest composition, "Touch" through to much more complex pieces, like the album opener
"Attraction," Tabakis is inspired by the deep history of Western classical and world jazz guitar music, as well as a wide range of other influences that I'd guess include Greek folk music and its rhythms. Other pieces,
like "Cloudshapes," sound highly improvisational, with motifs that mutate like clouds. Tabakis is using all sorts of techniques that release clouds of harmonics, as well as rattles, thumps, and snaps that hint at
a technique far beyond modern fingerstyle tapping and percussion. The sheer range of the instrument makes for some truly huge chords: the opening of "Transition" sounds like a church organ. The low notes on Tabakis'
guitar are truly thunderous. While Tabakis has said that one of his greatest influences is the Brazilian guitarist and composer Egberto Gismonti, I also hear the influence of atonalists like Krenek and others echoing
up the well of sound, as well as the philosophical stance of composers such as John Cage who argued that all sound is music. Tabakis is on an adventure, using the entire instrument to create sonic landscapes that by
turns mesmerize, swell with ecstasy, and drive deep into the darkness of our times.
Trevor Gordon Hall, "This Beautiful Chaos," 2021
Trevor Gordon Hall's This Beautiful Chaos contains ten carefully crafted compositions featuring the guitarist's unparalleled musicality. A fixture of the Philadelphia music scene for several decades, Hall's unique
fingerstyle approach and alluring compositions led to an active touring schedule. Performing in 17 countries, sharing the stage with William Ackerman, Stanley Jordan, and Tommy Emmanuel, and appearing on NPR, PBS, and
NBC gave the guitarist exposure beyond his city of residence. On This Beautiful Chaos Hall uses a variety of stringed instruments from a baritone acoustic to the Portuguese viola to create enthralling sonic vignettes.
The album was intimately written in the early hours of the morning in a shed in the guitarist's backyard, while his family was asleep. According to Hall, the album's underlying theme is to remind listeners of the inherent
beauty found in a world seemingly captured by chaos and turmoil. The opening "Chase the Chills" contains lush arpeggiated musical phrases, beautifully conceived harmonies, and judicious reverb. The title track continues
the musical flow with dramatic chord progressions, cascading melodies with harp-like harmonics. The percussive "Momentum and Meaning" eloquently meanders down esoteric pathways forming sonorous musical landscapes. The
reflective "Presence of Absence" features delicate harmonics and intricate chord voicings. "A Daddy and his Daughter" is a poignant, reflective ballad capturing the treasured moments between a parent and child. On the
minor keyed "Saudade" Hall overdubs impressive single string melodies to a lively rhythm sequence. The rocking "Ontic Blues" deliberately swings giving Hall the opportunity to add some inspiring pentatonic embellishments.
The piece builds to a dramatic conclusion with a commanding and determined ostinato chord progression. The recording ends with "At Peace with Struggle" featuring delicate fretboard harmonies flanked by dream-like electric
slide playing. This Beautiful Chaos is a vibrant, lyrical recording reminding us to find the joy within the challenges that life gives us. This recording is highly recommended for all fans of acoustic music.
Haunted Like Human, "Tall Tales & Fables," 2021
Despite song titles like "Ghost Towns," despite the album title and the duo's name, Haunted Like Human's first full release offers not Tall Tales and Fables (except, perhaps, "Run Devil Run") but intimate tales of
realistic characters. The opener, "September," demonstrates what makes this a terrific record, the careful construction of each track (nod to producer Mitch Dane). It opens, briefly building tension from repeated
jangly strumming relieved by a lovely cello and fiddle duo. Twenty seconds later, lead singer (and lyricist) Dale Chapman joins with her dusky smooth, aching, one-of-a-kind vocals. Her blend on the chorus with
multi-instrumentalist, singer-songwriter Cody Clark is stirring, his harmonies complex. As lyricists, they know when to drop in a powerhouse, plain-spoken line, like, "You've set my heart on fire; that's a warmth you
never felt." Ouch! The September singer can't shake her inability to make sense of the end of a relationship. "Was it a trick of the light, or a change in the weather... maybe it's something about September." "City by
the Sea" is one of the best showcases for Chapman's supple voice. "Stay's" vocals start like a jig, but the tune morphs through time signatures into something completely different. The "I" admits to "running from the
demons in my mind" but promises, "Somewhere between all the wine and the chemicals... this thing in my head, ain't got the best of me yet." A dramatic call and response between the principals settles the matter; they
both refuse to stop trying. We believe them. In "Afterlife," the singer warns, "Don't go digging up graves. When love is lost, the afterlife is a choice you have to make." "Whistling Tree," an album standout, is about
the tragic consequence of love forced to live in the shadows. It opens with a tasty guitar figure reminiscent of an old murder ballad. Its lovers can survive if they "...keep from breathing in the second-hand smoke
of what's supposed to be." But the pressure is too great. Haunted Like Human is more than a name for this tuneful pair, it's a thematic concept offering poignant songs about haunted humans for humans who like haunting music.
Duck Baker, "Not the First Time," 2021
Unquestionably, Richard R. Baker IV, more commonly known as Duck Baker, is a guitar virtuoso. Perhaps more importantly, he is an architect, pathfinder, trailblazer, and transcendent figure in the world of acoustic
guitar of this or any generation, specifically with regard to fingerstyle. Baker's performances and recordings over five decades are inextricably intertwined with the popularity that the genre enjoys today. Baker's
most recent release, Not the First Time: Previously Unreleased & Rare Recordings, 1977-1989, is nothing short of a musical delight and essential listening for casual fingerstyle fans and aficionados alike. The
majority of the tracks are demos, and as such do not benefit sonically from the care and attention to detail in terms of recording process and technique that a proper recording session would, nonetheless, the sheer
diversity of repertoire presented here illuminates the expansion, as well as the enormity of Baker's skill, talent, precision and aplomb. Considering these recordings were made in various studios, in different
countries with five different engineers, it is an intriguing musical ride. An energized and fluid re-recording of the 1975 composition "Plymouth Rock" opens this collection, making it very clear that Baker's
technique is at the forefront. Bare bones production, results in very little getting between player and listener. Original gems like "Lord Renbourn," "Waltz on Sunday, " "Buck the Nightingale," and the mesmerizing
title track, showcase Baker as consummate composer and peerless musician. In fact, both "Not The First Time" and another original, "Southern Cross," expose a sweet rawness and spontaneity, while also displaying the
essential epitome of artist craft, if not genius. It just doesn't get any better than this for fans of fingerstyle virtuosity. The same can be said of his cover of "The Minstrel Boy." Listening to Baker's lush and
languid interpretation of "You Are My Sunshine" is pretty darn close to experiencing acoustic Nirvana. The extensive liner notes offer a compact but essential biography of this period in Baker's life and artistic
development, emphasizing the influences of other finger style pioneers including John Renbourn, Davy Graham, Bert Jansch and John Miller. In all there are 17 tracks, ten originals and seven covers played on both
steel and nylon strings. Previously unreleased tracks include: "Lord Renbourn," "The Minstrel Boy," "Buck the Nightingale," and "If Only Someone Would Love Me." A jointly-composed original duet with fellow fretboard magician Peppino
D'Agostino, "Short Shrift," is included in the mix. To say that Not the First Time is essential listening is an understatement.
Matt Harp, "Attrition," 2021
Attrition is Matt Harp's third album of modern acoustic fingerstyle, following Legacy (2018) and Forward (2019). The young up and comer from Missouri, with a background in classical, blues, and jazz guitar,
was a runner up in the 2020 Wilson Center Guitar Competition. He plays with flawless technique and assurance. In both his playing and his compositions there are echoes of such greats as Andy McKee, Tommy
Emmanuel, and Antoine Dufour, but he brings an indefinable something new to bear: the compositions veer in new directions, or include new sounds, when least expected. The cover art image is of the guitarist
ensnared in a web, wrestling to break free and there is a parallel sense of urgency, a restless searching quality, in this sonic feast of an album. Harp includes a dizzying collection of riveting musical
elements and techniques, yet the music fully coheres. Harp's skills - such as playing notes solely with the left hand as the right slaps the guitar or its fingernails taps on the body or runs along the strings
- can be seen on his video of energetic "Festival," one of the best on this CD (the video was a guest feature for Candyrat Records, the label best associated with modern acoustic fingerstyle). Harp opens with
"Borrowed," which begins with a rush of rapid notes and harmonics that contrasts with repeated descending motif and moves into a brief jazzy section. This is followed by an expressive take on "Dig," written by
Incubus, the only piece that isn't original. "Thoughts of Her," also at slower tempo, is a complex piece, meditative and richly layered, with long sections of tinkling harmonics. On the wild and astounding side
are "Hairpin," a dizzying romp that combines a driving rhythm and repeating sequence of notes with jazzy digressions; "The Final Boss," whose haunting melody is contrasted with wacky percussive touches before it
shifts into a series of mesmerizing arpeggios; and "Unexpected Delivery," a jazzy bluegrassy jaw-dropping piece. Closing out the album is "With Feeling," which along with the lovely "What Awaits," with its stunning
melody and interplay between bass melody and contrasting harmonics, amply shows that Harp plays with heart as well as with virtuosity. This is riveting, keep you guessing every step of the way, music - it grabs and
doesn't let go. If the word attrition means a process of jettisoning, Hart is, on Attrition, honing and distilling his considerable skills into a work as fine as a multifaceted jewel.
The New Acoustic Collective, "Art of Acoustics," 2021
The San Francisco-based New Acoustic Collective has mutated newgrass and Dawg music into a new genre - spacegrass. Guitarist Jason Keiser leads NAC, which includes fiddler David Boyden, bassists Rodrigo Ruiz and Alonso Sanchez,
and cellist Nathaniel Grohmann. Art of Acoustics is their second full-length release and it's characterized by drive and inventiveness. The album's great opener, "Back in California" recalls the David Grisman
Quintet's "EMD" and Chick Corea's "Spain". Keiser and his partners display their improvisational abilities in "Howie's Breakdown". Fiddler David Boyden kicks off "Key Signator", composed by Darol Anger, a key
member of the early David Grisman Quintet. Tony Rice's "Old Gray Coat" features Tony's brother, guitarist Wyatt Rice. In a modal tune reminiscent of the Grateful Dead's "Bird Song," Rice gently echoes his brother's
flowing style. Rice's playing contrasts with Keiser's harder attack, which includes some nicely varied dynamics. It's one of the album's strongest tracks. "Grapejelly" is a swing number that comes off as rhythmically
heavy-handed. As well, the soloists' lines often sound repetitive in this context, opposed to the more modern, often modal, framework of their other pieces, where repetition can build tension quite effectively. It
might have been reworked or omitted. "Tranescale", in 5/4 time, works much better. It's a medium tempo piece that displays the group's strengths, combining a relaxed approach with harmonic adventurousness, and blowing
up any expectations a listener might have. The up-tempo "Jazzology" once more recalls the early David Grisman Quintet. With strong solos from each member of the group, it's another of the album's best performances.
The last track, "For Flux", is dedicated to Dobro royalty Jerry Douglas. The tune's melody features rapid bi-directional slides, which Keiser executes with aplomb. He also plays one of his best improvisations here.
The New Acoustic Collective has critical strengths: drive, mastery of time, and balance among instruments. I commend the group for their skill and determination in presenting acoustic music in an innovative lineup.
Three members composed material for the project, which has a cohesive feel. Bassist Alonso Sanchez has a prominent role and is up to the task of soloing, as well as handling his supporting role flawlessly. This group
sets demanding standards for itself, and so, not unexpectedly, some weaknesses are evident. Keiser would do well to soften his attack, develop further as an improvisor, and strive for a smoother, legato feel in his
lead lines. Picking more gently would improve the tone of Kaiser's guitar and bring more nuance to his playing, since he could use a harder attack for an effective contrast rather than as a default. Also, fiddler David
Boyden has a virtually flawless technique and handles melody and ensemble lines very well, although his improvisational lines are sometimes weak. These points aside, the NAC is superbly tight and enjoyable. Art of
Acoustics and their other recordings are available on Bandcamp, and other audio excerpts and performance videos are
here.
Jamie Stillway & Eric Skye, "Home on the Midrange," 2021
Home on the Midrange, is a collaborative effort, in terms of musicianship, composition, artistry, technic and above all sonic camaraderie. The fretboard interplay between Jamie Stillway and Eric Skye is playful, inspired
and elegant. Eight flat picking originals, four written by each, are performed on two guitars built by the Santa Cruz Guitar Company. Skye plays his original trademark 00 while Stillway plays a new custom 000 featuring a
Sunken Redwood top and Mahogany back and sides. The recording was very straightforward utilizing only two Neumann KM184s close-miking both players facing each other. This translates into a very intimate listening experience
with Skye on the left and Stillway on the right, illuminating the improvisational subtlety of each guitarist and their unique fretboard personalities in addition to the sumptuous sonic landscape they create together.
"Hazelnut Grove," "Coryell's Ferry," and "Wartime Annie" display this intermingled improvisation and nuanced collaborative musicianship perfectly. Both players follow the ebb and flow of each respective tune with phrasing
and articulation that can only be born out of focused listening, like an acoustic call and response with an absolute fluidity. Among Eric Skye's many talents is his ability to foster a certain symbiosis with his duet
partners. Two of his previous collaborative albums, Artifact with guitarist Mark Goldenberg and June Apple with mandolinist Tim Connell, bear this out. Similarly, Stillway's prior years playing alongside guitarist Ben
Bonham, no doubt, have helped her develop a keen sense of collaborative musicianship on display through these tracks. There is a spirit to "The Locktender's Reel, " "Kathryn By The Delaware," and "Don't I Know You" that
overflows with mirth and joy. The title track, "Home On The Midrange," is, perhaps, the quintessential display of two guitarist giving birth to a gracious and harmonious melody with distinct and singular fretwork that not
only complements, inspires and nurtures each player, but also results in true artistry. Which is not surprising considering both Stillway and Skye are gifted fretboard instructors. Home on the Midrange, is a refined,
seductive and, above all, intimate flat-picking experience from two consummate musicians. For those who are into the technical side, Skye has made a video available on his YouTube channel that offers much insight into
the mixing of this album.
©
Mark Sullivan
The Gothenburg Combo's Website
Buy it at Amazon.com
Listen to "Part 2"
Listen to The Gothenburg Combo at our podcast 
©
Fred Kraus
Buy it at Amazon.com
Listen to "This Old World"
©
Brian Clark
Buy it at Amazon.com
Listen to "Attraction"
Listen to Giorgos Tabakis at our podcast
©
James Scott
Buy it at Amazon.com
Listen to "This Beautiful Chaos"
©
David Kleiner
Buy it at Amazon.com
Listen to "City By The Sea"
©
James Filkins
Buy it at DuckBaker.com
Listen to "Plymouth Rock"
©
Céline Keating
Buy it at Amazon.com
Listen to "Borrowed"
©
Patrick Ragains
The New Acoustic Collective Bandcamp page
Buy it at Bandcamp
Listen to "Grapejelly"
©
James Filkins
Jamie Stillway and Eric Skye's Website
Buy it at Amazon.com
Listen to "Coryell's Ferry"