Spring 2021
Antoine Dufour, "Reflect," 2020
The tree of inventive, progressive fingerstyle guitar players has deep roots, and wide, luxuriant branches. So many have taken guitar into regions not even considered several decades past. The amazing Michael
Hedges could be viewed as the root or perhaps the trunk of this tree with expanding the aural palette of steel string guitar. Others followed suit. Don Ross is a major limb of this sonic tree. And we could justly
say that Canadian Antoine Dufour's presence is a major part of that stately timber. Dufour most recent work, "Reflect," continues his legacy of unmistakable grooves and rhythms, using picking, tapping, harmonics, and
slapping. His melodies are a thing of beauty, wrapped sublimely in technical wizardry. "Reflect" offers listeners once again a tapestry of sound with each of the 12 cuts. Dufour presents us with 7 solo tracks and 5
duets with the likes of Don Ross, Dominic Berard, David Robert, Van Larkins, and Trevor Gordon Hall. "Reality" - one of the solo pieces - begins with a rapid triplet, then another note, then the melody kicks in, all the
while slapping the strings to give the percussive groove that drives the tune. "Catching the Light" with Don Ross is a lovely, flowing dance, mixing gentle chords with single note phrases (Ross's fingerprints are easy
to hear). A particular tour de force is the duet "Spiritual Battlefield Groove" with Dominic Berard. Some prodigious chops attack the fingerboards. The song builds and maintains a sense of tension as the title indicates.
The CD ends with Dufour playing the harp guitar on "You and I," utilizing those deep drone strings to provide bass to accent the melody. It is the longest track on the record, and the perfect way to end a dynamic and
exceptional CD. Highly recommended.
Molly Tuttle, "...but i'd rather be with you," 2020
Singer/songwriter/guitarist Molly Tuttle firmly plants her Covid flag in the ground with her 10-track CD of covers, …but i'd rather be with you. The title, taken the Grateful Dead's "Standing on the Moon",
alludes to her (and our!) weariness and frustration of not being able to do so many of the things that keep us sane and make us human - the things we previously pretty much took for granted. Tuttle writes, "The
line, 'A lovely view of heaven, but I'd rather be with you,' is my favorite. Life is messy and imperfect but I'd rather be here in it with all of you!" It's also a statement that she is moving forward as an artist
no matter what is thrown at her. Isolated from family and friends in Nashville, Tuttle worked up favorite songs from her life that gave her comfort and joy. The accompanying liner notes provide her rationale for
choosing each of the wide-ranging tracks, drawn from the 1960s to the present. She notes Cat Stevens' "How Can I Tell You" "just sort of came into my life the day that my mom called to tell me that my dog had died.
I was away in Boston for college and I just cried and listened to this song on repeat for a day or two." Each song has its inside story, from "Fake Empire" by The National to "She's A Rainbow" by The Rolling Stones
to "A Little Lost" by Arthur Russell, to "Zero" by the Yeah Yeah Yeahs. Americana, folk, punk, pop, rock, soul, it's all here, and it's a nice stretch of material as a followup to her previous solo disc,
When You're Ready (2019). Tuttle also turned into a bit of a recording engineer, learning Pro Tools as she went along. Hey, an artist has to do what an artist has to do, right? With some guidance, Tuttle used
electronic files and session musicians, layering tracks on top of her strong vocal and guitar work, and the CD undoubtedly pulses with quite a different vibe than if she and her regular touring band were able to
safely gather in the studio. But Tuttle's soprano is as lovely and strong and ethereal as ever. To have a voice such as hers, and to combine that talent with her flat-picking prowess - well, that's an exceedingly
uncommon phenomenon. No real surprise then, that the most compelling track may be her interpretation of FKA Twigs' "Mirrored Heart," on which Tuttle accompanies herself on guitar with no additional tracks - it's just
stunning. My first encounter with this artist was a YouTube video of her solo acoustic take of "Olympia, Washington," which she also revisits here. Her interpretation soared due to her elastic vocals and lightning-quick
guitar work. She transformed the song into her own pop punch of punk, rock and bluegrass, and convinces us that every lyric in the song is true - and about her. She says, in the video, "This is one that I used to play
with my friends in seventh grade in our middle school rock band. I grew up in the Bay Area, in Palo Alto, and this is a song by a Bay Area band punk band called Rancid… My band wanted to play it at the show since we
were in the town that the song was named after. And it became one of my very favorites to play." That unfeigned sentiment is the same feel Tuttle imparts on this collection, although occasionally her personal,
from-the-heart attitude gets a little obscured in the mix.
Casper Esmann, "Quandary," 2020
Danish guitarist Casper Esmann is a nimble-fingered fancy picker in the style of Tommy Emmanuel. There's a strong pop vibe to his compositions which suits his driving, one-man-band arrangements.
Only 24 years old, Quandary is already Esmann's sixth album. It's a fabulous lazy-day collection of tunes full of crystalline guitar tones. Esmann's songs are full of tasty grooves. Propelled by slick
and silky rhythm guitar chunking, as in the opener, "Return to Home," or the ebullient "Always", Esmann is no guitar purist. His mixes are decorated with lots of lovely reverb and other effects, as well
as occasional string synths and other nifty production elements. Esmann's songs are, in fact, exactly that: his melodies have a vocal sensibility to them, and one could imagine writing lyrics to some of
these tunes. This really sets Esmann apart from a lot of his contemporaries, where the player is so often looking for timbral and percussive novelty rather than compositional coherence. Indeed, it would
not be hard to imagine tunes like "Beijing Chase," "Return to Home," or "Song for Colin" as instrumental pop hits. "Return to Home" clearly has aspirations of being a hit single--it is the only song on the
album arranged for a full band. Others, including "Groove Machine" and "Navigator," embrace harmonic slapping to create mini walls of sound--and richly textured walls they are. Esmann rounds out his mixed bag
of tempos with a couple slower numbers, "Left Alone" and "See You Soon," that brush against melancholy in a very sweet and tuneful way. Altogether a lovely recording and highly recommended.
Ronny Wiesauer, "All Yours," 2020
Austrian guitarist Ronnie Wiesauer melds jazz and classical guitar music in fresh absorbing ways. All Yours is his 6th album, his second solo venture of his own compositions, after his well-received
Monologues (2019). Continuing that introspective journey, Wiesauer presents a relaxed yet sophisticated improvisational style, pristine tone, and subtle use of color and dynamics. His palette is
gentle, very cerebral, yet often strongly melodic. The classical-leaning pieces skew meditative, while those with more of a jazz orientation are faster tempo and call to mind Pat Metheny and other
jazz guitar innovators. Wiesauer's music ranges in tempo from mellow ("Welcome Song") to medium ("Judith") to the peppy ("Walking"). Repeated motifs expand out into new directions with chordal
passages and lines of single notes. Melodies are left behind and then returned to after flowing improvisations. "A Picture of Ellie" is a standout example, with its moody vibe, intricate timing, and
fancy fingerwork; it features stunning single note passages, a hallmark of his impressive technique. The title track and "Alone," with limpid notes and trills, are slower and more dreamlike. Wiesauer
shines in a somewhat different way on the pieces that lean classical. Also improvisational and abstract, these are slower and more heartfelt, with strong, memorable melodies. "A Peaceful Moment," with
its deep resonances; "Sketches I" with a series of harmonics, like shimmery water tumbling down over rocks; and "Etude No. 1" also highlight his outstanding tone. Wiesauer has had a fascinating career;
he began studying classical guitar in childhood and later explored rock, fusion, early music, and Baroque hexachord technique. In 2016 he founded the trio The Corium Project, which produced Chants to the
Sea, his first foray into composing hybrid jazz/classical music. Perhaps most interesting, it includes compositions with music corresponding to and interweaving with that of Leo Brouwer for classical
guitar. As a composer Wiesauer is like a jeweler crafting a finely wrought setting for a gem. That gem is the music and playing: sparkling, pure, and luminous.
Sharon Isbin, "Strings for Peace" 2020, "Affinity" 2020,
Veteran classical guitarist Sharon Isbin presents two very different collections of music. Affinity is an album of contemporary classical guitar compositions commissioned by her; all but one of
them is given its world premiere recording. It is a stylistically varied group. The album takes its title from Chris Brubeck's Affinity: Concerto for Guitar & Orchestra, which at 16 minutes is
both the longest and the largest scale work. It's an attractive modern American concert piece--think Aaron Copand--with a sprightly opening section. There is an emotional part in the middle where
Brubeck quotes from one of his late father Dave Brubeck's compositions (at Isbin's suggestion). Cuban guitarist/composer Leo Brouwer's 1981 El Decameron Negro suite shows off Isbin as solo guitarist
in a somewhat more harmonically adventurous setting. Isbin asked guitarist Colin Davis to arrange Venezualan Antonio Lauro's Waltz No.3 Natalia for two guitars; Davis joins her for a lively contrast
to the rest of the program. Chinese composer Tan Dun's Seven Desires for Guitar is constructed around the contrast between Spanish flamenco guitar and Chinese pipa styles, providing another global
perspective. Richard Danielpour's Of Love and Longing concludes the program with the most traditional approach, a set of art songs with Isabel Leonard's voice at the center.
Strings for Peace immerses Isbin in North Indian (Hindustani) classical music in a set of ragas composed by sarod master Amjad Ali Khan. Isbin and tabla player Amit Kavthekar are joined by
Khan and his virtuoso sons Amaan and Ayaan Ali Bangash--one sarod per track, with Ayaan playing on two. The sarod is arguably closer to the guitar (albeit without frets) than the better-known
sitar, and the compositions present both instruments in a complimentary fashion. Guitar and sarod alternate as equal soloists, a raga performance style called jugalbandi. "By the Moon - Raga
Behag" (each of the four tracks employs a different traditional raga) opens with the usual rubato alap section, both players exploring the raga freely. Isbin employs a bit more portamento
between notes than usual in classical guitar performance--emulating a common practice on the fretless sarod--but her normal rich guitar tone is fully present. Sarod and guitar do play some
passages in unison during the formal composed section (or gat) to exciting effect. "Love Avalanche - Raga Bhairavi" and "Romancing Earth - Raga Pilu" are both popular ragas, allowing greater
latitude to the performers. "Love Avalanche" is a short track which goes straight into the rhythmic gat, making it perhaps an easier entry point for Western listeners. "Sacred Evening - Raga Yaman"
closes the program with a lovely evening raga, which even includes a bit of Western harmony when Isbin doubles Ayaan's lines a fourth below.
Will Kimbrough, "Spring Break," 2020
Will Kimbrough has always kept busy: writing, producing, playing/touring with artists like Jimmy Buffet and Emmylou Harris... Then came Covid-19... and he stayed busy, launching a Patreon page, co-writing with folks
like Mac McAnally and Buffett (see their new releases), working with Songwriting for Soldiers. And he recorded Spring Break, a solo acoustic record in the tradition of Folkways and Vanguard folk records. So, in
"I Want Out," Kimbrough hearkens back to the recordings of Leadbelly with forceful strumming and bass runs on the twelve string in a tune about a working woman. "Philadelphia, Mississippi," (a 1999 co-write with
David Zollo), a story song with pertinent details, features some fine bottleneck guitar. I previously thought of Kimbrough as an accomplished sideman (which he is) but, the-mostly--solo format here puts his songs
at the center. "My Sin is Pride" opens the set with fingerpicking over the familiar G, C over G, D--a fitting way to begin a retro record and to accompany Kimbrough's first master class in how to keep it simple. As the refrain,
the title ("My Sin is Pride") makes the repeat of "I never will confess" at the end of this confessional tune, shattering. "We All Fall Down," an anthemic tune very much in the 60s spirit, is a tuneful album highlight.
It resonates with COVID's dramatic demonstration that what happens to one can affect everyone. Rightfully, COVID plays a central role ("By day we keep apart six feet, / By night we keep close watch") in "The Late Great
John Prine Blues," a tribute song to an important influence ("the greatness was the man himself"), another fixture in singer/songwriter albums of the Vanguard era. In "Right Wing Friend," Kimbrough's answer to our
politically divided country becomes "a love song to friendship." In it, Prine gets name checked again. In fact, with COVID as the background for this project, the ghost of John Prine hovers over Spring Break, and
he surely approves.
Adam Karch, "Everything Can Change," 2019
Adam Karch's soulful, gravelly voice is reminiscent of John Mellencamp, Walter Trout and Edwin McCain. Not surprisingly, it is also the perfect complement for his explosive, full throttle fretwork.
Karch's fifth album, Everything Must Change, overflows with musical prowess that embodies a confidence reminding me of Steve Earle's early work and Stephen Stills solo work from the '70's. It's more
than tasty blues and roots licks with gusto-filled riffs fueled by country blues. A fearless presence hits the listener head-on with the opening riffs of track one, "It's Your Song," followed by covers of
the fellow Montreal based artist Alec McElcheran's bluesy "Fair Verona Blues" and a rollicking version of the late J.J. Cale's "After Midnight." Before you catch your breath, "In the Winter Time," adapted
from a story by Saskatchewan storyteller Wade Olson, harkens back to Mellencamp-Americana. On the second half of the album, Karch slows things down a bit, relying on his fingerstyle chops for two bookend
instrumentals, "Porch Groove [Sunday Morning]" and Porch Groove [Saturday Evening] and a mellow country tune from French singer-songwriter, Olybird. Sprinkled in are covers of Dylan's "Don't Think Twice
"and "Preachin' Blues" by Robert Johnson. The straight up blues of "Bitter Harvest," which showcases Karch's soulful voice and guitar work, is a definite highlight and perhaps a hint that he will treat us
with a full-tilt blues album in the future. With this mix of intrepid cover interceptions and original tunes, it's clear that Karch possesses that rare ability to write and perform music that oozes honesty
and integrity, creating an intimacy for the listener. A rare feat in today's synthetic world of slick beats and focus on production over sonic essence. The Canadian based Karch covers a lot if ground on
Everything Must Change, but does so deftly with respect, homage, artistry, and no small amount of spunky panache. If you are feeling in the dark during these days of turmoil, give a listen to Adam Karch and
let him shed a little light.
The New Acoustic Collective, "Buckwild," 2020
String ensemble The New Acoustic Collective makes its debut with this EP. Directed and co-led by guitarist/composer Jason Keiser (he also plays mandolin and the tres cubano), the band is heavily indebted to
progressive bluegrass by the likes of David Grisman, Darol Anger, and Tony Rice. But it also draws inspiration from other musical styles, including flamenco and gypsy jazz. The program begins with a cover of
Wyatt Rice's (Tony Rice's brother, and a member of the Tony Rice Unit) "Dave's Place" Rice is a mentor, and the band turns in an exciting performance. After a strong guitar solo Keiser turns things over to David
Boyden's fiddle. Keiser's title tune (and the collectively composed "Buckwild Intro") both display an overt flamenco influence, but blended with bluegrass. Keiser's waltz "Vals For Dawg" is a lovely tune, with a
certain dark undercurrent provided by baritone fiddle and cello. The guitar solo makes effective use of muting and tremolando playing for contrast. The band's version of Grisman's "E.M.D." finds the guitar paired
with Nathaniel Grohmann's cello in place of the usual fiddle for a lively romp. Double bassist Rodrigo Ruiz had provided the pizzicato bass introduction to the previous group composition; for "Outro" he plays a
doleful arco solo, accompanied by Keiser's flamenco-style guitar. This short program covers a lot of ground, and promises great things from these players.
Duo Tandem, "Guitar Duos of Kemal Belevi," 2020
Duo Tandem is Necati Emirzade and Mark Anderson, two guitarists whose distinct cultural backgrounds merged in 2012 while both were studying at the San Francisco Conservatory of Music. Their third release is a program of
guitar duos by Cypriot-British guitarist-composer Kemal Belevi (b. 1954). Belevi was born in Nicosia and moved to London in the 1970's, where he studied guitar with David Russell and composition with David McBride (a student
of Benjamin Britten), and later launched a career as both performer and composer. Most of the pieces on this recording, including "Turkish Suite" and "Suite Chypre," were originally composed for solo guitar, guitar paired with
both cello and violin, or full orchestra. Belevi specifically chose to arrange these pieces for guitar duo in an effort to expand the repertoire. The music is classical in structure, but melodically and rhythmically informed
by the folk music of Greece, Turkey, and the Middle East. Emirzade and Anderson brilliantly coax those traditional eastern Mediterranean sensibilities from the page and synchronously, through an informed verve, masterful use
of dynamic range, and instinctive sense of ensemble, grant Belevi's music permission to be modern.
Shannon Slaughter, "Hold on to Your Heart," 2020
If you like your bluegrass served up in a traditional way with solidly written songs, run out and get this album. All the ingredients are here - well played guitar, bass, banjo, Dobro, fiddle and an occasional pedal steel.
Songs about lost love, murder, ghosts, the strength of family, and Jesus. Gorgeous church harmonies, clear tenor voices, and a soprano voice as pretty as a spring day. Shannon sings lead on most songs although his wife
Heather and others sometimes takes the lead. He's played with several bands and the experience shows with his expressive and smooth flatpicked guitar. The recording is clean, with every instrument coming through like a live
recording.
The album opens solidly with the title cut about a singer who'll steal your heart. There's an impressive guitar run to start things off, followed by an arrangement in the bluegrass style with most instruments taking a solo.
"Stack Those Bodies High" offers vivid images of war, as does "The Hole," a song that tells the story of a soldier in the Civil War. "Lonesome Wind" also covers a dark topic, sung by a man who's murdered his sweetheart.
Not all is deep and sad. "So Were We" is a heartfelt ballad that uses the images from photos to tell the story of a family, each section ending with "Life was good and so were we." No bluegrass album is complete without
an instrumental featuring fancy picking and "Blitchville" is that song. One of my favorites is "Damn Short List of Things" where the clever lyrics outline the things he values, from trains to Grandpa, but none as high on
the list as his wife. Speaking of her, Heather sings "Daddy Sang His Youth Away" and damn, I love her clear and expressive voice. "Running Kind" is about a guy who sings he has "leaving always on my mind." "Man He's Strong"
starts with the tender image of a dying boy and ends with an homage to the strength of God. "Getting Older" features a sweet pedal steel and there's a lively fiddle on "The Devil's Broom." Finishing up the album are live
recordings done with his family, including a gospel tune sung with his mama. You've gotta have a soft spot for a guy who records with his mama. And you've gotta love this album.
Howard Emerson, "The Rhytalin Kid," 2020
Howard Emerson is back with another well-crafted, listenable set, this one comprised of instrumentals and one vocal tune. He plays fingerstyle on steel string acoustic guitar, rooted in picking styles of the fifties
and sixties folk revival, and clean-sounding slide on electric guitar. Emerson begins with "Frailure is the Option," employing clawhammer technique for a chordal section and traditional fingerpicking for the balance
of the piece. The piece resembles some of Jorma Kaukonen's acoustic compositions, going back to "New Song (For the Morning)" and "Third Week in the Chelsea." A playful "Summer Island Groove" evokes the Caribbean. A Ben
Harper tune, "Number Three," is one of the album's most lyrical pieces. "Bat's Bounce" recalls Doc Watson's deft fingerpicking, with Emerson adding rhythmic twists of his own. I found "Loki's Lament" calming, rather
than sad, as the title suggests. "The Rhytalin Kid" is the album's only vocal piece. Although Emerson doesn't explain the reference to "Rhytalin" outright, the wry lyrics point toward acknowledgement of his imperfections
and ultimate self-acceptance. The pleasing "The Tassels of Tripoli" is in the same vein as "Loki's Lament," and sounds like a take on early Bert Jansch. The closer, "Heidsieck Shuffle" is played solo on electric slide,
and recalls "Sixteen Tons." The sound is clean throughout and continues Emerson's standard of producing music that is listenable and lyrical - he aims for taste rather than flashiness. The Rhytalin Kid stands to attract
guitarists and non-musicians alike.
Andy Jurik, "Strive," 2020
Andy Jurik's Strive consists of eight intricate arrangements, profoundly interpreted for nylon stringed acoustic. Many of the carefully chosen compositions found on this recording were not originally written
for guitar. However, Jurik's inherent musicality allows him to seamlessly transform this eclectic collection into a cohesive and captivating narrative. Holding a Doctoral degree in Musical Arts, Jurik currently
teaches at Western Carolina University and the University of North Carolina Ashville. He also divides his time lecturing and performing across the globe. Strive begins with "Julio-O" a joyful, alluring synthesis
of jazz and classical motifs written by former Turtle Island Quartet's Marc Summer. "Improvisation No. 15," originally written for piano by Francis Poulenc is a somber, heartfelt homage to Edith Piaf. "Odeon,"
"Eponina," and "Brejeiro" are a trio of Brazilian pieces by Ernesto Nazareth. Jurik's searing, pinpoint executing captures the essence of these timeless compositions. The guitarist also offers an intimate chord
melody of Leonard Bernstein's show tune "Lucky to Be Me," from the musical "On the Town." While "Chorale" elegantly weaves through classical, jazz, and spiritual musical forms. Originally written for double bass
by Nicholas Walker, Jurik's impeccable arrangement allows him to skillfully navigate through the distinct musical styles. There is also a dramatic reading of Radiohead's "Exit Music (For Film)," a minor keyed
sonic anthem. On Lennon/McCartney's "Blackbird," Jurik plays with the timing, while reharmonizing other sections, breathing new life into this often performed piece from the Beatles canon. The recording ends
with Ivan Trevino's "Strive to Be Happy" an ambitious composition progressing through diverse melodic landscapes, thus marking an appropriate ending to this aspiring recording. Andy Jurik's Strive redefines
the boundaries of contemporary acoustic guitar, offering exceptional arrangements of contemporary compositions, masterfully performed with eloquence and originality. This release is highly recommended for all
fans of classical, jazz, and acoustic music.
©
Kirk Albrecht
Buy it at Amazon.com
Listen to "Talk"
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Fred Kraus
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Listen to "She's A Rainbow"
©
Brian Clark
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Listen to "Quandary"
Listen to Casper Esmann at our podcast 
©
Céline Keating
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Listen to "A Peaceful Moment"
©
Mark Sullivan
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Listen to "Strings for Peace"
©
David Kleiner
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Listen to "I Want Out"
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James Filkins
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Listen to "It's Your Song"
©
Mark Sullivan
New Acoustic Collective at Bandcamp
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Listen to "Dave's Place "
Listen to The New Acoustic Collective at our podcast
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David Pedrick
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Listen to "Fragment I"
©
Jamie Anderson
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Listen to "Hold On To Your Heart"
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Patrick Ragains
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Listen to "Frailure is the Option"
©
James Scott
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Listen to "Julie-O"