fingerstyle new dimension 1.pdf

8/21/2019 Fingerstyle new dimension 1.pdf

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We whose musical bent incl ines toward fingerstyle acoust icguitar are sometimes characterized as antediluvians with ahorror, both innate and ideological, of technology. Of course,the video which this text accompanies exists thanks to technol-

ogy, as does the guitar, acoustic or otherwise. Those of us whohave hungered to see a favorite guitarist play a beguiling passageover and over till we ‘get it’ can now, with the push of a buttonor two, have just that. Suddenly, we are in control of ourmasters.

There are several levels on which this video, and others of its kind, can be helpful. The performances here are perfor-mances, not lessons, but the pause and rewind buttons create atutorial subtext. Closer scrutiny becomes an option. And whilemost viewers of this video are probably guitar players, there’s agood chance you aren’t only a guitar player. Even if you are one

of the few of us whose career is that of guitar player, your lifeisn’t only about guitar. Other levels of experience engage you. And the same is true of the remarkable guitar is ts in th is video.Neither they nor their music exist in a vacuum. The personali-ties of the musicians is conveyed via a complex dance of flesh,wire, and wood. What we hear is expressive not only of aninstrumental medium (fingerstyle guitar) but of a myriad of extra-musical elements and of the milieus where the musiciansshaped their music.

The clips of Bert Jansch, for example, convey the ambience

of the English folk pubs in which his introspective music wasforged. Jorma Kaukonen, who, with bassist Jack Casady, be-came Hot Tuna in 1970, seemingly turned away from Jefferson Ai rplane stardom for something more elemental: ‘Unplugged ’before rockers-gone-acoustic was cliche. Leo Kottke shows uswhy he became a 1970s ‘guitar hero’ without executing a singleright arm pinwheel, while John Fahey offers the roots of Kottke(and a whole ‘American primitive guitar’ school) in his owndeceptively simple synthesis of American blues and everythingfrom hymns to ragas. Preston Reed’s ‘acoustic funk’ suggests aresponse to influences beyond the oft-times insular realm of

acoustic guitar instrumentalists. Each of the ten performers inthis video is engaging in an active dialogue with us, the audi-ence, and with a host of influences. Each is taking a step beyondthe footfalls of those influences. As much as anything, the themeof these New Dimensions and Explorations is evolution.

The evolution we witness is both stylistic and technologi-cal. Is Adrian Legg’s fiberglass instrument with Scruggs-style



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tuners the same guitar as John Fahey’s vintage Bacon & Day?Technology rises to serve stylistic changes, and style meets theavailable technology. On the Big Screen of guitar evolution, theroughly 30 years represented by this video signals a brilliant but

brief blip. “In the beginning,” sarodist Buddadev Das Gupta tolda UCLA audience in 1993, “there was the hunter’s bow.” DasGupta was explaining the evolution of North India’s sarod, buthis starting point would apply to any member of the family of stringed instruments (chordophones). The hunter’s bow’s closekin, the mouth bow, can still be heard making music in someparts of the world. (In Central Africa, it can be heard charminggenies whose job it is to guard animals from hunters.) “Apollothe god of archers is also Apollo the god of music,” writesFrederic V. Grunfeld in The Art and Times of the Guitar , “acircumstance that might reasonably be explained by the dualism

of the bow.” Fingerstyle guitarists are thus Apollonian, as theyreplicate the primal pluck of the hunter’s bow each time theyplay. (Traditionally, Dionysians favor wind instruments, thoughrumor has it they traded their panpipes for a Strat and a stack of Marshalls twenty-some years ago.)

Looking a few rungs up the evolutionary ladder from themouth bow, we see sexy courtesans on Egyptian tomb wallsplaying a long-necked lute called a nefer. It more closely re-sembles the sentir still played by Moroccan Gnawa musiciansthan the guitar, but the 3400 year-old images tell us the Pha-

raohs were entertained by something distantly akin to theguitar. So, too, were the Christian crusaders who sought toreclaim Jerusalem but were seduced by Arabic culture and latertransformed the oud into the lute of medieval courts.

During the late renaissance, the egalitarian guitar beganedging out the courtly lute. “It has none of the inconveniencesto which the lute is subject,” wrote Luis de Briceno in 1626.“Neither smoke nor heat nor cold nor dampness can incommodeit...And as further proof of the value of my guitar, ask yourself whether kings, princes and gentlemen lay aside the guitar forthe lute as they now leave the lute for the guitar?”

Along with “kings, pr inces and gent lemen,” the voluptuar-ies of Charles II’s court took to the guitar. “You were as sure tosee a guitar on a lady’s toilet, “ wrote Count Grammont, “asrouge and patches.” In America, Ben Franklin championed it,and there was some populist enthusiasm for the guitar in theearly decades of the American republic. Stephen Foster wrotefor guitar, and his more sentimental side reflected the literature



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for guitar when it was primarily a lady’s parlor instrument. Themore boisterous banjo and fiddle, however, were the frontierfolk instruments of 19th century America.

But mass production and mail order changed all that. By the

last decades of the 19th century, cheap guitars flooded Americavia Sears Roebuck, Montgomery Ward, and similar commerce-minded friends of folk music. The genteel parlor instrumentbecame a roughly-banged ‘second’ (rhythm accompaniment) tofiddlers across America, and a host of new, unorthodox ap-proaches to guitar sprang up among musicians who lackedformal training but not imagination. Some tried to replicate thesyncopation and clear register separation of ragtime piano onthe guitar; others discovered they could imitate train whistlesand human cries by sliding some smooth object up the strings. Af rican-Americans were in the vanguard of those who liberated

the guitar from the parlor. In the late 19th century, with suddenaccess to a remarkable instrument, they planted the seeds formuch of the music seen/heard on this video.

In 1626, Luis de Briceno had argued that the guitar was easyto play, easy to maintain, and an egalitarian delight: “Twothousand people now entertain themselves and express theirthoughts and troubles through the guitar.” Three hundred yearslater in America, guitarists as diverse as Nick Lucas and BlindLemon Jefferson were further popularizing the instrument viarecordings. A few years later still millions of Americans tuned in

radios to hear the young Bing Crosby croon to the dulcetaccompaniment of Eddie Lang. And the movies spawned ageneration of future guitarists in the 1930s, thanks to theinspiration of singing (and strumming) cowboy, Gene Autry.(The mail order companies helped again, selling kid-sized Gene Autry guitars. ) Many of the guit ar is ts on this video fe lt theimpact of Elvis’s 1950s television appearances. His guitar mayhave been mainly a prop, but it was a potent one. And ScottyMoore, he wasn’t kidding. The guitar has been ‘user friendly’ inthe ways its renaissance champion said, and it has also proven‘media friendly’ in our century. This dvd is further evidence.

Looking at it, there are at least three major traditions inevidence, and considerable exchange among them. John Faheyis the father of a school of ‘American primitive’ (his term)guitarists, self-taught artists who borrowed from folk roots andblended them with varied influences. Fahey’s introspection,more than his folk/blues roots inspired Will Ackerman andother guitarists identified with the ‘New Age’ music of the



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1980s. For Fahey, whose introspection tends towards expres-sionist angularity rather than impressionistic pastels, this is nota happy legacy.

At about the same time Fahey was di scover ing blues and

country guitarists in America, Davey Graham was absorbing thelessons Big Bill Broonzy left his European fans, and mixed themwith music reflecting Britain. Bert Jansch is one of severalremarkable guitarists who came up in the 1960s and advancedBritish approaches to fingerstyle guitar. All point to Graham asthe fountainhead of their movement and to Broonzy as its initialcatalyst.

Brad Jones and Adrian Legg reflect very different responsesto the inspiration of American country guitar styles. MerleTravis brought a blues-and-jazz influenced style from westernKentucky to nationwide attention, and such disciples as Chet

Atkins , Doc Watson, Je rry Reed, and Scot ty Moore furtherrefined and popularized it. The roots of ‘Travis picking’ bearresemblance to the ragtime-inspired ‘Piedmont style’ guitar bestexemplified by Rev. Gary Davis and Blind Boy Fuller. Similarly,fingerstyle blues is at the base of the ‘family tree’ of Fahey’sschool and, for that matter, the English and European players.

Each of these ten artists is an original, and each, too, is partof a larger cultural continuum. Unalloyed originality is eithermythic or infantile. These artists are neither, and their examplemay inspire you to find your own New Dimensions and Explo-

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Peter Finger

Peter Finger brings a fusion jazz sensibility to an instrument andstyle seldom associated with it and brilliantly demonstrates thedynamic range of fingerstyle guitar. Finger grew up in a musicalhousehold (his father is a symphony conductor) in Weimar,Germany, where his early studies of the violin were rewardedwith prizes in the national music competition, “Jugend musiz-ert.” The wunder-kind took up the guitar at 13, and made his

first album, aptly titled Finger Picking (ALP 190), at age 19. Twoalbums for Stefan Grossman’s Kicking Mule label in the early1970s, Guitar Instrumentals (SNKF 104) and Bottleneck Guitar Solos (SNKF 105), quickly followed, as did extensive Europeantours. Finger’s range of influences and abilities is evident insuch albums as Acoust ic Rock Guitar (SNKF 144) and Neue Wege(SF 8015) with saxophonist Charlie Mariano. (One critic likenedFinger to “an acoustic Jimi Hendrix.”) Though little known in America, Finger ’s g if ts as gu itar is t and composer for radio, fi lm,and television keep him busy in Europe. You never know werethose early violin lessons will lead.

Niemandsland (AM 1001)Live (EC 418/10)

Neue Wege (SF 8015)Im Labyrinth (SF 5013)Windspiele (SF 8006)

Finger’s recordings are available via his label, Acoust ic Musi c Records, Post fach 1945, 49009 Osnabruck, Germany.

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Bert JanschBorn in Glasgow and raisedin Edinburgh, Jansch hasbeen a dominant force on

Britain’s folk scene since1965, when his first album(Bert Jansch, TRA 125) ap-peared. Jansch’s version of Davey Graham’s Angie be-came a fingerpicker’s stan-dard covered by (among oth-ers) Paul Simon. His col-l abora t ions wi th JohnRenbourn set a new stan-dard for imaginative guitarduets, and the diverse ele-ments Jansch and Renbournfiltered through their fin-gers (English folk, Ameri-can jazz and blues, etc.) took on further dimensions when theyteamed with bassist Danny Thompson, drummer Terry Cox andvocalist Jacqui McShee to form Pentangle. Pentangle’s evoc-ative and eclectic modern chamber music came to be dubbed (to Jansch ’s chagrin) fo lk-baroque. Since Pentangle’ s in it ia l di s-bandment in 1973, Jansch has worked extensively as a solo

performer, with fiddler-mandocellist Martin Jenkins, and, onoccasion, with a reformed Pentangle. His two performances inthis set illustrate both his clean articulation and his imaginativeway with a traditional song. In Black Waterside, Jansch uses a D- A-D-G-B-E tuning wi th reflec tive punch and panache. His di s-tinctive off-rhythms and string snapping are legacies of his jazzand blues influences which Jansch in turned passed on to PierreBensusan.

The Best of Bert Jansch (Shanachie) Jansch & Renbourn / Afte r The Dance (Shanachie )

The Ornament Tree (Run River Records)

Sketches (Temple Records)Pentangle / Early Classics (Shanachie)

Pentangle / So Early In The Spring (Green Linnet)Pentangle / Think Of Tomorrow (Green Linnet)

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Adrian LeggLike another English-bornguitarist, Albert Lee, Leggbrings a refreshingly un-

Southern (yet simpatico)approach to country gui-tar. His first instrumentwas oboe, but Legg aban-doned it when he heardLonnie Mack’s Wham! Heplayed electric guitar inseveral country bands be-fore embarking on hisunique version of semi-acoustic fingerstyle guitar.Since 1991, Legg has re-corded four albums for the

Relativity label, two of which (Mrs. Crowe’s Waltz and Wine,Women & Waltz) are devoted to the revival of 3/4 time. (“I likewaltzes,” says Legg, “I think they’re an under-exploitedform...People used to be conceived because of waltzes.”) Thenon-waltzes heard in this video illustrate the legacy of guitaristClarence White and electric banjoist Buck Trent, both of whomplayed instruments with ‘string bender’ effects which replicatedthe sound of the pedal steel guitar. Legg has ‘Scruggs style’

tuners and a very light G string on his instrument. Along withthe lessons of White and Trent, Legg has absorbed influencesfrom Chet Atkins and his disciples, Jerry Reed and Lenny Breau.Legg mixes his influence in an appealingly original way, win-ning him “Best Acoustic Finger Stylist” in Guitar Player’s reader’spoll. Like a veteran ‘reader’s poll’ champ for whom Legg hasopened, Leo Kottke, Legg was drawn to the multi-linear guitarfrom a uni-linear wind instrument. (For Kottke, it was trom-bone.) “With the guitar,” explains Legg, “you can hold a wholepiece of music, whereas if you play trumpet or oboe, you canonly do bits of a piece of music. You can do a whole piece on thepiano, but you don’t hold it. There’s a kind of intimacy withyourself that can happen with the guitar.”

Guitars and Other Cathedrals (Relativity)Guitar for Mortals (Relativity)

Mrs. Crowe’s Blue Waltz (Relativity)Wine, Women & Waltz (Relativity)

Fingerpicking & Open Tunings -Video Lesson (Hot Li cks)

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Jorma

KaukonenThough his heroeswere Blind Blake and

Rev . Gary Dav is , Jo rma Kaukonenemerged as one of thesultans of psyche-delia in 1967 via histrips with the Jeffer-son Airplane. The in-fluential San Fran-cisco rock band waslosing some of i t s

momentum by 1970,when Kaukon-en and his long-time friend (and Airplane bass-ist) Jack Casady formed Hot Tuna as a ‘side project’ from theoften-grounded Airplane. There they were free to explore theirroots as well as experiment outside the sometimes-volatileband. The first performance here is a bluesy jam which suggests,in a different context, some of the innovative spirit of the Jansch-Ren-bourn duets. Casady was or ig inal ly an elec tr ic jazzguitarist and here he plays chordal bass (and even in onesection, flamenco-inspired runs). Jorma’s guitar playing is attimes an acoustic simulation of his reverb-and-distortion-laden

solos with the Airplane. But if the first performance suggestsacoustic (and vocalless) Airplane music, the second is arche-typal Hot Tuna, a Gary Davis-inspired arrangement of HesitationBlues. In the years since these clips of the young Tunas, Kaukonenhas been busy playing and teaching both his rock and his roots.“I love the acoustic guitar,” he told Guitar Player’s Jas Obrecht.“It’s a complete, portable instrument. It’s like being able to playan acoustic piano, but you can carry it around. I find it a verysensuous instrument.”

Jorma (RCA)Hot Tuna (RCA)

Magic (Relix Records)Quab (Relix Records)

Live At Sweetwater (Relix Records)The Acoustic Guitar Of Jorma Kaukonen (Homesp un Video)

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Brad Jones

When his dad wasn’ t working on the Ames, Iowa police force , hewas starring on one of those once-ubiquitous ‘live’ countryradio shows, The Buster Jones Show. Older brother Ron wasfingerpicking a la Merle Travis and Chet Atkins, so it was fairlynatural for Brad Jones to follow in the family tradition. As isevident from the autographs on his classical-style guitar, Joneswears his influences proudly, primarily that of the wise guy whowrote, “To Brad, My Hero” — Jerry Reed. Reed (aka ‘the Claw’)

took Atkins’ style to another dimension in the 1960s, and Jonessays, “I went crazy with Jerry’s stuff. I do a lot of his licks, butI do ‘em different.” The influence of left-handed brother Roncontributed: Ron played a right-handed guitar upside down,picking the bass notes with his fingers. “I just never learned toplay right,” says Jones. “I double pick a whole lot on the bottomand get a kind of funky sound.” (Notice in the video that hesometimes cross picks up and down with his thumbpick as if itwere a flat pick.) Jones has three albums out on the Virginia-based Flat Fivelabel, and in 1992 won the fingerstyle guitar competition at Winf ie ld , Kansas . He has played in Europe in the company of such legends as Albert Lee, Larry Coryell, and Marcel Dadi, but Jones doesn’ t lean on the guitar for hi s livelihood. “I movefurniture,” he says. “I go on tour when I can, but I don’t take itall that serious. I tried that for awhile, but I got severelyoverweight, so I had to go back to work.”

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Live at Five (Flat Five)Backporch Boogie (Flat Five)

Video Lessons (Stefan Grossman's Guitar Workshop)Bag Of Tricks, Pocketful Of Licks

Guitar Styles & Techniques of Jerry Reed

Legacy of Country Fingerstyle Guitar Volume OneLegacy of Country Fingerstyle Guitar Volume Two

John Fahey

Eisenhower was still President when a 20-year-old from Ta-

koma Park, Maryland issued an Lp of steel-string guitar solos,Blind Joe Death, on his own label, Takoma. “John kind of invented the audience for solo steel-string guitar,” Leo Kottketold Dale Miller, “and the industry behind it. Without John itwouldn’t have happened.” The seminal albums Fahey made forhis Takoma label in the Sixties were a big part of both why andhow it happened: “When I started,” Fahey once told this writer,“nobody was interested in guitar solos — in taking old bluespieces and trying to recreate them. I thought there was enoughin the guitar that deserved concert attention. I was pushing toget the steel-string guitar recognized as a legitimate concertinstrument, using American folk tradition, though not exclu-sively. I was eclectic, starting off with some blues and hillbillypieces by adding classical licks, Indian stuff, and other musicthat is hard to define.”

Fahey’s pioneering eclecticism is demonstrated in the per-formances on this video. His lap-style slide playing is a vehiclefor Bukka White’s Poor Boy, which John Lomax recorded by an

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imprisoned Bukka White at Parchman Farm in 1939. (Faheyrediscovered White in 1964, and recorded him for the Takomalabel.) The second clip of a younger Fahey shows him movingthrough introspective, and sometimes dissonant material in a

manner which clearly anticipates the ‘impressionism’ of hisvaried disciples. And his syncopated arrangement of the Episco-pal hymn, In Christ There Is No East Nor West, became afingerpickers’ standard, in the 1960s, comparable to “Windyand Warm” and “Angie” in popularity.

Old Girlfriends And Other Horrible Memories (Varrick)I Remember Blind Joe Death (Varrick)

Rain Forests, Oceans And Other Themes (Varrick) John Fahey Christmas Gu itar (Varri ck)

God, Time And Causality (Shanachie)Railroad (Shanachie)

Fare Forward Voyagers (Shanachie)Old Fashioned Love (Shanachie)The Yellow Princess (Vanguard)

John Fahey & El izabeth Cott en (Ves tapo l Video)

Preston Reed

Reed cites two of the other artists on this dvd — John Fahey and Jorma Kaukonen — as his format ive influences as a guit ar is t.The acoustic funk tap attack illustrated in this video was in-spired by the examples of Michael Hedges and Stanley Jordan,and gives new meaning to the term ‘hammer-on.’ “Creativeexploration, for me, is the purpose of playing guitar,” Reed toldTodd Ellison. “I always try to go after something I haven’t done

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before.”Reed’s eight albums trace his evolution through a variety of

six-and-12-string fingerstyle techniques, including slide guitar.He devotes as much creative energy to generating new tunes as

he does to new techniques. “For me,” says Reed, “composing isas important as playing the instrument.”The Washington Post said of Preston's playing: “His unac-

companied instrumentals often sounded like combo arrange-ments as he deftly combined bass lines, melody lines, arpeggios,piano-like tapping on the fretboard and conga-like rapping onthe guitar's wooden box. Most impressively, the tunes neversounded like academic experiments but always emphasized amemorable melody and clear mood.”

Border Towns (Capitol Nashville)Blue Vertigo (Capitol Nashville)

The Road Less Traveled (Flying Fish)Preston Reed (Flying Fish)

Instrument Landing (MCA Master Series)

Woody Mann

Mann’s performance here of crisply articulated orchestral jazzchords illustrates his imaginative blend of jazz, blues, and muchelse. His lifelong study of America’s musical heritage began inRev. Gary Davis’s living room and extended to Julliard and his

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current faculty position at Manhattan’s New School for SocialResearch — Guitar Study Center. Mann is best known for suchinstructional books as Six Early Blues Guitarists and The Com-

plete Robert Johnson, but his performing credits have included

stints with such blues legends as Bukka White and Son House, jazz guitar is t Atil la Zoller , even work as guit ar is t in the Broad-way production of A Chorus L ine. “Blue” is certainly one of theprimary colors in Mann’s varied palette, and recently he hasmade a series of blues-based instructional recordings for StefanGrossman’s Guitar Workshop.

Fingerstyle Blues Guitar - DVD LessonThe Guitar Of Blind Blake - DVD Lesson

The Guitar Of Big Bill Broonzy - DVD LessonThe Guitar Of Lonnie Johnson - Audio Lessons

Roots Of Robert Johnson - Audio LessonsMasterpieces Of Country Blues Guitar - Audio Lessons

Fingerpicking Jazz Improvisation - Audio Lessons (All the above available from Stefan Grossman's Guitar Workshop)

Will AckermanSteeped in the music of John Fahey, Ackermanwas able to hang up hiscarpenter’s tools and en- joy phenomenal success inthe 1980s with the label

he s t ar t ed in 1975 , Windham Hill . The labeland a genre of music be-came synonymous, and Ackerman (who has sincegone on to other entre-preneurial ventures), be-came the guru/patron of aschool of so-called New Age guitar is ts , including Acker-man’s cous in , Alexde Grassi and MichaelHedges. Wind-ham Hill’sbrand of mood-enhancingfingerstyle guitar oftenmade the Billboard popcharts and Ackerman’s independent entrepreneurial successhad him touted in Esquire’s 1984 Register: The Best of the New

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Generation as among the “men and women under 40 who arechanging America.”

At the very least, Ackerman fe lt that he and his di sc ip leswere changing the expectations of listeners to fingerstyle guitar.

“I personally feel that the range of human emotions that arebeing attempted and communicated now are more subtle andintimate and personal,” he told Dan Forte. “I think the purposeof the music almost changed. It went from something demon-strative to something articulate.”

Past Light (Windham Hill)Childhood and Memory (Windham Hill)

It Takes A Year (Windham Hill)The Search for the Turtle’s Navel (Windham Hill)

The Opening Of Doors (Windham Hill)Conferring With The Moon (Windham Hill)

Notes by Mark Humphrey

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Vestapol 13006ISBN: 1-57940-969-5

Peter Finger

1. A Trip Through The Pyrenees

Bert Jansch

2. One For Jo

Adrian Legg3. Cajun Interlude Jorma Kaukonen

4. Man’s FateBuster B. Jones

5. Wild Turkey John Fahey

6. Poor Boy Preston Reed

7. Slap Funk Woody Mann

8. Lennie's LamentAdrian Legg

9. Midwest Sunday Buster B. Jones

10. Live At Five John Fahey

11. Red Pony Jorma Kaukonen

12. Hesitation BluesBert Jansch

13. Black Waterside

Will Ackerman14. A Bricklayer’s

Beautiful Daughter John Fahey

15. In Christ There IsNo East Or West

Bonus Instructional

Tracks:

Buster B. Jones

16. Sitting On TopOf The World

John Fahey

17. Some Summer Day

Running Time: 78 minutes • ColorNationally distributed by Rounder Records,One Camp Street, Cambridge, MA 02140

Representation to Music Stores by Mel Bay Publications

© 2003 Vestapol ProductionsA division of Stefan Grossman's

Guitar Workshop, Inc. 0 1 1 6 7 1 30 06 9 6

“This three DVD set features new and archival footage of performances by the

preeminent names in steel-st r ingfingerstyle guitar. Beginning with Peter

Finger's breathtaking ‘A Trip ThroughThe Pyrenees’, the collection boasts some real gems: a rare late 1960s clip of Jorma Kaukonen and Jack Casady - a.k.a.Hot Tuna doing ‘Hesitation Blues’, Bert

Jansch delivering a soulful version of ‘One For Jo’, John Fahey crooning while

plucking a Gibson L-00 on a plaintive‘Poor Boy’ and Adrian Legg at his peg-twisting best on ‘Midwest Sunday’... It's awonder seeing these greats do what they do up close without those often clumsy

instructional asides, and without getting

a lot of smoke in your face. A real treat.” – GUITAR P LAYER

P e t e r F i n g e r

P r e s t o n

R e e d

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