Since I already told the story of my friendly history with Nathan Salsburg in my review of his Avos duet LP earlier this year, I’ll cut right to the chase in talking about the compelling music on Affirmed, which is the Louisville-based guitarist’s debut full-length as a soloist. Salsburg’s picking is clean, confident, and sometimes even a bit flashy. These eight upbeat and melodic tracks clearly indicate that Salsburg is a fingerpicker with little to no interest in the down-tuned, borderline new age exotica being explored by so many of his peers… and Affirmed sounds all the better for it.
Opener “Sought & Hidden” sets the tone: bouncy and upbeat, Salsburg throws down a strong alternating bass with nimble melodic figures in the middle and upper registers. Like most of the tracks on the album, “Sought & Hidden” is highly composed with a strong narrative quality in the way the song unfolds. The primary theme is probably the most “minor” sounding of the entire record, though the mood here is anything but dark. “New Bold Ruler’s Joys” picks up the pace a bit. This jaunty rag-blues originally appeared on one of Tompkins Square’s Imaginational Anthem collections, and this newer recording is more or less faithful to the original rendering. This track has a pleasing sophistication to it, with some very cosmopolitan jazz chords and cadences. Continue reading →
Last Friday night was a night that I had been anticipating for a very long time. After two illness-related cancellations in the last two years, legendary Scottish guitarist Bert Jansch finally made it to Pittsburgh, one of only a handful of US performances this fall. The man should need no introduction, but for the unfamiliar, Bert Jansch came to prominence in the British folk and blues revival of the 1960’s, both as a solo artist and a member of the jazz/folk fusion group Pentangle. His playing and songwriting have been enormously influential in the folk world and beyond, and his praises have been sung by everyone from Led Zeppelin’s Jimmy Page (who pinched Bert’s arrangement of the traditional “Blackwaterside”, and without crediting him) to Neil Young, for whom Bert served as opening act on his last tour.
On this latest trek, Bert was headlining, and his support was Pegi Young (Neil’s wife) and her band, The Survivors, who were all seasoned west coast session musicians. The setting was the First Unitarian Church, which proved a great sounding venue for both Pegi Young’s country rock and Bert’s solo acoustic set. I wasn’t sure how many people would be attending the show, so I purchased tickets well in advance, not wanting to chance a sell-out. As it turns out, there were a fair number of empty pews that night, which I considered mind-boggling… this was Bert Jansch!!! How many times was he going to come back to Pittsburgh?! I didn’t dwell on it for very long… being a friend of the promotor, I knew that Bert would get paid no matter who showed up, and the modest crowd (100-125 people, maybe?) made for a memorable, intimate night. Continue reading →
Many acoustic guitarists probably have some degree of acquaintance with the work of John Renbourn and Stefan Grossman, but for the unfamiliar, allow me to offer up a short history : After cutting his teeth in clubs during the British folk and blues revival of the early 60’s, Renbourn recorded a series of classic solo albums on the Transatlantic label, and also began a fortuitous allience with Bert Jansch, resulting in their classic Bert and John duet album, and the influential folk-jazz group Pentangle. When that group initially dissolved (it would reform in assorted incarnations over the years, centering around singer Jacqui McShee… Renbourn would be an occasional participant), the guitarist delved ever-deeper into folk and blues forms, as well as jazz and ancient Medieval music. On LPs like The Hermit and The Black Balloon, Renbourn developed a sophisticated compositional style that, while complex, also overflowed with beauty and nuance.
Stefan Grossman started as a determined young blues devotee from New York City, studying under the tutelage of Reverend Gary Davis. Grossman himself quickly became something of a guitar guru… having a keen ear, and having learned first-hand from many of the original blues masters, Grossman began authoring instructional books aimed at disseminating classic American acoustic guitar styles, from country blues to ragtime. After a short stint at architecture school, he headed over to Europe, where he lived and worked for twenty years, starting the legendary Kicking Mule record label (alongside Takoma Records cofounder Ed Denson) which was instrumental in launching the careers of world-class guitarists like Duck Baker, Peter Finger, Dave Evans and Ton Van Bergeijk. Continue reading →
New on Immune Recordings, the latest from English guitarist C Joynes… Joynes calls his style “Anglo-Naive and Contemporary Parlour Guitar”, and it’s a clever (yet fitting) description! The album features a wide range of melodic approaches, with influences ranging from minimalism to British folk, from country blues to Indian classical music and more.