Tag Archives: Fingerstyle

Interview : William Tyler

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Late last year, we reviewed William Tyler’s excellent Tompkins Square debut Behold The Spirit. I recently caught up with William to talk about the making of the record, how he got into guitar, and his upcoming tour with Michael Chapman.

W&W : Talk a little about how you got started in guitar… how long have you been playing, what got you started, and your early influences.

Well I had the benefit/burden of growing up in Nashville, both around a lot of older musicians and a musical family. My father is a country songwriter and he was drawn to Nashville in the mid seventies, back when country singers bragged about smoking pot and reading books, as opposed to now when it’s all about trucks and patriotism.

I started playing guitar when I was a teenager, in spurts at first because I was more interested in drums and piano. I was also somewhat of a late bloomer when it came to rock music; I didn’t start buying rock records until I was fourteen or fifteen. Early stuff that influenced me was REM and Peter Buck, especially all the cross picking he did, the country style stuff in Rockpile and Dave Edmunds, and then stuff like the Sex Pistols and Ramones. I think Physical Graffiti was the first record I heard where I wanted to pick out an open tuning. Continue reading →

Video Premiere : David Leicht & Raymond Morin “Capitano”

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David Leicht and Raymond Morin, both contributors to Work & Worry, have created a new video for the song “Capitano”, from their 2010 CD/Tab book release Petrifidelity. The clips were filmed at Morin’s home and at the world-famous Sharp Edge beer dispensary. Check it out below!

There are still a small handful of Petrifidelity books available. Visit here for more info!

Review : Don Ross “Breakfast For Dogs” CD (CandyRat Records, 2010)

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ross_Breakfast_DogsBreakfast For Dogs, Don Ross’ first solo guitar outing since 1999’s Passion Session, brings just enough innovation to familiar grounds, making it a disc worth hearing.  It may seem that Ross’ relaxed virtuosity modulates within the boundaries of his comfort zone, but the range he is capable of exploring is actually quite broad.  The tunes on this album are delivered with an unwavering enthusiasm for the instrument, and his connection with the novelty of the guitar is a theme that moves the listener through these tracks.  What differentiates this collection from albums by some of Ross’ peers is that it doesn’t aim to be merely a podium for “gee-whiz” technical prowess, like the worst of Leo Kottke’s albums, but is an honestly played record, one that doesn’ t hide its weaknesses or carry a crutch.

The obsession with rhythm on this set of tunes has arguable merit.  On one hand, the persistent 4/4 beat that most of the songs are anchored by, such as on “From France to India” and “Crazy”, provides a rhythmic underpinning closest to ragtime, with syncopated beats in the bass.  On the other hand, the treatment of the melody and overall playing style is colored by a funky, almost disco feel, and so a song that might flourish were it given the chance to walk on its own two feet comes off as smarmy and cloying, with a snappy backbeat like so much mid-90’ s pop rock. Continue reading →

Review : Kenn Fox “Malakai’s Rainbow” CD (Spiritone Records, 2010)

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Ken_FoxxKenn Fox is a fingerstyle guitar veteran from Wisconsin, and his new CD Malakai’s Rainbow finds him working in an easy going, contemporary style.  The tracks are all original instrumentals, alternately melancholy and breezy, and the sound of the disc has a modern acoustic sheen, with occasional reverbs and delays, and blended acoustic and pickup signals throughout.

This record is named for Fox’s grandson, who was born last June with a congenital heart condition.  The opening title track is Fox’s tribute to the boy, who has already fought his way through multiple open heart surgeries.  The song is bittersweet, mostly loping arpeggios with a few nice melodic turns.   Second track “The Return” begins like an inverted “Layla”, and I mean that in a good way…  Fox patiently lays down a sparse melody over a mix of picked and strummed chords, with a memorable melodic transition to the “B” section, and some nice descending notes in the bass.  The middle of the song finds the guitarist digging into some down-tuned strumming, resulting in a less interesting, sort of Alice In Chains vibe, before returning to the initial themes.

As the album goes on, Fox mostly repeats the approach of the first two tracks, with only a little variation in tempo and feel.  Songs like “Marion”, “Across The Sea”, “The Wisdom of Trees” and closer “Eyes of a Child” all mine the same emotional terrain, with slow, clean picking, and some skeletal melodies buried in the pretty arpeggios.

Continue reading →

Bert Jansch Visits Pittsburgh!

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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 →