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FINGERSTYLE GUITARNEW DIMENSIONS & EXPLORATIONS

Volume Twoby Mark Humphrey

“On the biggest day in my early life my mother took me in toKnoxville. There I saw a blind man playing a guitar on the street. Ican still see him, with that old, beat-up guitar and a tin cup tied closeto the pegs. I can even hear the coins drop into the cup. When we gothome, I told Mother, ‘I wish I was blind and had a guitar.’ That’s howmuch I wanted to play.”

- Chet Atkins with Bill Neely, from Country Gentleman(1974, Ballantine Books, New York).

“...sonority and its infinite shadings are not the result of stubbornwill power but spring from the innate excellence of the spirit.”

- Andres Segovia, preface to Diatonic Major and Minor Scales(1953, Columbia Music Co., Washington, D.C.).

“I believe that the guitar has a particular character: soft,harmonious, melancholy; sometimes it borders on the majestic...Onthe other hand it offers a delicate charm, and its sounds are capableof being modified and combined so as to give it a very mysteriouscharacter...Of all the instruments in use today, it may be the bestmeans of suggesting the illusion of an orchestra in miniature, with itsvarious effects.”

- Dionisio Aguado (1784-1849), pioneering classical guitarist,in his Nuevo metodo para guitarra (Paris, c. 1846)

“Guitar and lute are the only instruments in which the fingertipsof both hands are in immediate contact with the sounding strings andproduce the tone—as opposed to the violin, for example, where abow does half the work, or a piano, whose hammers intervene betweenplayer and strings.” -

Frederic V. Grunfeld, The Art and Times of the Guitar(1974, Da Capo Press, New York).

There are thousands of fingers around the world at this verymoment playing guitars. The movers of these many digits are vari-ously celebrated and obscure, but all are engaged in an act which, inan age of increasingly passive entertainment, may be seen as slightlysubversive: they are actively entertaining themselves. Granted, a feware entertaining others, too, and may even do it well enough to earna livelihood. These exceptional individuals represent an elite minor-ity. Most of us who play guitar

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Our motivations are as multiple as our fingers. Perhaps it is thetactility of the instrument, as Grunfeld suggests, which engages manyof us, while for others it may be the challenge of conducting whatAguado likened to “an orchestra in miniature.” Many of us can recallan encounter with an extraordinary figure, such as Atkins’s blindstreet singer, who propelled us into an active pursuit of this Muse.And, too, there is the aspiration to express Segovia’s elusive “innateexcellence of the spirit.” To suggest that guitar playing engages thespirit as well as the brain and fingertips is perhaps controversial in‘post-modernist’ America, but other cultures are less shy of suchmatters. “Music reaches farther than any other impression from theexternal world,” the Sufi mystic Hazrat Inayat Khan wrote in 1921.“And the beauty of music is that it is both the source of creation andthe means of absorbing it. In other words, by music the world wascreated, and by music it is withdrawn again into the source whichhas created it.”

The solo guitarists who perform on this video represent severalstrains of development in a relatively new art form. It has only beensince World War II that the non-classical guitar soloist has emergedas a concert performer. And it is only in the past 20-plus years thattheir numbers have swelled to the extent that it is possible to presenta series of videos notable for the variety of performers and musicalideas performed. As the redoubtable Claw, Jerry Reed, once remarked,“I don’t go to see a man pick. I go to see a man think.”

Thinking, coupled with the “90% perspiration, 10% inspira-tion” formula, is evident in the performances here, no less than in

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the artful arrangements in the original compositions. And who wouldhave thought that some of these artists would get from where theyevidently started to their later points of arrival? Anyone hearing the1950s English jugband racket called ‘skiffle’ would scarcely presagein it the ‘folk baroque’ chamber music of Pentangle, but JohnRenbourn, no less than John Lennon, was smitten with skiffle as akid. The important thing was access to a catalyst, and the opportu-nity to then explore the windows the catalyst opened. Rev. GaryDavis might not recognize his influence in Stefan Grossman’s Ber-muda Triangle Exit, but he fired Grossman’s hunger for hearing, ab-sorbing, creating and playing music. All good pupils eventually stepoutside their master’s shadows. Evident, too, in these performancesis the way in which the exchange of musical currency is interna-tional. A Frenchman, Marcel Dadi, plays the country music of MerleTravis. There are English guitarists playing original music tinged byAmerican blues, and American guitarists picking with English ac-cents. There are guitarists from everywhere bringing music from thekeyboard and other sources to the guitar. There is an apparent user-friendly adaptability happening around the instrument: the exampleof these players encourages the rest of us to tinker with arrange-ments, explore open tunings, try varied techniques of picking. Themeans, they demonstrate, are flexible. And the ends? Endless.

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Dave Evans

We spring to a brisk start with a dazzling display of Stagefright,which inspired Ron Brown to write in the sleeve notes of Evans’sKicking Mule album, Sad Pig Dance, that the tune “has some 3,071notes in it (which works out to about 14 per second).” If that gildsthe lily, Evans certainly impresses with his fleet arpeggios and effec-tive use of hammer-ons. A kinship with the Jansch/Renbourn schoolof ‘folk baroque’ guitar and an evident affinity for Anglo folk tunescomes as no surprise, since Evans himself is British. But like thebest players of his generation, his ears are open to many influences,which he hurls back effectively from his fingers; one reviewer heardhints of Brazil, Morocco, England’s Lake Country, and Mississippi’sDelta in Evans’s compositions. “All of it,” wrote Jurgen Gothe, “isimaginative, elegant, and solidly performed.” Evans both plays andmakes guitars, and his understanding of the instrument, inside andout, certainly contributes to what he plays. “Dave Evans is a guitarist’sguitarist,” wrote Ron Brown, “and his tunes...are satisfying becausethey’re built on the kind of chord progressions, arpeggios, etc. thatare more likely to be found under a guitarist’s fingers than those ofany other instrumentalist.” Duck Baker says of Evans: “He’s the kindof person you could learn stuff from even if you never played theguitar...I was amazed by the fact that he was completely self-taught.”

The Art Of Fingerstyle Guitar (Shanachie)Irish Jigs, Reels, Hornpipes, and Airs (Shanachie)

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John Renbourn London-born and nurtured on American folk music via ‘skiffle,’

Renbourn became deeply entrenched in the vibrant London musicscene of the ’60s. Inspiredby Ramblin’ Jack Elliott, BigBil l Broonzy, and otherseminal American influ-ences, Renbourn playedJimmy Reed songs with En-glish R&B bands before ab-sorbing the eclectic musicof Davey Graham and thejazz-and-blues-tinged tra-ditionalism of Bert Jansch.Renbourn’s friendship withflat-mate Jansch producedsome legendary guitar du-ets (Bert & John/After TheDance, Shanachie Records),and provided the core forthe uniquely adventurous‘folk baroque’ ensemble,Pentangle. Since the disso-lution of Pentangle in 1973,Renbourn has maintained an active solo career as well as perform-ing and recording duets with Stefan Grossman (Snap A Little Owl,Shanachie Records). Readers of his writings in Guitar Player andelsewhere know he is also a passionate scholar of guitar music fromvaried genres and eras. Dick Weissman wrote of Renbourn in AcousticGuitar: “He always has a clear vision of what can and cannot bedone on the steel-string guitar, and he can coax an almost classicalsound out of the instrument, with all the subtle gradations of tonethat the best classical players can create.”

Renbourn’s two performances here illustrate both his classicalfacility and his range of influences (hints of Mississippi John Hurtwaft through Rosslyn). “I think the most enjoyable approach to theguitar,” Renbourn told Stefan Grossman in a Frets magazine inter-view, “is to regard it, if you can, as something like a keyboard instru-ment, with the possibility of playing the separate parts, rather thanembracing a style of music which you then have to fit all the musicinto...My concern is playing the type of music I like. How it actuallysounds is an accident.”

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The Black Balloon (Shanachie)Sir John Alot... (Shanachie)The Lady And The Unicorn

The Hermit (Shanachie)Snap a Little Owl w/Stefan Grossman (Shanachie)

Live In Concert w/Stefan GrossmanJohn Renbourn In Concert (GW Video 816)

John Renbourn Group In Concert (Ramblin' Video 802)Folk, Blues & Beyond (Video Lesson GW 907)

Celtic Melodies & Open Tunings (Video Lesson GW 908)The Jazz Tinge (Video Lesson GW 917)

Stefan GrossmanA remarkable ca-

reer in teaching andperforming began forBrooklyn-born Gross-man as teenaged pupilof the legendary Rev.Gary Davis. “I was ab-solutely enamored byhim,” Grossman re-called in a Guitar Playerfeature, and he spent asmuch time as possiblewith Davis, document-ing one of the most ex-traordinary repertoiresin American folk music.This was the era ofblues rediscoveries, andsoon Grossman wasmeeting (and learningfrom) the likes of John Hurt, Skip James, and Son House. By 1965,his knack for transmitting what he had absorbed was manifest in aninstructional album, How to Play Blues Guitar, for the Elektra label.A few years later, Grossman wrote an influential series of books docu-menting varied blues and ragtime guitar styles for Oak Publications.By then he lived in England, where he soaked up the music of ev-eryone from Eric Clapton to John Renbourn, with whom he has per-formed more recently. With the formation of his Kicking Mule labelin 1973, Grossman became the nexus of an international crop offingerstyle guitarists who offered vital and varied music (as well asinstructional material).

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Today Grossman continues to perform, teach, and documentoutstanding guitar stylists. He has reissued the best material that heproduced for Kicking Mule on the Guitar Artistry Series for ShanachieRecords. His performances here suggest both his blues roots andhis association with English guitarists: Grossman’s forceful stringsnapping is an emphatic technique shared not only with Deltabluesmen but also with Bert Jansch.

Shining Shadows (Shanachie)Love, Devils and the Blues (Shanachie)

Guitar Landscapes (Shanachie)How To Play Blues Guitar (Shanachie)

Black Melodies On A Clear Afternoon (Shanachie)Yazoo Basin Boogie (Shanachie)

Fingerpicking Guitar Techniques (Video Lesson GW 901)Bottleneck Blues Guitar (Video Lesson GW 902)

How To Play Blues Guitar (Video Lesson GW 903)Country Blues Guitar Parts 1, 2 & 3 ((Video Lesson GW 904, 905 & 906)

Hot Fingerpicking Guitar Solos (Video Lesson GW 912)More Hot Fingerpicking Guitar Solos (Video Lesson GW 913)

John KnowlesA self-styled “serious

pop or light classical guitar-ist,” Texas-born Knowlesbegan his exploration of theguitar with a Chet Atkinsalbum, Fingerstyle Guitar, in1956. Two decades later, hewas performing with Atkinsin the Nashvil le GuitarQuartet. His musical odys-sey began with piano andaccordion, which taughthim fundamentals he thenapplied to his first stringedinstrument, a plastic uku-lele. By high school,Knowles was playing Ha-waiian music in a bandcalled the Surf Riders, but

yearned for the subtler sounds of the classical guitar. He applied tothe music department of Texas Christian University, but was toldthat the guitar was not a legitimate instrument. (In more recent andenlightened times, Knowles has taught at Nashville’s Blair School of

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Music.) Sidelined by a degree in physics and subsequent research atTexas Instruments, Knowles continued to play and began teachingat Dallas’ Frets and Strings. There he dove into the classical reper-toire and wrote a four-guitar arrangement of the last movement ofBach’s third Brandenburg Concerto for the Romeros. Later, Knowlesrecorded it with Atkins, Liona Boyd, and John Pell for The First Nash-ville Guitar Quartet (RCA Records). He also wrote an arrangement ofScott Joplin’s The Entertainer for Atkins, and subsequently produceda book of transcriptions, Chet Atkins/Note-For-Note (Guitar PlayerProductions).

Knowles’s performances on this video evince not only his debtto Atkins and a firm grasp of classical technique, but also a liltingknack for chordal jazz. “Along the way,” Knowles wrote in an AcousticGuitar feature on arranging, “I have found that composing for theguitar feels a lot like arranging the music that you hear in your head.In any event, the more you do it, the better you get. And you can’thurt yourself trying!”

Sittin’ Back Pickin’ (Sound Hole)The First Nashville Guitar Quartet (RCA Records)

Pat DonohueIf Minnesota evokes stereotyped visions of Garrison Keillor’s

Lake Woebegon rustics, it also seems to have nurtured more than itsshare of imaginative fingerstyle guitarists. For example, there’s Pat

Donohue, whoswitched from drumsto his sister’s guitar atage 12, and soonpicked out someBeatles' tunes. Later,the appearance of suchbluesmen as Lightnin’Hopkins and Big JoeWilliams at the Uni-versity of Minnesotafueled his interest inrootsier music, andDonohue’s discoveryof Blind Blake’s re-corded oeuvre senthim off exploring jazz

and ragtime. His explorations have faced the challenges of bop(Charlie Parker’s Yardbird Suite and Thelonious Monk’s Blue Monk),

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but Donohue feels the basics of blues and ragtime were an impor-tant grounding in everything he’s done since.

Donohue took home the National Fingerpicking Championshipfrom Winfield, Kansas in 1983, and has to date recorded four al-bums. “What I’d like to do,” Donohue told Russell Letson for AcousticGuitar, “is improvise while fingerpicking, to take all those folk in-fluences and improvise like a jazz musician, only on the folk andcrossover repertoire.” Donohue’s performances here illustrate how akeen mind can overcome the seeming limitations of solo guitarathwart music intended for a jazz band, such as the Ellington ‘jungleband’ classic, The Mooch. With right-hand flutters replicating thesustain of Ellington’s horns, Donohue’s realization is a sly tour deforce which ought to inspire anyone tackling a foreboding arrangingchore. (It helps, of course, to have Donohue’s rich chord vocabu-lary!)

Two Hand Band (Blue Sky)Life Stories (Blue Sky)

Pat Donohue (Red House Records)Rags To Rock/Advanced Fingerpicking Guitar (Video Lesson GW 925)

Marcel DadiParis is an unlikely environ to spawn an exceptional exponent

of Travis picking, but that’s where Marcel Dadi honed his countrycraft. (Like fellow French fingerstylist extraordinaire, Pierre Bensusan,Dadi was born in North Africa.) A friend played a Chet Atkins record,for Dadi and effectivelychanged his life. Theguitar had already en-tered it at age 10, whenDadi, like much of Eu-rope, was in the thrallof Hank Marvin and theShadows, often likenedto the English equiva-lent of the Ventures.Soon he was neglectinghis studies to twangalong with Hank, andthe alarmed pere et mereDadi sent Marcel’s Tele-caster packing. No matter. An old Gibson and a Chet Atkins recordawaited him. Later, Chet would pen words of praise in the liner ofDadi’s Guitar (Guitar World 3), thanking the young Frenchman for

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reviving his reputation Over There: “I had just about decided thatno one in France had ever heard of me or my style of picking,” wroteChet. “Marcel Dadi completely debunks that idea.”

Dadi’s performance of the Travis classic, Saturday Night Shuffle,has all the bright bounce characteristic of the Kentucky-born style,while his original Je Te Veux projects the mature warmth of Atkins’selectric style, proving Dadi both an adroit disciple and a creativestylist in his own right. “I think it’s important to play the tune andtry to bring something personal to it,” he once told Stefan Grossmanin a Guitar Player feature. “It shouldn’t always have to be playedexactly like what’s on the album.”

The Guitar of Dadi (Guitar World)Dadi’s Guitar (Guitar World)

Country Show! Dadi and Friends (Guitar World)Nashville Rendez-vous (EPM Musique)

Fingers Crossing (EPM Musique)Guitar Legend (EPM Musique)

The Guitar Of Merle Travis (Video Lesson GW 918)

Duck Baker

“The first musical experience I can recall was when I was inkindergarten,” Duck Baker recalled in a 1980 Frets feature, “andone of the kids’ parents came in dressed up like a gypsy and playedthe fiddle. I thought it was the greatest thing in the world.” Thoughviolin lessons bored him, Baker later managed to become somethingof a gypsy, living variously in Vancouver and London before recentlyreturning to his native Virginia. In Gitano tradition, Duck even took

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up the flamenco guitar, though the music he’s played on it has beenswing rather than soleares, along with a potpourri of folk and jazzfrom Appalachia to Manhattan (and a few foreign ports besides).Baker was 15 when the guitar, as it had for John Knowles, replacedthe ukulele in his life. This was the mid-60s, and he was among thelegion of aspiring fingerstylists attempting to master Doc Watson’sarrangement of the Delmore Brothers’ Deep River Blues. But the in-fluence of Richmond ragtime pianist Buck Evans soon plunged Bakerinto a lifetime of arranging keyboard music, principally jazz, forguitar. “The way you learn to compose,” Baker told Michael Cranein an Acoustic Guitar feature, “is to learn to arrange...The instru-ment will teach you what you can and can’t do when it comes toarranging. Go out there and try it.” Here Baker presents arrange-ments of a Pentecostal hymn, Blood of the Lamb, and the introspec-tive Monk masterpiece, ‘Round Midnight. The former features Baker’simaginative application of gospel-funk chords to a ‘foursquare’ hymn,further enlivened by fleet supported stroke arpeggios. The latter is afaithful rendition of a deceptively simple jazz standard. “I play someMonk tunes,” Baker told Crane, “and they are very difficult. I ap-proach them with a lot of respect, with apprehension really...I getthat feeling, ‘Can I really bring this off?’ because it’s very heavy, deepstuff.”

Opening the Eyes of Love (Shanachie)The Art of Fingerstyle Jazz Guitar (Shanachie)

Fingerpicking Guitar Delights (Shanachie)The Music Of O'Carolan (Shanachie)

Irish Reels, Jigs, Airs & Hornpipes (Shanachie)A Thousand Words (Acoustic Music)

Celtic Airs, Jigs, Reels & Hornpipes (Video Lesson GW 909)Guitar Aerobics (Video Lesson GW 910)

Classic American Folk Blues Themes (Video Lesson GW 919)Fingerstyle Jazz Guitar/Swing To Bop (Video Lesson GW 920)

Fingerstyle Jazz Guitar/Bop To Modern (Video Lesson GW 921)Fingerstyle Jazz Guitar/Improvisation (Video Lesson GW 922)

The Music Of Turlough O'Carolan (Video Lesson GW 926)

Chris ProctorSalt Lake Tribune critic John Paul Brophy characterizes Proctor

as “a gifted storyteller whose voice is his guitar.” As such things go,Proctor found his voice late: he was already 20 when the guitar bugbit. “It was one of those quasi-religious experiences that I read aboutall the time,” Proctor told Jon Sievert in a Guitar Player feature. “Youjust hear something, and it sounds like the thing you want to do.”The ‘thing,’ surprisingly, was fingerstyle blues and ragtime. “One

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day in 1970,” Proctor recalledin a Los Angeles Times feature,“I stumbled into a little base-ment coffeehouse, and this guywas playing Arlo Guthrie’s song,Alice’s Restaurant. Then he play-ed some old blues by guys likethe Rev. Gary Davis and BlindLemon Jefferson. Now, I’d heardall that stuff before, but I’dnever seen anyone play it, so I’dalways figured that the finger-picking was being done by twoplayers. When I realized thatone person could play whatsounded like two or three parts,it really got to me.” A dozenyears later, Proctor won the

National Fingerpicking Championship in Winfield, Kansas (a yearbefore Pat Donohue), and subsequently recorded the first of fivealbums to date, Runoff, for Kicking Mule. How did Proctor sprintfrom late bloomer to front runner? “My big opportunity came aftercollege,” he recalls, “when I joined VISTA. They sent me to Indianato work on this hopeless project. I was totally depressed, and all Idid was play guitar. I was a government-sponsored fingerpicker.” Proctor’s performances here prove that, for once, your tax dollarswere wisely spent. The use of the E-bow at the opening of Interstateis as unexpected, in an acoustic guitar performance, as Proctor’spentatonic-scaled discourse is delightful. His use of open tuningsand non-standard voicings has led Proctor to unusual means to hisends: note the ‘half capo’ used in Morning Thunder, covering the A,D, and G strings. It’s all a far cry from Alice’s Restaurant, but Proctor,who subsequently studied theory and composition at the Universityof Utah, says, “I want each year and each record to exhibit a stepforward...I’d like my listeners to perceive growth in terms of thequality of my composing and playing.”

Steel String Stories (Flying Fish)His Journey Home (Flying Fish)

The Delicate Dance (Flying Fish)

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El McMeenFor an attorney whose repertoire is based largely on sacred songs

and Irish airs, McMeen points to a surprising early inspiration: Six-ties protest singer-songwriter Phil Ochs. To McMeen, however, itwas Ochs’s medium as much as his message that rang true: “Thealternating bass really ap-pealed to me,” he toldPatrick S. Grant in anAcoustic Guitar feature,“because although you areplaying by yourself, youhave a complete sound—you can play melody andhave a little bass backup.”McMeen picked and sanginformally while pursuingan A.B. at Harvard and alaw degree at the Univer-sity of Pennsylvania. It wasnot until the mid-80s thatMcMeen, a partner in the New York City law firm of LeBoeuf, Lamb,Leiby & McRae, began a deeper involvement with the guitar. Theimpetus in part came from a surge of self-education: “I must havebought 40 or 50 cassette lessons,” recalls McMeen, who found inthem new worlds of music (specifically, British and Irish folk tunes)and approaches to guitar, such as open tunings (McMeen’s favoriteis CGDGAD). McMeen’s performances here are far more than care-fully-copied cassette lessons. His arrangements of an Irish air, MyMary of the Curling Hair, and Christmas standard, Angels We haveHeard on High, evince a rich contrapuntal sense and exceptionallyclean articulation. “My phrasing,” McMeen told Grant, “is very muchlike the phrasing of an a capella choir. I discovered the power of acappella singing at secondary school. There’s a certain flow and ex-pansion and contraction of crescendo, diminuendo, accelerating, anddecelerating, just a breathing and organic quality to the music that Ithink seeped into my being and comes out in my guitar playing.”

Of Soul and Spirit (Shanachie) Irish Guitar Encores (Shanachie)

Sacred Music For Fingerstyle Guitar (Video Lesson GW 911)Irish Guitar Encores (Video Lesson GW 916)

Christmas Carols & Songs For Fingerstyle Guitar (Video Lesson GW 923)

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Joe MillerThe Smothers Brothers aren’t often cited as seminal influences

by virtuoso guitarists, but as a kid Miller enjoyed the fun he sawthem having and followed Tom’s example. But the guitar wasn’t theonly instrument he ex-plored: Growing up inToronto, which has alarge Indian community,Miller studied sitar withShambhu Das, a studentof Ravi Shankar’s. “It hada big effect on me,”Miller recalls of his sitarlessons, “learning aboutrhythms and the way Ithink about scales.”Mandolin, classical gui-tar, electric bass, andeven viola da gambawere among the succes-sion of stringed instru-ments Miller exploredbefore devoting himselfto the acoustic steel-string guitar. His move to Berkeley in 1978 puthim in the midst of what locals regard as ‘the music capital of theWest,’ and opportunities to play with the likes of mandolin virtuosoDavid Grisman and to teach Country Joe McDonald. Miller has alsoperformed duets with two other artists featured on this collection,Duck Baker and Pat Donohue. Following Donohue’s example, hetook home the gold from the Olympics of fingerpicking at Winfield,Kansas in 1987. Active on the American folk festival circuit, Millerhas made two albums on his Rising Sleeves label, which inspiredEngland’s Folk Roots to marvel at his “rare combination of tech-nique, humor, and panache.” With its animated bass line theme,Miller’s performance here, Ivory Coast, is the sort of articulate andenergetic playing that prompted Guitar Player to call his work “anavalanche of awesome solo acoustic.”

West Coast Music for Guitar (Rising Sleeves)Semi-Traditional Guitar Solos (Rising Sleeves)

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Vestapol 13007Running Time: 92 minutes • Color

Nationally distributed by Rounder Records,One Camp Street, Cambridge, MA 02140

Representation to Music Stores byMel Bay Publications

© 2003 Vestapol ProductionsA division of Stefan Grossman's

Guitar Workshop, Inc.

ISBN: 1-57940-970-9

0 1 1 6 7 1 30079 5

Dave Evans1. Stagefright

John Renbourn2. Rosslyn

Stefan Grossman3. Tightrope

John Knowles4. Coastin’

Pat Donohue5. The Mooch

Marcel Dadi6. Saturday Night Shuffle

Duck Baker7. Blood Of The Lamb

Chris Proctor8. Interstate

John Renbourn9. Little Niles

Stefan Grossman10. Bermuda Triangle Exit

El McMeen11. My Mary Of The

Curling HairJoe Miller

12. Ivory CoastJohn Knowles

13. Waltz ForeverPat Donohue

14. High SocietyDuck Baker

15. ‘Round MidnightChris Proctor

16. Morning ThunderEl McMeen

17. Angels We HaveHeard On High

Marcel Dadi18. Je Te Veux

Bonus InstructionalTracks:

Stefan Grossman19. Diddie Wa Diddie

Pat Donohue20. High Society

El McM

eenD

uck B

aker

The performances in this DVD series present twogenerations of artists who have advanced theacoustic guitar’s cause with formidable boldness.We clearly hear their folk, blues and country rootseven as they develop other distinctly personal har-monic and melodic pathways. Thinking, coupledwith the “90% perspiration, 10% inspiration” for-mula, is evident in the performances here, no lessthan in the artful arrangements in the originalcompositions.There are English guitarists playingoriginal music tinged by American blues, and Ameri-can guitarists picking with English accents. Thereare guitarists from everywhere bringing music fromthe keyboard and other sources to the guitar. Thereis an apparent user-friendly adaptability happen-ing around the instrument: the example of theseplayers encourages the rest of us to tinker with ar-rangements, explore open tunings, try varied tech-niques of picking. The means, they demonstrate,are flexible. And the ends? Endless. As the redoubt-able Claw, Jerry Reed, once remarked, “I don’t goto see a man pick. I go to see a man think.”