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Fingerstyle GuitarNEW DIMENSIONS & EXPLORATIONS

VOLUME THREEby Mark Humphrey

This third volume in a series of videos documenting therecent evolution of fingerstyle guitar presents a range of styl-ists who at times appear to have little more in common thanthe mantle of instrumentalists testing their talents and reper-toires to the limit. What bridge exists between Larry Coryell’savant-garde amble and Martin Carthy’s assay of a bagpipe tune?Only one of shared curiosity and courage, of test pilots deter-mined to break personal stylistic sound barriers. Each of thenine artists here writes his musical signature with bold andunmistakably individual strokes. Musically diverse, the com-mon thread among them is a commitment to pursuing a uniquevision, one for which the ‘voice’ happens to be the guitar.

The renaissance of fingerstyle guitar over the past 30 yearsrepresents one of the most extraordinary ‘growth spurts’ in theinstrument’s history. The roots of this renaissance lie in variedmusical currents of the late 1950s and early 1960s, particu-larly ‘skiffle’ in England and the ‘urban folk boom’ in America,both of which excited an awareness of fingerstyle folk and bluestraditions. Simultaneously, Segovia’s classical guitar traditionbenefited from the infusion of then-young stars’ such as John

Photo by John H

emm

ings

Gordon Giltrap & Martin Taylor

3

Williams and Julian Bream who inspired a new generation ofplayers. A few dedicated souls followed the flamenco guitarMuse back when bullfight posters and the cult of Hemingwaywere ubiquitous, while a cooler Latin groove, the samba, in-sinuated itself and sparked classical guitar sales when bossanova struck our shores in 1962. Given the heady cross-currentof influences in which a musically aware guitarist was swim-ming by the mid-1960s, the pastiche of blues, classical, andEastern music influences which distinguished John Fahey’s late1960s compositions seems less esoteric than inevitable. The rawmaterials, be they folk, classic, or foreign, were already on thetable some 30 years ago. The process of assimilation and ex-ploration has been ongoing ever since.

As recent evidence, we have here Martin Taylor’s harmoni-cally sophisticated chordal jazz exposition of the plunky banjoanthem, Dixie, Tim Sparks’s musical postcards from LatinAmerica and the Balkans, and Peppino D’Agostino’s Celtic-col-ored feints and jabs. These artists are from England, North Caro-lina, and Italy respectively, though there is nothing remotely‘regional’ in their playing. Today all the world’s music is avail-able to all the world’s players, and it is increasingly difficult to‘tag’ a musician’s origin by any stylistic accent.

Five of the nine players here are English, though the blues,ragtime, and jazz elements in their playing belie their birth-place. England, of course, has a great tradition of fingerstylevirtuosi stretching back to the lutenist/composer John Dowland(1562-1626), memorably described by sonneteer RichardBarnfield as “Dowland...whose heavenly touch/Upon the lutedoth ravish human sense.” But Dowland’s lute quickly lostground in England to the Spanish guitar as the Seventeenthcentury progressed. The guitar became such a ubiquitous ac-coutrement of the amatory rake that playwright John Crownecould describe one character in his Sir Courtly Nice as “thegeneral guitar o’ the town, inlay’d with every thing womenfancy.”

The guitarists on this video are serious musicians playingat an extraordinary level of expressive skill. However, neitherthey nor we ought ever to lose sight of a simple fact known toguitarists since the days when the guitar was regarded as amongrel nephew of the lute: whether for wooing or wailing,the instrument is accessible to players of varied skills and ispurely a pleasure to play. Country guitar star Marty Stuartsummed up the guitar’s timeless appeal in a Guitar Player in-

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terview with Chris Gill: “Beyond making a living with a gui-tar,” said Stuart, “the guitar makes you happy. To me it wasdesigned for happiness, sorrow, and emotion. There’s somethingabout when you’re lonely and pick up a guitar and make your-self grin. All the loneliness disappears. It’s a good way to meetgirls. I can’t think of anything that a guitar can do wrong.”

Martin Taylor

How do you play a bass-guitar duet on a single instrument?Martin Taylor ably demonstrates, evidencing a clear registerseparation and crisp chordal sophistication inspired by his key-board heroes, Bill Evans and Art Tatum. Taylor’s performanceshere underscore the words of the Guitar International reviewerwho called him “a mind that loves the evocative beauty in agood melody and can spread it out, shimmering, like no oneelse.”

Taylor’s road to melodic mastery began in England where,at age four, he started playing guitar. He reckons he turned proin 1964 at age eight—at least that’s when his playing earnedhim a penny whistle from an appreciative music shop owner.By age eleven Taylor had his first electric guitar, a Guild Starfire,and was listening intently to the recordings of pianists Evans

Photo by Julyan R

awlings

5

and Tatum as well as guitarists Barney Kessel, Kenny Burrell,and Wes Montgomery. He left school when he was fifteen, andhas earned his living with a guitar ever since.

Taylor’s early experiences included two years on the cruiseship QE2 (he got to sit in with the Basie Band) and a stint strum-ming Dixieland alongside Acker Bilk. His long association withjazz violinist Stephane GrappeIli began in 1979, and has yieldeda number of albums. Along with Grappelli and such disparatebow masters as L. Subramaniam and Yehudi Menuhin, Taylorhas also performed with such consummate jazz guitarists asCharlie Byrd, Barney Kessel and Joe Pass. Taylor’s vigorous tour-ing schedule has taken him to such far-flung ports as Sri Lankaand Ghana. His 1993 album, Artistry (Linn Records), was pro-duced by Steve Howe and enjoyed several weeks at the top ofBritain’s jazz charts.

A Tribute To Art Tatum (Hep Records)Don't Fret (Linn Records)

Change Of Heart (Linn Records)Artistry (Linn Records)

Martin SimpsonWriters have tied

themselves in knots ofadjectival ecstasy de-sc r ib ing S impson ’splaying (“understatedbeauty...,” “breathtak-ing musical clarity....,”“tunes...like glisteningjewels”). Simpson firstinspired praise on theEnglish folk club cir-cuit, where he trailedin the wake o f theseminal 1960s folk re-vival guitarists (DaveyGraham, John Ren-bourn , Be r t J ansch ,Martin Carthy) and ab-sorbed a fair measureof American blues and‘old-timey’ music be-sides. He was sharing

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bills with the likes of Richard Thompson and Steeleye Spanwhile still in his teens, and made a quantum artistic leap in1977 when he embarked on a decade-long venture as accom-panist to singer’s singer June Tabor.

Simpson’s work with Tabor not only brought him greaterattention but focused his attitude towards interpreting tradi-tional songs. (He became hooked on them when he learnedBarbara Allen at school in Scunthorpe at age seven.) “I startedplaying the guitar ‘cause I wanted to tell stories like MartyRobbins,” says Simpson. “I still feel I’m much more influencedby singers and songs than I am by guitar players.” And that’show Simpson approaches his arrangements of traditional songs:“I don’t just learn the tunes,” he says, “I learn the songs...I knowexactly what the lyrics are about. If I don’t, I don’t play.”

Since moving to America in 1988, Simpson has found ampleopportunity to flaunt his blues chops as well, even performingat blues festivals and working in a band with pianist Henry Gray,onetime Howlin’ Wolf band member. “When the British becameaware of black music,” says Simpson, who has played blues aslong as he has ballads, “the effect was unbelievable.” His per-cussive right hand attack was inspired by Big Joe Williams, aDelta legend who liked Simpson well enough to have him auto-graph his walking stick. (For a sense of Williams’s raw power,see the Vestapol video Legends of Country Blues Guitar, VolumeTwo) Simpson is the author of The Acoustic Guitar of MartinSimpson (Accent on Music, Palo Alto, 1993).

Leaves Of Life (Shanachie)When I Was On Horseback (Shanachie)

The Collection (Shanachie)A Closer Walk With Thee (Gourd Records)

Red Roses with Jessica Simpson (Rhiannon Records)Video Guitar Lesson: Acoustic Guitar Instrumentals /Arrangements In

Alternate Tunings (Homespun Tapes)

Bob BrozmanNo player is more closely identified with his instrument

(or instruments) than Bob Brozman, who has spearheaded therevived interest in the National guitar. The Brooklyn-bornBrozman came to the instrument via his discovery of such Na-tional-brandishing bluesmen as Son House and Bukka White(House praised the metal-bodied guitar’s utility as both shieldand weapon in barroom brawls). “I was into blues so heavilythat I was buying every album with a picture of a National on

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i t ,” says Brozman, whofound one such album of-fering not only blues butalso the Hawaiian musicof Sol Hoopii. The discov-ery of Hoopii’s astonishingtechnique prompted Broz-man to co l lec t v intageHawaiian 78s and repli-cate their sounds on hisever-expanding collectionof vintage National gui-tars. In the 1970s, Brozmanwas also honing his per-forming skills as a streetbusker in Santa Cruz: “Ilearned yodel ing, scat-singing, and growling onthe street,” says Brozman,who adds that the projec-

tion (and visual appeal) of National guitars helped stimulatetips. By the early 1980s, Brozman had moved off the streetsand on to such coveted (albeit challenging) gigs as opening forthe Grateful Dead and Bonnie Raitt. He has recorded and toured(especially in Europe) extensively since, authored the defini-tive history of vintage Nationals and worked as consultant withthe new National company in the development of their Triconeguitars. Brozman’s performances here demonstrate both the ‘vo-cal range’ of Nationals and Brozman’s range of influences, blues,Hawaiian, and Latin sounds al l mingled in f lamboyantlyBrozmanian fashion. “I’m trying to draw out the elements com-mon to the genres I work in,” says Brozman, “and combine themin ways that maybe weren’t tried before.”

A Truckload Of Blues (Rounder Records)Devil's Slide (Rounder Records)

Hello Central, Give Me Dr. Jazz (Rounder Records)Blue Hula Stomp (Kicking Mule Records)

Snapping The Strings (Kicking Mule Records)Video Guitar Lesson:

Bottleneck Blues Guitar (Homespun Tapes)Traditional Hawaiian Guitar (Homespun Tapes)

Hot Guitar Techniques From Folk To JazzVolumes 1 & 2 (Homespun Tapes)

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Martin Simpson & Bob BrozmanHow did this (on paper at least) unlikely duo form? They

met at the ’93 NAMM (National Association of Music Merchan-disers) Show in Los Angeles, testing and demonstrating instru-ments at the National guitar company display area. “It was aseemingly telepathic relationship from the start,” says Brozman,who confesses to a “prejudice against...Celtic stuff” prior tomeeting Simpson. Common ground, however, was provided bythe blues. “What makes it work,” says Simpson, “is that Boband I are very well grounded in traditional forms...We have asimilar vocabulary of music and it works wonderfully.” Eloquentevidence is provided by the elegiac Tricone blues duet here,and a Brozman/Simpson album is in the works.

Larry Coryell‘Fusion’ was the label attached to the adverturesome blend

of jazz and rock pioneered by Larry Coryell (and a handful ofothers) in the late 1960s-early 1970s. Coryell’s formidable at-tack gained attention in groups with drummer Chico Hamiltonand vibraphonist Gary Burton in which he played electric gui-tar, but his performance in this video shows him every bit ascommanding in a solo acoustic context.

If the recordings of Wes Montgomery and Barney Kesselhadn’t drawn him to guitar, Coryell might have become the onlyknown fusion ukulele virtuoso, since the uke was his first fret

Photo by B

rad Wise

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ted stringed instru-ment. He started onp iano a t age four(bo th h i s pa ren tp l ayed) , bu t an-swered the siren callo f the uke a f ewyears later. Thank-fully, Wes Montgom-ery showed h imwhere he wanted togo next: “As a teen-ager,” Coryell toldMichael Brooks in aGuitar Player inter-view, “ I would listento Wes Montgomeryand jus t not haveany idea how he didi t . . .how h i s mindworked to get thoseideas.” Coryell’s ownideas were fast form-ing, and by the late1960s the jazz journal Downbeat hailed him as “perhaps themost original guitarist around.”

Coryell teamed with a like-minded guitar visionary, JohnMcLaughlin, for 1970’s influential Spaces album and workedextensively with his group, The Eleventh House, in the early1970s. His 1984 Flying Fish label album, Just Like Being Born,was comprised of acoustic guitar duets with Brian Keane. Theeclectic Coryell has played rock festivals and transcribedStravinsky’s ballets for guitar. His Nipon/Phonogram recordingof Gershwin and Ravel pieces, Visions in Blue, made the Japa-nese Top 10. “My calling on this planet is to be a searcher,”says Coryell, whose blend of finger-and-flatpick-style in a per-formance indebted to twentieth century art music demonstrateshim answering his calling.

The Dragon Gate (Shanachie)Twelve Frets To One Octave (Shanachie)

Visions In Blue (NEC Avenue)Tributaries (BMG Records)

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Steve Howe

Best known for his ‘progressive rock’ fingerations with thebands Yes and Asia, Howe here evinces fond affection for Travis-influenced ragtime country picking. “There isn’t very much mu-sic that you can’t play on one guitar,” Howe contends. “It doesn’trestrict you. In fact, it allows you to play kinds of music thatyou couldn’t do with a group.”

The London-born Howe picked up guitar at age twelve(circa 1959). “The guitar playing itself came out of a real need,”Howe told Guitar Player’s Dan Hedges. “Music was starting tofill my mind, and the guitar became part of a whole fantasy.”He took up the instrument in the wake of England’s skiffle boom,and listened hard to Chuck Berry, Chet Atkins, and Big BillBroonzy.

By his teens, Howe was working the ‘swinging London’ clubcircuit of the mid-1960s, where he enjoyed some success withthe band Tomorrow and a modest English hit, My White Bicycle.But it wasn’t until he joined Yes in 1970 that Howe’s passionfor guitar paid off.

Variously praised (and damned) as ‘art rock’ or ‘classicalrock,’ Yes was a tremendously successful venture for whichHowe co-wrote many songs with vocalist Jon Anderson, includ-ing Roundabout. Howe’s guitar collection was a notable pres-ence at Yes concert spectacles: he sometimes had eleven instru-ments onstage! The band’s high profile led to Howe cutting apair of 1970s solo albums for Atlantic and to his being named

Photo courtesy G

ottlieb Bros/Yes M

agazine

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‘Best Overall Guitarist’ in Guitar Player’s 1977 Readership Poll.Since the glory days of Yes, Howe has been consistently

involved with such groups as Asia and GTR with ex-Genesisguitarist Steve Hackett. He has also pursued solo recording andperformance, both acoustic and electric. “Most of the germs ofwhat I play were written on acoustic guitar,” says Howe, whoseformidable instrumental arsenal may be admired in The SteveHowe Guitar Collection (Miller Freeman, San Francisco, 1993).

Turbulence (Relativity)The Grand Scheme Of Things (Relativity)

Steve Howe Album (Atlantic Records)Beginnings (Atlantic Records)

with GTR (Arista)with Asia (Geffen Records)

with Yes: The Yes Album (Atlantic Records)

Martin CarthyThe premier singer/guitarist of Britain’s folk revival was in-

spired to take up the guitar by Big Bill Broonzy and has quipped:“Basically, what I doi s Trav i s -p i ck ingt rodden upon tomake it work for En-g l i sh mus i c . ” Bu tthere’s little mistak-ing Carthy’s obliqueyet commanding at-tack on his lovablybattered Martin 000-18 for any Americanantecedent. His tri-umph has been cre-

ating a style which is uniquely personal and singularly rightfor traditional English music.

Carthy has been a mainstay of the English folk scene sincethe early 1960s, when he influenced such visitors as Bob Dylan(Lord Franklin came from Carthy) and Paul Simon (ScarboroughFair). His punchy, angular playing and penchant for ballads fullof murder, myth, and magic made him a sensation, and resultedin several classic albums for the Fontana label in the 1960s. Hewas then developing his unique guitar tuning (taught on Mar-tin Carthy: British Fingerstyle Guitar GW 927) and performingas a duo with fiddler Dave Swarbrick, seen here in the clip of

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the 9/8 meter romp, Byker Hill. (“I love the idea of shifting theaccents of a tune,” says Carthy.)

The 1970s found Carthy occasionally awash in the folk-rock stew brewed by bass-playing enfant terr ib le AshleyHutchings (Steeleye Span and Albion Country Band), sometimessolo as singer-guitarist and others a cappella in the cupped earquartet the Watersons. The Nineties find Carthy again teamedon occasion with fiddler Swarbrick, and their odd-meter highwire acts are today even more daring than those of their callowyouths. Widely acclaimed as one of the most distinctive acous-tic guitarists alive (Musician magazine once ranked him amongthe ‘Hundred Greatest Guitarists of All Time’), Carthy modestlydownplays his achievement as an instrumentalist and says, “Yourbusiness is to transmit the song.”

The Collection (Green Linnet)Life And Limb with Dave Swarbrick (Green Linnet)

Martin Carthy (Topic Records)Byker Hill (Topic Records)

Right Of Passage (Topic Records)

Peppino D’AgostinoMess ina , I t a l y

was the birthplace ofPeppino D’Agostino,who has since takenin much o f theworld’s music to be-come, according toSan Francisco Exam-iner c r i t i c Ph i l l ipElwood, “a poet onacoustic guitar, han-dling the instrumentas if it were a dancepartner...” D’Agost-ino took h i s f i r s tsteps with guitar atage 11 and was mov-ing smoothly enoughby age 18 to be per-forming across Italy.He began wr i t ingoriginal material at

Photo by N

athaniel Welch

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that time for the instrument, incorporating influences from Eu-rope, Brazil, and America. His debut album, a collaborationswith Enzo Ponzio and Alfredo Morabito called Bluerba, appearedwhen D’Agostino was 25.

1983’s Silk and Steel presented D’Agostino in the companyof Duck Baker as well as several noted Italian guitarists, amongthem Giovanni Unterberger. D’Agostino’s mastery of varied ‘at-tacks’ and repertoires came in handy that year when Berben-Italy had him write a bluegrass and country guitar flat-pickinginstructional book.

In the decade since, D’Agostino’s reputation has gone in-ternational and he has expatriated to America’s West Coast. Hehas recently shared stages with the likes of Doc Watson, LeoKottke, Chet Atkins, John Lee Hooker, and Michael Hedges (onereviewer has called D’Agostino “Italy’s answer to MichaelHedges”). In addition to performing, D’Agostino has been a fea-tured instructor at numerous guitar workshops. He whimsicallycalls his style “minestrone music,” and his virtuosic ‘tappingtechnique’ display here explains why California Magazine re-viewer Derk Richardson wrote: “D’Agostino manages to createdazzling patterns of sound from a single guitar.”

Sparks (Shanachie)Acoustic Spirit (Shanachie)

Close To The Heart (Mesa/Blue Moon)Silk And Steel (Lizard Records)

Bluerba (Drums)

Tim SparksNorth Carolina-born Sparks was encouraged to take up gui-

tar by a grandmother who played both piano and guitar in anAppalachian gospel quar te t . Sparks la ter expanded hisguitaristic horizons under the tutelage of Segovia protegee JesusSilva at the North Carolina School of the Arts. For more than adecade, Sparks has been a presence in the thriving Minneapo-lis/St. Paul acoustic music scene. His arrangement of Carla Bley’scomposition, Jesus Maria, has been recorded by the most fa-mous fleet-fingered Minnesotan, Leo Kottke, who appears inthe video Fingerstyle Guitar: New Dimensions & Explorations Vol-ume 1 (Vestapol 13006). Following the example of two otherstellar players from the region, Chris Proctor and Pat Donohue(both seen in Fingerstyle Guitar: New Dimensions & ExplorationsVolume 2, Vestapol 13007), Sparks triumphally carried 1993’sNational Fingerpicking Championship trophy back to Minne

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apolis from Winfield, Kansas after performing excerpts of hisarrangement of Tchaikovsky’s Nutcracker Suite.

Sparks’ interest in a wide range of music is evident in aresume that includes performances in jazz ensembles, Greekbands, and a Persian music ensemble, Robayat, in which heplays the oud. Certainly his interest in both Latin Americanand Balkan/Middle Eastern music is apparent in his perfor-mances on this video, with Sparks playing an alto guitar (Mexi-can requinto) tuned a fourth higher than standard. Sparks cred-its his study of the music of Paraguayan composer AugustinBarrios with his initial explorations of the nylon string classi-cal guitar. Duck Baker suggested Sparks tune the top string ofhis alto guitar to a G# instead of an A, which added, says Sparks,“a lot in warmth and playability.” His fascination with the mu-sic of the Balkans was inspired “while traveling with my wifeChryll through Hungary and Yugoslavia about five years ago,”Sparks recalls. “When we got back to the States, I started pick-ing things off records that I thought would lay nicely on theguitar.” The result, entitled Balkan Dreams Suite, was praisedby Guitar Player editor Joe Gore as “an exhilarating, odd-meterminefield from a gifted composer, arranger, and performer.”

The Nutcracker Suite (Acoustic Music Records)Tab/Music book: The Nutcracker Suite

(available from Guitar Solo Productions, 1411 Clement Street,San Francisco, CA 94118)

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Gordon GiltrapLondon-native Giltrap got his first guitar at age twelve in

1960, and had his own band going just two years later. Like hisduo partner in this video,Martin Taylor, Giltrap leftschool at fifteen to followhis Muse. Unlike the jazz-oriented Taylor, Giltrapwas f a sc ina ted by the‘folk-blues’ scene whichrevolved around the likesof John Renbourn andBert Jansch, who deeplyinfluenced his stylistic di-rection. Giltrap was re-cording for the Transat-lantic label by the time hewas eighteen, and suchworks as his Visionary al-bum, insp i red by theworks of poet Wil l iam

Blake, prompted him to be tagged the English folk world’s“brightest hope of ’77" in some quarters.

Giltrap’s solo career has been augmented by extensive com-posing for British television (The Holiday Programme, CloseRelations, Working Titles) and orchestral commissions whichhave been performed by the London Philharmonic Orchestraand the Kreisler String Orchestra. Nearer his London folk pubroots, Giltrap has also worked in the past decade with Bert Jan-sch, John Renbourn, and Fairport Convention fiddler Ric Sand-ers. Giltrap met Martin Taylor while touring with Sanders in1989, and they teamed in 1991 for the critically acclaimed AMatter of Time album. To date Giltrap has recorded 24 albumsand joins the roster of guitar collector/authors featured in thisvideo with The Hofner Guitar—A History (IMP, 1993), co-writ-ten with Neville Marten of Music Maker Publications.

The Best Of Gordon Giltrap (Prestige Records)Visionary (Prestige Records)

Gordon Giltrap/Guitarist (Music Maker Records)A Matter Of Time with Martin Taylor (Prestige Records)

Perilous Journey (Prestige Records)Fear Of The Dark (Prestige Records)

Elegy (Prestige Records)

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Martin Taylor1. Medley: Dixie/Old Man River

Martin Simpson2. Medley: The Banks Of The Bann,

Bantry Girl's Lament &Jock O'Hazeldean

Bob Brozman3. Man Of Steel Blues

Larry Coryell4. Julia La Belle

Steve Howe5. Clap

Martin Carthy6. The Siege Of Delhi

Peppino D'Agostino7. Acoustic Spirit

Martin Simpson& Bob Brozman8. A Southern Grove

Tim Sparks9. Samiotisa

Martin Taylor& Gordon Giltrap10. Colin's Meadow

Steve Howe11. Second Initial

Martin Simpson12. Charlie's Boogie

Martin Carthy& Dave Swarbrick13. Byker Hill

Peppino D'Agostino14. Acoustic Funk

Bob Brozman15. Subtropical Stomp

Tim Sparks16. Oniro

Bonus InstructionalTracks:

Martin Taylor17. Just Squeeze Me

Martin Carthy18. Old Tom of Oxford

Vestapol 13018Running Time: 84 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.

This third volume in a series of DVDs pre-senting the recent evolution of fingerstyleguitar presents a range of stylists who attimes appear to have little more in commonthan the mantle of instrumentalists testingtheir talents and repertoires to the limit.What bridge exists between Larry Coryell’savant-garde amble and Martin Carthy’s as-say of a bagpipe tune? Only one of sharedcuriosity and courage, of test pilots deter-mined to break personal stylistic sound bar-riers. Each of the nine artists here writes hismusical signature with bold and unmistak-ably individual strokes. Musically diverse, thecommon thread among them is a commit-ment to pursuing a unique vision, one forwhich the ‘voice’ happens to be the guitar.

ISBN: 1-57940-971-7

0 1 1 6 7 1 30189 1

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