December 5, 2011

Charlie Schmidt - Evening Suite

I've been aware of Charlie Schmidt for some time now, but you may not be.  I suggest, no, I strongly advise you to listen to Schmidt's guitar playing.  Charlie has been haunted by his fascinating personal association with John Fahey for decades.  But it isn't just the bizarre relationship that all report when spending any time with the great prankster Fahey.  No doubt Schmidt probably wasn't the only one of the two that was never really sure when the joke was on and when it wasn't.

If I must cajole you into visiting Schmidt's web site...I will.  Do not tempt me into such shocking and rude behavior.  For there is music issuing from his guitar that haunts me just as Schmidt is haunted by Fahey's music.

From the new web site:
"A shadowy figure still haunts Mr. Schmidt. The timbre of his dissonant guitar rings out into the night when all he craves is the sweet embrace of sleep. John Fahey, for it is he who still haunts, has been dead these past ten years but somehow, his restless mischievous spirit lingers in the haunted guitar of Charlie Schmidt."
And while Schmidt will tell you it's time to move on, the influence is and no doubt always will be undeniable.  One listen to Schmidt's 2005 release Xanthe Terra will convince you that he is his own man.

Now, years later Schmidt is ready to strike out into the world again.  With six strings ringing like a symphony Schmidt presents his three part guitar suite, "Evening Suite."  His first work made available in years.

Visit the new site, Schmidt Guitar, to hear the new tracks and buy MP3's of the tracks.

November 30, 2011

BluesWax Sittin’ In With Lionel Young By Stacy Jeffress

Aboard the Legendary Rhythm & Blues Cruise
Somewhere on the Pacific Ocean
October 23, 2011
Reprinted with permission, copyright Blues Revue

By Stacy Jeffress

BluesWax sat down with Lionel Young immediately after his band’s rousing first performance aboard the Blues Cruise. The only artist to win both the solo/duo (2008) AND band (2011) divisions of the International Blues Challenge, Young expounds on the strategies he applied to prepare his band for the competition and how an encounter with the Memphis Police Department could have destroyed his efforts. He also reflects on the recent untimely death of his friend and fellow Colorado blues artist John-Alex Mason.

Stacy Jeffress for BluesWax: We’re on Day Two of the Blues Cruise, and you just did your first show. How do you think it went?

Lionel Young: I think it went well, enjoyed it.

BW: When you won IBC for solo/duo performer, you also then got to do a cruise as a result of that?

LY: Yes, in 2008 – the Pacific. The nice thing is being able to return with a full band. I came in 2008 by myself. I got a chance to sit in with Los Lobos – that was great!

BW: I’ve heard you talk informally about your strategy for going to the 2011 IBC, in picking your secret weapon that really won everybody over. Can you tell me a little bit about how you planned and prepared for IBC this year?

LY: This time we had a little more time as opposed to 2008 when I didn’t start getting serious about a week – well, no it seems like all my life I’d been preparing for it. It seems like all the gigs I played in the past – you know you bring all your experience to bear when you try to choose 25 minutes to play. After doing it the first time and being successful with it, I was able to figure out some strategy. We prepared 25 good good minutes, a variety of rhythms and you want to be geared toward the judging criteria – the blues content and the instrumental talent, vocal talent especially because they are heavily weighted.

Before we even played a note, we got together and figured out the songs we could do, songs we wrote to be good in originality. We had people come in and help us with our stage presentation. We had a blues dance instructor.

BW: How often do you think that happens?

LY: Not often. She was great. She helped us more with general things like how to project to an audience. “You guys are playing for each other; you have to project out.” We played for a few people – a guy named Sammy Mayfield – he’s the musical director for Solomon Burke. He made good suggestions. We practiced and rehearsed a lot and had all these gigs trying to feel out what we could do, so when we got to IBC, it wasn’t a big surprise. When you get there, it’s get up, get down. You don’t have time for “We could do this.” You don’t have time to wing it. It’s not a “wing” situation which you can do in gigs. If you want to win, you have to gear toward the criteria that will give you the most points. We were able to do it well enough to win and be able to be on this boat right now.

BW: That’s a pretty cool perk, huh?

LY: Yeah, it is.

BW: So tell me about the secret weapon.

LY: The secret weapon was the a cappella. We thought that was a little risky, because you put your instruments down. We were trying to score high in the vocal talent. We’re all good instrumentalists, but we put our instruments down, and everybody would sing. It would be a unique way to do a song in a way that shows off our vocal talents.

BW: I wondered as I watched you today if you had hired instrumentalists who could sing or singers who could play instruments.

LY: Mostly instrumentalists who could sing. Two or three of them hadn’t sung before. Nothing to hide behind. It’s nice to take a song like Sam Cooke’s, originally a Charles Brown song, and to use that blues content to really do something different.

BW: And your style of dress – red ties, black outfits. Y’all were sharp looking!

LY: We had good advice from people – hey you guys got to come in with a color-coded thing, be sure you are dressed up. It was mainly women that advised us. If it weren’t for the women, we’d be nowhere. “You don’t have to wear the same thing like a uniform; make sure you have a color scheme you go by.”

BW: Do you think that ought to matter in a blues competition?

LY: I think it should. The highest points are given to people who are ready to be onstage. You get 8, 9, and 10 if you are ready to be a headliner in a large festival or something like the blues cruise. If they’re only ready to be in a bar, then they give you less points. This last time was a real eye-opener for us, a real fun situation, because we were able to relax a little bit. We had done a lot of preparation before we got there which allowed us to relax and just play. Everything that was within our control, we took care of it before we came.

BW: You had something unpleasant happen which you talked to Bob Margolin about [recently in Blues Revue]. Which day was that you had an encounter with the Memphis police?

LY: That was Thursday, February 3rd.

BW: It would have been your second night of playing the preliminary rounds. Tell me about what happened for anybody who might not have heard.

LY: The first night was pretty good. We had a situation with our keyboard player. He got there two minutes beforehand and walked up on stage. He’d been driving as fast as he could from St Louis. There were some problems.

BW: The weather was awful.

LY: The weather was pretty awful with ice everywhere.

BW: They’d shut down roads in Missouri.

LY: That’s right. So the next day we’re rehearsing; it was a little tense, a little out of whack. We were trying to get ourselves ready for the next night. I decided maybe I’ll go for a walk or a run to turn this energy around. When you exercise sometimes it takes negative energy and converts it. That’s what blues is about. You take something that’s bugging you, and you turn it in to something to celebrate with music. Somehow the music transforms your feelings and how you feel about life and what’s going on with you. I went for that run, and I got stopped by the Memphis P.D. They handcuffed me. They told me there were alarms that went off in the neighborhood and they were checking to see if I wasn’t the one. “Where you going? What you running from?”

BW: What were you wearing during your run?

LY: I was wearing sweats – sweat shirt, sweat pants.

BW: Were you carrying anything?

LY: I wasn’t carrying anything – keys.

BW: No burglary tools.

LY: I was getting back a little late. We were supposed to check in and I was trying to get back in time for us to leave, so I was sprinting the rest of the way. They stopped me. “Where are your hands? Put your hands on the car! Where are you running from?” I said I was running to. I got to meet my band and go downtown. They said, “No, you’re not. You might be lying. I don’t know you.” I said, “I don’t know you, either.” A little snappy comeback that I guess they didn’t really appreciate. They said, “We’re handcuffing you for your protection and our protection.” I’m sitting there, and my keyboard player came out and said, “What’s going on here? This guy is in the International Blues Challenge, and we’re here..” They said, “Listen, this doesn’t concern you. Go away.” He said, “I’m not going away. This does concern me. We have to show up and check in.” They said, “You’re obstructing a police investigation.”

Stacy Jeffress for BluesWax: Were you in front of the house where you were staying?

Lionel Young: It was in front of the house, like a half block away.

BW: So the police stopped you in front of the very house where you were staying.

LY: Right. They said, “Where’s your ID? Where’d you get these keys?” I said, “I got them in Denver when I rented the van.” I guess they checked that out and found out I actually rented the van and what I was saying was true and listening to the keyboard player, they let me go. According to a lawyer there, I was about this close to missing everything. I probably would have been taken in if my keyboard player didn’t come out. Because I wasn’t from that neighborhood, I probably would have been taken in until they could find out who I was. They wouldn’t let me go get my ID and prove to them I was actually who I was. When they drove off, I just shook my head like this at them as they were going by.

It affected me. I didn’t want it to affect me. It really affected me in a negative way. It doesn’t seem like the land of the free, the home of the brave. It seemed sort of like a police state. I’m sitting there in handcuffs – I didn’t do anything. It just disappointed me that stuff like that still happens. You could be stopped, questioned, detained, maybe arrested, handcuffed through just running. I know Bob [Margolin] wrote the article “Running While Black.” [In Blues Revue #130]

A little later when we had to play, I was trying to get past it, but the frustration was tough. We were all wearing purple. There were a lot of people who came; I remember seeing Bruce Iglauer there, Janiva Magness, Kate Moss. It was pretty packed, and I was distracted. I was forgetting lyrics.

BW: What was the time frame between that encounter with the police and you being onstage?

LY: About two hours. It put a damper on the way we played. I think we played our worst that night, and it was nice to find out we made it to the semifinals.

BW: Did you see your score sheets, and did they differentiate between Wednesday and Thursday?

LY: Yes.

BW: Could you tell a difference in the scores?

LY: No.

BW: So that means you’re a pro.

LY: We got through it. We were so frustrated because we felt we could do much better. The next day we spent a lot of time together. We played a little bit; we went to Stax. Just the act of doing that brought us together. The best night may have been the semifinal. We were fighting back. We didn’t just play well, we played very well. We made sure we put our best foot forward. We were able to do that the next two nights.

BW: The finals were dazzling.

LY: At the finals we felt very good. We didn’t play the full twenty minutes – they didn’t have a chance to raise the two-minute sign. It was a good set. The semifinals was thirty minutes. They want to see if you can present yourself well in a short amount of time.

BW: It doesn’t seem to hurt when the contestant goes out into the audience. It seems to go over big with the judges.

LY: It goes over big anywhere. The number one thing I think is connecting. You have to connect with people. So many people get shy and you stay within yourself – it doesn’t serve you to play small. People want to feel connected. They want to feel something from you. If you’re just up there whittling away and you think it’s so inconsequential that you don’t have to invest yourself – simply look up and connect, and it’s a big thing. That’s what this lady who helped us said, “I want to feel like you want to make love to me. You, Lionel, you’re looking around at the band.”

One of the things that we also did is, we recorded a CD before we went to Memphis. It was ready a few days before we left. It prepared us musically. You don’t have to worry about the music as much when you’ve been in the studio. There’s nothing more critical than listening to yourself back. If it’s not cool, you’re going to hear it. There are many times the horn players record many takes to good it right, so you work out horn parts. Seeing how we can all fit together.

Another thing at IBC, people play really loud. It’s a pressure situation – you’re being judged. It’s not fun being judged. Feels like you’re going to court. In a pressure situation what most people do is they talk loud and talk fast or they play loud and play fast. It’s counterintuitive.

“People want to feel connected.
They want to feel something from you.”

BW: Fight or flight.

LY: Yeah, you get that flight or fight thing going on. To be able to play quiet in that situation; to be able to play a slow blues is a very big advantage, because not a lot of people are going to do that. We worked out trying to play vey dynamically, trying to get good quiet textures. Any top-notch band has good dynamics. You don’t always have to hit people over the head with a sledgehammer. There’s only a certain amount of loudness that your ear and your brain can take before you start shutting down. Little kids shy away from loud noises. We were looking for things that other bands wouldn’t do.

BW: Do you have a new recording in the works now?

LY: Yes, at the end of November. We go to Paris after this cruise, and when we come back we go into the studio and record a lot of the new stuff we’ve been doing onstage. We’ve been writing tunes and really looking to do different stuff. Some of the stuff we’ve been writing about has been more socially conscious.

BW: I heard one today I wanted to ask you about – “Brave New World” – is that a more recent one?

LY: That’s actually off of a Roosevelt Sykes tune. “Whole country’s in an uproar; we’re all standing at a crossroads; don’t know which way to go.” We’re standing at the crossroads of this civilization, I think. 2012 is supposed to be a big year. I feel as musicians we’re in a unique spot. If you have any kind of audience, people listen to you. You can talk about stuff like that through the music. One thing music does is bring people together. You end up dancing with somebody you don’t even know. In 2012, we’re going to need to all be together. I think we stand a better chance of surviving as people if we work together to survive and ignore the things that keep us separate.

I did this project for [Tab Benoit’s] Voice of the Wetlands. I got a chance to write a song about the BP oil spill that ended up being on the album. It’s time to get off the oil dependence thing so we become independent of oil.

It’s wonderful to be here on the cruise; everyone’s here together with one purpose. There’s really not a whole lot of ill will. It’s a big picture of how people can celebrate together. It’s a wonderful thing to be part of; it’s an honor in some ways. We hope to be worthy of the honors we have. We hope we can make a difference somehow. We’ve been given an opportunity to be on stages and speak to people; we don’t take that lightly.

A friend of mine died last week, John-Alex Mason.

BW: I didn’t know him, but I was so sorry to hear that. What a bad turn of events. There’s a video on YouTube of you and John-Alex playing.

LY: That was just this past April at the Juke Joint Fest in Clarksdale, Mississippi. I went down there with him. He just came out with this beautiful album called Juke Joint Thunderclap, which is fantastic. It was recorded well with really good songs. He was in such a great mood, such a happy gentle guy.

BW: He and his wife were expecting their second child?

LY: They’re expecting a child now. She was 8 ½ months pregnant when this happened. A tough situation. Doesn’t seem fair, but somehow I’ve got to believe in the way things end up being. I have faith that they’re that way for a reason. I guess maybe he was ready to move on. I just miss him so much. We dedicate our efforts to his memory. I met him in the finals at the 2008 IBC. The funny thing about meeting him – as soon as I met him – the way he smiled, there was something about his nature. I thought to myself – I know this guy – this guy is going to be a friend of mine for the rest of mine or his life. We’re going to be friends as long as we’re alive. I didn’t know that it would come so quick. He was just a real good dude.

Stacy Jeffress is a contributing editor at BluesWax.

November 29, 2011


Simulcast LIVE on 88.9FM KRFC &

Friday Dec. 2nd 2011
$10 Suggested Donation
Doors 8pm
Broadcast 9pm
Road 34 Tavern - 1213 W. Elizabeth St., Ft. Collins CO 80521
JASON DOWNING (Musketeer Gripweed) & FRIENDS

Colorado bluesman, John-Alex Mason (November 30, 1975 - October 19, 2011) was beloved and respected throughout the blues music community, and that was particularly true here in Colorado. Since his sudden and unexpected death this Fall, many in the state have been looking for a way to honor his memory and help continue the educational work he felt was so important.
John-Alex Mason took high school students from Colorado Springs to Mississippi for extended field trips that sometimes included visiting Memphis and New Orleans
The Colorado Blues Society, a 501-c-3 nonprofit organization, will use the money raised in John-Alex Mason's memory to further the blues music education of young Colorado artists.

KRFC volunteers and staff are hard at work compiling interviews, videos and photos of John-Alex Mason for the live show and simulcast in the week leading up to the event. If fans or acquaintances have a memory they would like to share, KRFC invites them to post it on their Facebook page <> or email <>. Silent Auction items may be sent to KRFC c/o John Alex Mason Scholarship Fund; 619 S. College Ave. #4; Ft. Collins, CO 80524. Social Media can reference this event on facebook:

More information on John-Alex Mason:

More information on 88.9FM KRFC, Fort Collins:
KRFC's "Live local; listen local" mission is to make great radio that is local, non-commerical and volunteer powered. This is KRFC's first live remote broadcast since launching an all-new daytime format with a 3-day live broadcast from Bohemian Nights at NewWestFest in August. The new daytime mix format has doubled the amount of Colorado music played alongside national artists, driving a dramatic increase in new members and listeners in a just few short months.

More information on Colorado Blues Society:

The Colorado Blues Society is dedicated to increasing awareness of and appreciation for the Blues as an indigenous American Art form (and the wellspring from which all contemporary popular American music originated).

Programs and Services Offered:
CBS sponsors Blues in the Schools programs, in which musicians present music and information to students at all levels (kindergarten through college). CBS offers programs in American social history, women in blues, language arts, conflict avoidance, storytelling and even math.
CBS also donates Blues-related materials (books, videos and CDs) to public libraries and offer educational programs in conjunction with those donations. Because many musicians learn to perform during jam sessions, CBS sponsors blues jams in several Colorado locations. CBS also works with other nonprofits, such as The Blues FoundationVolunteers of AmericaHudson Gardens,Swallow Hill Music Association, the Business of Art Center in Manitou Springs, and Performance International. CBS members number approximately 583 and range in age from 17 to 75. Some are professional musicians; most are fans of the music and culture of the blues.
CBS also publishes a newsletter, The Holler, and maintains a web presence at  The purpose of the newsletter and web site is to provide information to members and the public about blues-related events in Colorado.
CBS works with local nonprofits, civic organizations and businesses to strengthen the awareness and appreciation of the blues as an art form.

November 27, 2011

Checking in from the Jam Workshop Festival

Otis Taylor, Mato Nanji, George Porter, Jr., Larry Johnson, Tony Tischka

 Morning jam session at the Jam Workshop with two on bass + a tuba, violin, cello, two banjos, two drummers and a variety of guitarists. 

Chuck Johnson

Mr Johnson plays the guitar
Highwire Gallery, Philadelphia

1) Caldera Wires
2) Vestapol
3) A Slender Thread
4) The Stars Rose Behind Us


November 21, 2011

Nathan Salsburg - Affirmed

I received the new Nathan Salsburg CD in the mail this weekend and I can tell you that it's going to be in the rotation for the foreseeable future.  This is good, solid playing.  Not all that different in delivery from the Avos release but of course it's solo and more rooted.

Salsburg is getting no small amount of press from the release so rather than babbling on I thought I would post links to the various reviews and interviews.  Hope you enjoy.

First up is the excellent Work & Worry blog with a good review and some clips.

Huffington Post review

A good radio interview on WFPK in Louisville.  Salsburg plays two songs, one of which is not from the release.

Photo: Natasha Sud
Another good interview here from Wheel Me Out


No Quarter

Amazon US

Amazon UK

Other Music


November 15, 2011

Iain Chambers – Rituals and Pastimes

Rituals and Pastimes is a solo guitar effort from Iain Chambers.  Chambers started playing guitar in Southampton (UK) in his late teens. He didn't hear John Fahey's music until much later after being introduced to it by a friend.  Discovering Fahey opened the door to the range of influences running through the so called Takoma School (Fahey's circle of fellow American Primitives) from Charlie Patton to Bartok. He particularly admired Charlie Patton's use of slide – how his music seemed focused and aggressive. 

Despite, or perhaps because of his influences, it seems to me that Chambers isn’t trying to be someone else.  His playing is his own and you can tell that he is comfortable with his stops and starts, his pauses and tempo changes.  They are his; he is not emulating some other player just to be like them.  Chambers is feeling his music as he plays it.  This is an effort defined by pieces that refuse to be easily categorized or labeled.  This isn’t a sterile recording, strings snap and rattle, there’s the sound of deep body thumps and a slide hitting the fretboard.  All of this pleases me.

Glenn Jones after hearing a demo of “Rituals and Pastimes”: “The best tracks possess deeply expressive qualities, and make me remember why I wanted to take up the guitar..

Let’s get to a song or two…I know the title says “Port Authority Bus Station Blues” but this is a guitar calling me from a hidden cave on a craggy mountain top. It calls me to seek it out, scrambling up the mountain side to seat myself at its feet with my questions, and when it is done I can’t remember the answers or even the questions, only the journey.  Then “Ed Mark” issues forth from the mountain again on track five, calling me back with the lure of the slide, I can’t resist.

Chambers shifts easily in tempo, style and approach throughout the effort and within the songs themselves.  It’s not a quick and simple listen, it’s not background music, it’s not slick and glossy…that’s why it’s a good one.

Transformed Dreams
Amazon UK Vinyl
Amazon US MP3
CD Universe                              
VISIT: MySpace


November 8, 2011

Chuck Johnson - A Struggle Not a Thought

Chuck Johnson's classical tilt, virtuoso touch and brilliant compositional skills have been unleashed on the solo guitar audience.  The 12-string guitar pieces really are the work of a virtuoso. Chuck Johnson’s picking is clean, exact and pure.  Certainly the production work is equally to be credited here, some of these pieces I feel as though Johnson is sitting right in front of me coaxing these amazing compositions from wood and wire.

These are pieces to get lost in, relatively short trips to another place. Fortunately Johnson doesn't needlessly extend the pieces to the point where the listener just ends up lost. "A Slender Thread" is a gorgeous, gorgeous piece that immediately transported me to a sun kissed meadow with shafts of sunlight cutting through the sky. In the middle of the song I checked the title and it made me wonder what wonderful event was just a thread from happening.

Johnson has a real lyrical touch that is displayed in piece after beautiful piece.  Johnson manages to play everything perfectly and yet emotionally as well.  This is such a strong effort that I actually think the last couple cuts are my favorite.  There are so many releases out there that just kind of peter out as the last few songs play.  Not this one.  This is far and away my album of the year so far.

A very small detail I noticed while browsing his bandcamp page was a tag list that included "ackerman," could that be William Ackerman?  I certainly hope so, I love to see Ackerman getting his long overdue proper respect.

The excellent blog Work and Worry interviewed Johnson last summer and I was struck by his very thoughtful and dead-on description of the term "American Primitive."
The aspects of that term that I relate to suggest a practice of making music that liberates the guitar from an accompaniment role, with a decidedly American attitude of making the rules up as you go.
And he goes on, you really ought to read the interview, very good stuff.

I hope you will head over to Strange Attractors Audio House and buy the LP or CD of this release.  And be sure to visit the Bandcamp page for digital sales.  And visit anyway as Johnson is offering a free d/l of "What a friend we have in Jesus/Kensington Blues" that is not on this release.

Visit Chuck Johnson HERE

November 6, 2011

Mary Flower - Misery Loves Company

Her 4th album on Yellow Dog Records - An intimate collection of duets with some of Oregon's accomplished Blues and Roots musicians.

When she is not teaching at guitar workshops or busy touring concerts and blues and folk festivals Mary Flower is busy making wonderful albums such as "Misery Loves Company".  Her impeccable fingerstyling incorporates folk, blues, and ragtime elements seamlessly.

On "Misery..." Ms. Flower and friends created 12 captivating tracks - 8 songs and 4 instrumental pieces that are sure to draw the attention of any fingerpicking and blues aficionado.  I especially like her cover of Son House's "Death Letter Blues", crystal execution.  Quite different from House's - I like both versions.

I would be remiss in this review if I did not mention the sweetness of her voice, like "honey and smooth whiskey."  I read that somewhere. It's true!

Find Mary Flower on youtube as user: TheGibsongal.

Buy the cd, so you won't be miserable.

- Andrew Stranglen

November 5, 2011

Glenn Jones: The Wanting...double LP set...on Thrill Jockey Records... (2011)

I was sleepily floating down the Sunflower River one day on a hollowed out old banyan log shaped like some ancient, neanderthalesque 12 string guitar...

When...all of a sudden..........

With a glass of wine in hand (and two in my belly!), I swooned under the restless spell of timeless guitar music...a dance of life that rained down upon my naked and bleeding soul from vast cotton candy clouds and turquoise sunshine oceans...notes that tickled my 50 billion vermillion spiders dancing across my starving synapses...nerve endings craving for the taste of delicacies found in out of the way, abandoned, rusty old diners and dusty, snake infested arroyos...train stations situated just on the outskirts of Valhalla...just a short trek down a sand strewn desert highway...where cacti signposts point the way...where scorpions and vultures welcome you once you arrive...

Thus are the feelings that envelop me each time I listen to Glenn Jones The Wanting 2-LP set...

I loathe to bring in comparisons, although Robbie Basho, William Ackerman, Michael Gulezian and Billy Faier (some pretty heavyweight talents IMHO)...immediately come to mind...and Glenn is right up there with those highly esteemed purveyors of musical wizardry...

I will not bore the reader with a song by song description of this double slab of shimmering vinyl delight...Glenns thoughts and notes regarding his music are all we need...let your ears be the judge...and your heart the jury...

Glenn Jones album THE WANTING on Thrill Jockey Records is a certified winner!

Blind Brand X
Vancouver, BC, Canada,
November 4, 2011

November 4, 2011

The Lighthouse Keeper's Beautiful Daughter - Various Artists

Folks, I was contacted recently and offered the opportunity to distribute this collection of music to my readers.  Note, not all of the tracks were made available, but most.  So don't worry about the couple that are missing.  I did that on purpose!

Here's what Michael has to say about this release:

This album was originally created in 2005 as a Christmas project by the now defunct Kottke News Group on Bruce Head's website The musicians on the album are, for the most part, non professionals, but are nonetheless talented guitarists who all share a love of the music of Leo Kottke. 

A couple of the tracks are by Suni McGrath who released a series of outstanding guitar albums in the early 70s. The album was presented to Leo Kottke after a concert and he is said to have been duly impressed. 

It makes for some great listening and I hope Delta Slider listeners will enjoy the variety of tunes presented here. The album was compiled and produced by myself and fellow Englishman John Hirst. 

If you particularly like any of the tracks I can put you in touch with certain of the contributors, some of whom have privately released their own albums. Happy listening.

Michael Weare
michaelw726 at

Download the music HERE artwork included.

October 28, 2011

We Are All One, In The Sun - Basho Tribute on Vinyl

You all know this out on vinyl, right?



Great release curated by Buck Curran with appearances by Meg Biard, Cian Nugent, Steffan Basho-Junghans, Glenn Jones, Yair Yona and more.

Delta-Slider review here

Acoustic Guitar Magazine Best of 2010

1. Steffen Basho-Junghans - Rolling Thunder Variation II
2. Helena Espvall - Travessa Do Cabral
3. Meg Baird - Moving Up A Ways
4. Glenn Jones - 1337 Shatuck Avenue, Apartment D
5. Arborea - Blue Crystal Fire
6. Cian Nugent - Odour Of Plums
7. Rahim AlHaj - Baghdad Athania
8. Fern Night - Song For The Queen
9. Steffen Basho-Junghans - Rocky Mountain Variations


October 25, 2011

Otis Taylor's Jam Workshop Festival

Folks, I'm so proud to announce that Delta-Slider is an official sponsor of Otis Taylor's Jam Workshop Festival.  The festival is in only it's second year and I'm thrilled to be a part of it.  Artists lined up for the workshops are of course Taylor, Bob Margolin, Tony Trischka, Don Vappie, George Porter Jr., and Mato Nanji.  The fire-power in the banjo department alone should be getting some peoples attention!

From the festival site:
Boulder Colorado resident Otis Taylor is a world-renowned musician whose unique style of “trance-blues” music defies easy categorization. While drawing upon elements of early American Blues, and even earlier African music Taylor has been called “arguably the most relevant blues artist of our time” by Guitar Player magazine. In November of 2010, Taylor found himself with a rare fall month at home in Boulder rather than touring in Europe. At the last moment, Taylor decided to hold a Trance-Blues Jam Workshop. With little time to market the event, Taylor sold out the room and had over fifty musicians, educators and singers join him at the Boulder Outlook Hotel for a glimpse into his approach to the creation of music in a live environment. A video overview of the 2010 workshop can be found at The event culminated with a public jam session during which one song was played and musicians were woven in and out with each bringing their own energy and perspective to the moment. The success of this event has lead Taylor to pursue the development of an annual three day Trance-Blues Jam Festival which will be held in Boulder Colorado on the weekend following Thanksgiving.

Here's a video from last year's event.

Go HERE to learn more.

October 24, 2011

James Elkington & Nathan Salsburg - Avos

Avos starts off with Hospitality, probably one of its strongest tracks. The playing is crisp and concise and yet doesn’t feel as technically precise as to feel sterile. In fact the whole body of work has a comfortable feel to it that belies the technical skill that is going on concurrently. Fez and Guinness is a favorite of mine, call me a sucker for the beer and the violin? Either way it’s another of the comfort pieces on this effort.
 But just when the comfort is settling in the guys insert just an inkling of strange to keep you on your toes. Avos, is track seven and while there’s nothing too unsettling about the piece I’m also not sure I’m “getting” it either. At first it bothered me but now I’m a little more comfortable with it.
Actually, at the half-way point the guys do start getting a little flashy, at least for this effort. Believer Field takes a lot of elements and blends them for a great sounding duet full of pull-offs, arpeggios and jazzy chords. Ending up with a song that retains the feel of a beautiful melody along the way is tricky but they do it well.
Straight Up and Down is a tune that keeps things from straying too close to the norm. A very attractive tune with its sharp angles slipping into an elegant melody, really a joy for the ears!
On that note I need to mention that a lot of what makes this an excellent effort is the production work, very fine. This is a great addition to the small canon of guitar duet efforts. Work & Worry has an interesting review of this release and I encourage you to check it out if you haven’t already. Raymond Morin is one of the rare breed of guitarist that plays in this tiny niche, his perspective is unique.
Visit Tompkins Square to BUY.
Stream it at Fretboard Journal.

October 23, 2011

Andrew Stranglen

Free digital download of this album:  HERE

For a free digital download of this album complete with artwork, over 1 hour of music including a bonus track not on the original cdr, go here: Do it!

October 20, 2011

John-Alex Mason has Died

Sad news; John-Alex Mason has passed away at the age of 35.  I saw him play here in Colorado many times and he was always a great performer.  I chatted with him now and then at shows and he was always a great guy.  He will be missed.

Story from the Colorado Springs Gazette.

When I first saw John-Alex he was playing the solo blues gigs.

Later he would switch over to this Richard Johnston style of playing and it was great fun to see him play.


October 12, 2011

Mike Fekete & Pat O'Connell

What's better than seeing a Pat O'Connell or Mike Fekete show?  How about a show they do together?  You've gotta read this nice little article about how two guys got together to play some music.

Read the article HERE

Here is a short clip of a duet they performed.  Both of these guys got me into Slack Key guitar, thanks guys.

Check them out
Pat O'Connell on CDbaby


October 9, 2011

Bert Jansch Live at McCabes Guitar Shop

Bert Jansch Live at McCabes Guitar Shop, Santa Monica, California 1979 FM Recording

01 Daybreak
02 Intro ->
03 Where Did My Life Go
04 Intro ->
05 One Bourbon, One Scotch, One Beer
06 Pretty Saro
07 Downriver
08 Come Back Baby
09 Blackwaterside
10 Intro ->
11 Ask Your Daddy
12 Cat And Mouse
13 Fresh As A Sweet Sunday Morning
14 Running From Home
15 Anji
16 DJ outro

Download it!

September 26, 2011

Robbie Basho - Red Wood Ramble Guitar TAB

Hey folks, got a great email a while ago from Delta-Slider reader, Andrew Hammond.  Andy is guitarist that knows the value a TAB can lend in learning all the music we love to play.  He downloaded the Jack Rose - Kensington Blues TAB from here and you can hear his recording of that here.

Andy decided that he would give back to the soli community by working out Basho's Red Wood Ramble.  I'm not aware of many Basho tabs so this is a real treat.  However, there are some in the files section of the Yahoo! group dedicated to Robbie, you can check that out HERE.

Download Red Wood Ramble

Andrew Hammond

Andrew offers guitar lessons in South Manchester/Stockport, check him out on the web, HERE.

Be sure to leave Andrew a note of your appreciation in the comments below.

So, who's got some more TAB?

September 24, 2011

Beppe Gambetta tells Banjo Jokes

I just got home from a Beppe Gambetta house concert just up the road in Lyons, Colorado.  What a great show.  I'm not sure how this guy has slipped my attention but I suppose it has to do with that whole flatpicking thing that I'm not much into, most of the time.  This was dangerously close to a bluegrass show.  

Beppe is a charming entertainer and comfortable telling stories about his songs.  I love that.  He also tells banjo jokes.

I've got one for you...but it's no joke.

What do a banjo and Beppe Gambetta have in common?  Dixie Breakdown.

Beppe plays it on the 6-string.

And by the way, he was playing that R. Taylor tonight and it's a beauty.  What a great looking and sounding guitar.

Beppe plays just about anything you can think of, his tribute to a meeting with Pete Seeger called Hobo's Crossing to actually playing and singing a Woody Guthrie song, Hard Travelin'.  Fantastic!  He would know a bit about hard travelin', he's on the road about 270 days a year and that is good for you and me.

Get on over to his site to see when he is a comin' 'round the mountain.  Beppe Touring

He also played a Scottish folk song, Italian love song, plenty of American roots of course and breaking new ground with his solo guitar interpretation of an opera.  Oh yes, yes he did.  And it was fantastic.  The set was well balanced with a few vocals but plenty of instrumentals to keep the guitar soli crowd happy.

Folks, Beppe Gambetta is a guitarist you shouldn't miss.


September 19, 2011

John Fahey - Your Past Comes Back to Haunt You

Ah, is there anything more beautiful than a boy and his guitar?  Maybe if I had slept with my guitar more I would be a fine player today.  Yes, I said "more" didn't I?  Well, who hasn't slept with their guitar, a little?  More previews HERE.

The Dust to Digital site is about ready to release this mammoth set of recordings on the world.  In case you aren't up with all the details, here's a bit of what it's all about.
More than 10 years in the making, this box set features the earliest recordings and the first book ever written about one of the most influential guitarists from the 1960s and ‘70s, John Fahey. The five CDs feature 115 tracks, most of which are available on CD for the first time. The audio was remastered from Joe Bussard’s reel-to-reel tapes to achieve pristine sound quality. As for the accompanying book, the list of scholars who contributed essays includes Eddie Dean, Claudio Guerrierri, Glenn Jones, Malcolm Kirton, Mike Stewart and John’s childhood friend R. Anthony Lee. Byron Coley contributed a poem about John, and Douglas Blazek’s 1967 interview with Fahey is published for the first time. Released 10 years after John Fahey’s death, this set puts one of the final puzzle pieces of Fahey’s career in place. Everyone can now hear where this guitar legend got his start – a smoky basement in Frederick, Maryland. Co-produced by Dean Blackwood of Revenant, Glenn Jones, and Lance Ledbetter of Dust-to-Digital, this set is released with the support of Joe Bussard and the John Fahey Estate. The set is dedicated to John’s mother, Jane C. Hayes and the late musician Jack Rose. 


There's talk that there may be release parties with as many of the fine people that worked on this in attendance as possible, including Glenn Jones.  Keep you eyes open for those events, I'll try to post them if I hear about them.  Meanwhile, go buy this thing!


September 15, 2011

Glenn Jones - The Wanting

I love it when an artist dares to open their release with a cut that probably isn’t the first choice of the marketing department.  Not that we of the guitar soli are exactly worried about that or even have a marketing department.  Glenn Jones opens his new release with “A Snapshot of Mom, Scotland, 1957.”  And it’s all we’ve come to expect of Jones and his eclectic tunings and complex compositions.  Complex, beautiful and perfect for opening this release.
You might wonder what you are in for in the first minute of “The Great Pacific Northwest” but it turns out to be one of the most traditional American Primitive songs on the effort.  Now here it might be interesting to discuss the fact that I am differentiating traditional AP from…well, what?  From what Glenn Jones has done with the style to make it his own.  But back to the song, it has a very comfortable, familiar feel to the melody.  It just grabs me and pulls me in.
Now let’s talk about the banjo tunes.  My first impulse is to compare them to the last release, BBQ Bob and see what kind of direction Jones seems to be navigating.  It is kind of cool that he is exploring this instrument and letting us steal a look at the process as he works through an instrument that he admits he doesn’t play in any of the traditional styles.  Hmmm, sounds like the root of American Primitive to me!  Self taught.  So…the compositions seem to be in the same vein on both efforts but the main thing I notice is the technique is smoother, more subtlety applied here and there.  I think what stands out most about these pieces is the simplicity.  Jones has stated that he does not approach the instrument from a traditional angle, but what I think is readily apparent is that he also isn’t composing on the level of sophistication that approaches that of his guitar compositions.  These aren’t mysterious tunes.  They’re attractive in a plain and simple way, like that freckled girl with the dirty blonde hair.  If you are enjoying the banjo tunes, be sure to pick up the MP3 of “Even to Win is to Fail,” the double A-side release with the Black Twig Pickers.  There are a couple duplicate titles (alternate takes, though) with this release but it’s not the banjo tunes.
You might find this an odd tangent but I love the song titles on this release.  Sometimes guys just try too hard at the title thing but these are really working for me.
Only one slide piece for this release and it’s a beauty.  Twice as long as the split release track.  This is the slide piece by Jones that I’ve always wanted, I just didn’t know it.  “Even to Win is to Fail” speaks to me.  Yes, yes it does.
“Of Its Own Kind” has that same great classic AP feel.  Is it weird that I find the rattling of the low strings a beautiful thing?  It just sounds so thoroughly in the moment.  And that can’t be dismissed these days as the small but talented field of guitarists composing pieces for solo guitar continues to expand it’s difficult to set yourself apart.  Jones does a fine job in continuing to lead the way.
Hey, here’s a video of the song, let’s watch it!
I defy you to watch this video and not run to your guitar and start playing!  Can’t be done.

Glenn Jones - Of Its Own Kind from Thrill Jockey Records on Vimeo.

Glenn Jones Tour Dates:
Sep 24   Philadelphia, PA         Johnny Brenda's w/Meg Baird
Sep 25   New York, NY     West Park Presbyterian Church
Oct 14   Boston, MA       The Fourth Wall Project
Oct 16   Chicago, IL      The Hideout
Oct 17   Iowa City, IA    The Mill
Oct 18   Dubuque, IA      Monk's
Oct 19   Bloomington, IN Russian Recording
Oct 20   Lexington, KY    Collexion
Oct 21   Louisville, KY   TBA
Oct 22   Knoxville, TN    TBA
Oct 23   Asheville, NC    Harvest Records
Oct 24   West Columbia, SC        Conundrum Music Hall
Oct 25   Atlanta, GA      TBA
Oct 26   Atlanta, GA      TBA
Oct 27   Chapel Hill, NC The Nightlight
Oct 28   Charlottesville, VA      TBA
Oct 29   Washington, DC   TBA
Oct 30   Baltimore, MD    TBA
Nov 1    Brooklyn, NY     Zebulon
Nov 3    Easthampton, MA Flywheel
Nov 5    State College, PA        Schlow Centre Region Library

Call me crazy but I think you might want to look at buying this here record.  RECORD?  Why yes, there actually IS a piece of vinyl for your platter.  Get it at Thrill Jockey

Want to give the whole thing a preview?  Don't trust me, eh?  Go on, you can stream it at Thrill Jockey.