Spring 2024
Andy McKee, Calum Graham & Trevor Gordon Hall, "Tripliciti," 2024
Triplicity is altogether otherworldly, as if master fingerstylists Andy McKee, Calum Graham, and Trevor Gordon Hall set out to create the music of the stars, a shimmering aural tapestry. McKee is famously proficient
in the New Age traditions of Michael Hedges; Graham and Trevor Gordon Hall, slightly later arrivals to the acoustic guitar scene, also have large followings, tour widely, and have won impressive awards. (Graham won the International
Canadian Guitar Festival first place award as a teenager.) Whether playing on steel string, acoustic, electric, Baritone guitar or kalimbatar (a combination guitar and African kalimba invented by Trevor Gordon Hall), the
emphasis is on New Age ambience with whiffs of Americana, jazz, and rock. The album is a standout from start to finish. The musicians play with assuredness and verve, meshing together as if they are reading each
other's minds and souls. "Memento Vivare" (TGH) is a perfect representation of this interplay with its subtle interweaving of sound, technical wizardry, and stunning tone. What is particularly mesmerizing overall
is the way these compositions, all written as solo works, are transformed here into ensemble works. Without referencing the original pieces it's nearly impossible to know which parts are "lead" and which "supporting;"
that's how integral and seamless all the parts are. "The Blue Hour," (TGH), is moody, with a rumbling bass, arpeggiated chords, and a repeating line of descending notes. "Journey of Love" (Graham) has the
melody and lush tone of classical playing while background strumming and delicate counterpoint add embellishment. "Blue Liquid," and "Hunter's Moon" (McKee) feature McKee's hallmark percussive slapping on the guitar
body and the use of both hands to pluck notes on the fretboard, while his musical partners add layers of richness: On "Blue Liquid" it is a kalimbatar and a resonant baritone guitar, while on "Hunters Moon" it is
zestful strumming and the ethereal sounds of an ebow. "In Lak'ech" (Graham) features soulful electric and slide, picked notes, and tinkling kalimba. "That Old Familiar Pain" (TGH) reaches a deep emotional
resonance with the layers of texture from tinkley harmonics, reverby bass, slide, and soulful electric guitar. The album finishes up with the gentle brooding "Ursa Major," written by and as a tribute to Michael Hedges,
a fitting piece to cap off this exceptional album. Finer playing, whether solo or ensemble, is impossible to imagine.
Dustin Furlow, "Serene," 2023
Since 2013 Dustin Furlow has been slowly carving out a niche in the acoustic music landscape. On his latest release Serene the combination of expressive, occasionally percussive finger-style guitar will reach deep into
your ears and under your skin. "Airborne," is a definitive entry in his growing catalog. The staccato bass line of "Airborne" combined with percussive accents and an airy, free flowing melody, rises and swells, like sonic
ocean waves playing with a sun-kissed breeze before a rhythmic and tempo pivot at the three minute mark that leads to a haunting ending passage, which I am betting offers some incredible live possibilities. Similarly,
the interplay of bass and melody create a kind of magic in "Sink or Swim," another favorite on the album. Furlow has the uncanny ability to compose and perform melodies that blossom in the midrange, yet play on the
fringes of both the treble and bass regions of the auditory spectrum. His choice of guitars, and there are many, accentuate and facilitate his fretboard prowess. Among the luthiers represented in the guitars used to record
this album are Mark Hatcher, Rory Dowling, and Marc Beneteau. Furlow entices, encourages and ultimately channels the tonal attributes of these fine instruments with precise and energetic fretting and fingerstyle acumen.
The 13 tracks of Serene coalesce sonically, while also offering diversity. "Seasons," with a melody simultaneously buoyant and melancholy, is the only tune performed on nylon strings. It sits nicely as a balance point
between "Airborne" and "Sink or Swim." Furlow offers nine instrumentals and four vocal tunes on Serene. It is difficult to integrate vocals on albums that are dominated by fingerstyle instrumentals, yet Furlow's
resonant, unpretentious, vocals accented with an ever so slight rasp, offer a natural honesty perfectly suited to his guitar work. His skill and fret-board technique often add depth and breadth beneath his vocals.
A close listen to the title track will reveal not only pianistic conveyance of notes, but also a subtle key change accomplished by shifting a capo, making the complex sound natural and seamless. Considering
his vocal tunes are accompanied by the same depth and complexity of fretwork as his instrumentals, Furlow achieves a sonic totality instrumentally and vocally on this album that transcends his past releases. Perhaps
that is a nod to the mixing and mastering efforts of Antoine Dufour and long-time musical accomplice Rob Ulsh, but my guess is that it has more to do with Furlow's artistic evolution. The inclusion of cover tunes is
common these days, and Furlow offers a admirable instrumental version of the Beatles "And I Love Her" as well as a robust duet with Matt Thomas of Fleetwood Mac's "Big Love" to close out the album. Both tunes
are most likely show stoppers in Furlow's live performances. Not being a fan of covers per se, I can't help but wish he had included two originals tunes in their stead on Serene. Regardless, this album is
unmistakable evidence that Furlow is well on his way to far more notoriety and impressive future accolades. One listen to the title track and "Airborne" and I think you'll agree.
Michelle Qureshi, "A Day on Venus," 2024
With the release of A Day On Venus, Maestro Michelle Qureshi has taken a prodigious step towards sonic enlightenment. This collection of instrumentals is at once transcendent and rapturous. This is music which opens a door where auditory
sense creates more than a physical sensation, creating a place or perhaps time itself. A Day On Venus is a conduit to both meditation and relaxation as well
a means to reanimate mentally and break free of the tangible world. The acoustic guitar has been the focal point of the compositions and performances on Qureshi's previous albums 13 albums and three EPs, but synths and other
ambient elements also co-exist. Scattering Stars (2016) and Seventh Wave (2017) come to mind, but notably A Day On Venus offers a far greater sonic breadth and depth throughout. Synths, flute, piano, electric guitar, ukulele,
singing bowls, even voice ("What We Heard") create expansive and immersive textures resulting in a sonic elegance, opulence and, above all, grace. Qureshi has achieved a musical gestalt. The opening track, "Stars
By The Pocketful" begins with subtle and resonant synths before Qureshi's delicate and refined fretwork draws the listener in and the journey begins. "American Prelude," the first of six solo acoustic tracks interspersed
throughout the album, follows with vibrant cascading notes - metaphoric footsteps on lush path to paradise. Track three, "Luminous Fields," a definite highlight, begins with Qureshi's mellifluous and sonorous flute, which gives way to
spacious synths and piano. It is one of three tracks sans guitar. Five tracks have no acoustic guitar, two of those -"Electric Blue" and "Rain In Heaven" - are perhaps the most intriguing on the album, as electric guitars take center
stage by adding a surprising and enthralling other-worldly element, apropos for the album. The ascending notes of "Electric Blue" giveaway to a weightless melody, simultaneously evoking a vision of the heavenly
body Venus and the Goddess for which it was named. Among the attributes associated with the Roman Goddess is desire, which is communicated by the hypnotic, pulsing rhythm of bass and electric guitar in "Rain In Heaven."
The solo acoustic tracks comprise only a third of the album, nonetheless "Within this Night," a sublime solo acoustic melody imbued with a classical heart, and the earthy "Mayan Trails" represent some of the finest
fretwork of Qureshi's career to date. Both are trademark acoustic guitar gems. It may surprise some that Qureshi, a multi-instrumentalist, plays every instrument on this album. Equally impressive is the sequencing,
which facilities the immersive nature of the entire 55 minute listening experience. The obvious care that Maestro Qureshi instills into every aspect of this self-recorded and produced album is evidence of the mastery
and acumen she has achieved in every aspect of her music. To call A Day On Venus an apogee in Qureshi's recorded repertoire is somewhat of an understatement. Her music has earned a multitude of awards, accolades, and
kudos, as well as a presence in the streaming world that is astounding by any measurement. A Day in Venus has been named Best Instrumental New Age Album by Clouzine Contemporary Music
Magazine. Simply put, with the release of A Day On Venus, Michelle Qureshi has realized a superlative sonic beauty.
Teja Gerken, "Test of Time," 2024
On his third solo album, Teja Gerken makes like a prism and shows us all his colors. While staying close to Celtic- and folk-inspired fingerstyle guitar, Gerken also plays 12-string and resonator guitar on
Test of Time. The album kicks off with "Vicki's Red Boots," a groover that features tapping, and which is dedicated to guitarist Vicki Genfan. The first of three originals, Gerken continues with "The Ninth of August."
Like a Reese's made of music, Gerken puts the jazz in a folky tune rich with harmonic flavors and a late-summer rolling groove. "Magic Potion," the third original, is a Celtic-influenced tune that reminds me a bit of
something the Breton guitarist Gilles Bigot might come up with. Gerken then covers "Naima", the gorgeous and slightly eerie lullaby John Coltrane wrote for his wife, on a 12-string guitar tuned in DADGAD. Listeners
familiar with the playing of Steve Tibbetts may hear a welcome semblance, inasmuch as Gerken on this album is honoring and celebrating his many influences. "The Kerfunken Jig" I had to look up to make sure the
title wasn't one of Gerken's Celtic-inspired joke titles (like "Planxty Bongwater" on his previous album, Postcards)-and it is in fact a session standard, handled deftly. Speaking of tunes for family members,
Gerken's "11:11 PM" is a lovely folk ode to his daughter. Bach's "Minuet in D Minor" gets a tasty DADGAD treatment. Turning again to 12-string, Gerken picks up on the Takoma Records sound with, yup, "Takoma"-a
real fingerpicking blast of joy. Gerken rounds the record out with "Niel Gow's Lament," a slow burn played on a resonator guitar. The Bay Area is lucky to be so rich in such fine acoustic players, with Gerken,
his close colleague Doug Young (don't miss their album Duets), among the best of them.
Tim Sparks, "Lost and Found," 2024
Eclectic fingerstyle guitarist Tim Sparks' latest project has him leading a trio with upright bassist Ted Olsen and Ben Abrahamson on nylon string guitar. Sparks also includes four solo pieces on the album. As on Sparks'
2018 release, Jukebox Dreamin', he's selected a range of popular material and emphasizes improvisation. The album is a full collaboration. Sparks himself plays at a very high level and takes full advantage of Olsen's and
Abrahamson's skills and inventiveness.
Among the trio pieces, Paul Desmond's "Take Five" and Lennon and McCartney's "Michele" may attract the most attention. The players reharmonize the head of "Take Five" and improvise compellingly, echoing improvisational
developments of the late sixties and seventies rather than mainstream jazz. Ben Abrahamson inspired the gypsy jazz-influenced arrangement of "Michele." Like the album's other non-originals, this rendition is guided by
the trio's own lights, rather than by tradition. I found "Me and Bobby McGee" and "Mr. Tamborine Man" the most interesting of the covers, for the group's pleasing but nonetheless daring reharmonizations. On "Ticket
To Ride," he introduces a brief, tasty tritone in the verse, then quotes George Harrison's raga masterpiece, "Within You, Without You" in block chords before playing more freewheeling solo lines. The trio approaches
familiar pop songs in a manner similar to jazz standards, and their selections expand the body of popular songs available as launching pads for improvisation. Their work also offers guideposts for musicians, particularly
guitarists, in arranging for small ensembles. Sparks solos on his own "Moonshine Ramble," Jerry Reed's "The Claw," and two more Beatles tunes, "I Feel Fine" and "She's Leaving Home," the first three as vehicles for
country and blues-drenched explorations, and the latter as a chord melody arrangement with shimmering melodic flourishes. The album closes with Sparks' "Breakfast in Barbes," a solid, mellow group performance that
recalls the best of smooth jazz. Tim Sparks' career-long musical output highlights creativity in arranging, improvisation and composition, and this excellent album widens his musical palette.
Fabiano do Nascimento, "Mundo Solo," 2023
Mundo Solo is the current release by Brazilian guitarist and composer Fabiano do Nascimento. The recording contains lush, emotional sonic vignettes and imaginative improvisations. Nascimento began playing guitar at
age 10 after studying classical piano as a child. Eventually the prodigious talent moved to Los Angeles collaborating with renowned artists such as Airto Moreira, Arthur Verocai, and Sam Gendel. The guitarist has released
seven recordings as a leader showcasing his unique and universal approach to music combining his Brazilian roots with African, folk, and electronic languages. On Mundo Solo Nascimento uses a variety of guitars from 6, 7,
and 10 stringed instruments to electric baritone guitar and synthesizers. He colors his instruments with a myriad of pedals to create sonorous musical landscapes. The recording begins with the ambient "Abertura"
containing pensive harmonics, dramatic six stringed chordal movements, and thoughtful electric embellishments. "Paperstrings" explores muted percussive rhythmic motifs reminiscent of Ralph Towner, while "Agua de Estrellas"
showcases impressive nylon string soloing. The energetic "Etude 1" contains sections written by Cuban composer Leo Brouwer and features Julien Canthelm's spirited drumming with driving chord changes played on the acoustic.
"Meianoite" is a delicate, heartfelt reading of Thelonious Monk's seminal standard "Round Midnight" featuring baritone and acoustic guitars. On "Coisa 2" Nascimento begins with deliberate fingerstyle strumming
supported by brilliantly executed cascading runs on the electric. The recording ends with the wistful, contemplative "Dormenor." The composition features drifting baritone guitar, harp-like rhythmic figures, and pensive
acoustic meanderings. Fabiaono do Nascimento is an innovative and imaginative guitarist. He has a profound mastery of his instrument and his inimitable compositions are alluring. The guitarist uses his instrument as
coloring agent to create musical settings that are cinematic as well as captivating. Mundo Solo is highly recommended for discerning listeners who want to hear a recording that redefines the parameters of acoustic
innovative music.
Yorgos Nousis, "Guitaltruism," 2024
With degrees in composition and performance from Haute École de musique de Genève in Switzerland, studying with Dušan Bogdanovic, and degrees in guitar performance from the Athens State Conservatory in
Greece and the Mozarteum Salzburg in Austria with Costas Cotsiolis and Mathias Seidel, Yorgos Nousis is a guitarist, arranger, and composer whose accolades are well-earned. In addition to performing with
a mix of jazz and flamenco elements influenced by the traditional music of his native Greece, Nousis is a versatile artist comfortable as an improviser in a wide-reaching variety of genres including classical,
rock, and folk music. Since October 2016, he has been a member of the Bratislava Guitar Quartet, and as a composer with diverse credits and placements, his works have been published by Doberman-Yppan, Schott,
and Papagrigoriou-Nakas. His latest recording Guitaltruism is an engaging program of his compositions for solo guitar, guitar duo, and two pieces for guitar and oud. The program's core consists of four
single-movement works that, except for the gorgeous 'Pulsa de la Vida,' are bookended by three multi-movement works for solo guitar. The sequencing here, and throughout the album, is effective on both a
compositional and textural level. Nousis is joined by Neza Lopatic on the duo suite "210," which among other delights, makes use of percussive techniques to paint the text of knocking on the eponymous door
in the 'random visitors' movement and also includes the sound of one guitarist actively engaging in proper dental hygiene practices in the preceding movement, 'brushing teeth.' Although tempted to cite
"Trappe Fatale" and "Balada Oriental," the album's two pieces for guitar and oud (performed by Antonis Koufoudakis and Nikolas Palaiologos) as program standouts because of the timbral variety they lend, but
also their beautiful composition and performance, that commendation might be missing a greater point. On an album of original works that keeps the listener at the table with its compositional and
improvisational variety and then goes the extra mile by upping the ante with brilliant performances and interpretations throughout, the standout work on Guitaltruism is, in fact, the album itself.
©
Céline Keating
Buy it here
Listen to "Never Grow Old"
©
James Filkins
Buy it at Bandcamp
Listen to "Serene"
Listen to Dustin Furlow at our podcast 
©
James Filkins
Buy it at Bandcamp
Listen to "Stars By The Pocketful"
Listen to Michelle Qureshi at our podcast
©
Brian Clark
Buy it at Bandcamp
Listen to "Naima"
©
Patrick Ragains
Buy it at Acoustic Music Records
Listen to "Take Five"
©
James Scott
Fabiano do Nascimento's Website
Buy it at Amazon.com
Listen to "De Manhã"
©
David Pedrick
Buy it here
Listen to "Danceuphoria"
