May/June, 2019
Will Ackerman, Vin Downes, Todd Mosby and Trevor Gordon Hall, "Four Guitars," 2019
The most striking aspect of Four Guitars is the interplay among renowned acoustic guitarists Will Ackerman, Vin Downes, Trevor Gordon Hall, and Todd Mosby, which highlights the sonorities of each instrument.
Soothing, ambient, meditative, this is music that doesn't call attention to itself but rewards deep and attentive listening. The CD was conceived after a tour called "The Gathering" that itself grew out of a CD
put together by Grammy award-winner Will Ackerman, founder of the influential Windham Hill label, with some of the cutting edge artists he was producing as head of Imaginary Roads Studio in Vermont. The format is
quasi-chamber style, with duets, trios, quartets, and one solo apiece. "The Meeting at the Window," written and performed by Hall, is the very essence of mellow with jangly chords, subtle pervasive effects, and
bright tone (he plays a Kalimbatar, the only one of its kind in the world). On his "The Blue Hour," where he is joined by Downes and Mosby, lines of melody follow each other like salmon down a waterfall. Downes'
solo piece, "The Dark Blue Wind," is moodier, with deep resonant tones, and reflects his classical training. Compare this with his "Departure," performed with Hall, who adds subtle backing and effects. Mosby brings
a jazz background and sensibility to the three pieces he contributes to the album; his solo, "Joanna," "The Dolphin Song," performed with Ackerman and Hall (and one of the loveliest on the album), and "August Light."
Performed by all four, the guitar lines mingle and interweave the way light ripples on water. Among the most emotionally resonant pieces are those contributed by Ackerman, all reprises of earlier work. His solo, "The
Impending Death of the Virgin Spirit," is as gorgeous a six minutes of guitar as you'll ever hear. On "Unconditional" he is joined by Hall, who adds contrasting depth and fills to the melody line and chiming pull-offs.
The full group plays "Hawk Circle," originally written as a duet with George Winston on piano. Shimmering effects, bass accents, and rhythmic chords provide contrast and drama against a repeated motif that calls to mind
a circling hawk. Four Guitars is an immersive experience and well as a moving collection of subtle and evocative compositions that attests to the enormous artistry of these masters of acoustic guitar.
John Evergon, "Constellation of Thoughts," 2019
Some solo fingerstyle guitar music is free-flowing and quite easy to digest; other artists are more dynamic, like a multi-course meal, needing time to digest. I think John Evergon on his release Constellation of Thoughts
is in the latter camp. Using a mixture of keys, time signatures, techniques, and tunings, the songs demand much of listerners, but patient ears will enjoy what they find inside the music. In some written notes,
Evergon indicates that he had to do some significant editing of the songs before they ended up in their present recorded form, else the record may have been too long to fit onto one CD. There is a mix of straight
fingerpicking, harmonics, tapping and slapping throughout the record, so like much of contemporary fingerstyle guitar music, it is multi-dimensional, but no two songs really sound much like any other. "Seeds
of Change" is a lovely melody that flows sweetly and showcases some of Evergon's abilities up and down the fingerboard. "The Joy of Beginning" is just that - a happy, rollicking tune. Evergon employs some tasteful
harmonics and string bends to create a complex mood on "Extension of the Heart." The feel is more subdued for "Constant Departure," at times almost heavy with longing. The title track, "Constellation of Thoughts"
is the longest song on the CD. In it, Evergon takes some basic forms in the early section, and fills them in with more elaborate chordal and picking as the song develops, like the development of thoughts as they
evolve. "No Final Destination" may not be going anywhere, but it's a fun pop-tinged ride nonetheless. The final tune, "Us," is a beautiful song filled with light and hope – it is short, but sweet. A fine conclusion
to the 12 songs on Constellation of Thoughts.
Adrian Bellue, "Adrian Bellue Project," 2019
Solo acoustic guitar maestro Adrian Bellue's third album, Adrian Bellue Project, is a two-disc affair. The second disc has a surprise for Bellue fans: he's teamed up with bassist Jonathan Stoyanoff and
drummer Barry Eldridge to perform trio versions of the tunes he does solo on the first disc. As on his previous outing, Steppes, Bellue is produced and recorded by the stellar Antoine Dufour for Candyrat
Records. With both hands flying (having apparently taken to heart the caveat about idle ones), Bellue drums, taps, strums, picks, plucks harmonics, and otherwise turns his wood-and-wire companion into a
symphonic source of sonic excitement. And with the trio setting, the layers of sound unfurl in likewise appealing ways, adding both propulsion and harmonic nuance in ways that would be otherwise impossible,
even for as accomplished a player as Bellue. The album opens with "Stringslinger," a fitting title for a tune that is like a herd of wild horses, hooves thrumming enmasse across a vast plain. The set continues
with the lovely "Return to Dawn," and the equally evocative "Alternate Pathways," a beautiful piece full of wonderful intervals, some close, others wide as Bellue's drop tuning allows. "New Silver Breeze" lays
down a beach blanket and invites the listener to chill out, while "War Games" is a knot of worry hammered out on bass strings and sound board, a minor refrain lining this dark cloud of a tune. Bellue does a
nice job of balancing drama with dreaminess over the course of this eight-song set. Overall, my personal preference is for the solo versions, though tunes like "Dreamwalker" are rich and gorgeous in the trio
setting. Highly recommended for fans of Michael Hedges and Andy McKee, as well as the "heavy wood" sound of Don Ross.
Nicholas Russell, "Late Night & Early Morning," 2019
Nick Russell's Late Night & Early Morning is an inspiring on-line collection of eight intimate acoustic vignettes. Russell ran a successful music program for an acoustic instrument store called Folkway Music
in the bustling cosmopolitan city of Toronto. However, he currently lives off-grid with his family in a yurt in Southern Ontario. This dramatic lifestyle change caused him to focus his musical efforts around his
acoustic playing and the result is an album that is both intricate and accessible. The guitarist conceived the arrangements and compositions while huddling around a wood burning stove after his children went to
bed; thus, inspiring the title of the recording. Late Night & Early Morning begins with a wonderful reading of Toots Thielman's "Bluesette." Here the guitarist elegantly navigates through the chord changes of this
jazz classic with grace and precision. On "Beautiful Love," another standard, one hears a strong, deliberate Latin feel in the impressive arrangement. However, Russell never looses focus of the inherent melody of
the piece. "Stephanie's Song" is a pensive and eloquent original with delicate yet sophisticated finger style passages. "It Isn't Easy Waiting" gracefully swings echoing Joe Pass's trademark comping. Russell's
original "Offer the Lotus" begins with minimalistic percussive interludes segueing into blues tinged passages. The guitarist has a very intuitive feel for time and space, which enhance his performances of original
material and covers. "Song for Inga" is an introspective ballad with lush chords and a delicate melody. The album ends with "The Book of Love," a resolute piece, with bold fingerboard harmonies, and alluring
diatonic embellishments. Nick Russell's Late Night & Early Morning is an auspicious musical offering and should make an excellent addition to fans of instrumental acoustic music.
Jeff Johnson & Phil Keaggy, "Cappadocia," 2019
What began as a musical collaboration 10 years ago between musicians Jeff Johnson (keys, percussion, vocals) and Phil Keaggy (guitars, cumbus, bass, vocals, percussion) with the release of Frio Suite has now
produced the duo's third recording, Cappadocia (named for a region of ancient Asia Minor – now Turkey – which produced some of Eastern Christianity's leading early luminaries like Gregory of Nyssa). It has much
in common with both Frio Suite and their 2nd project Watersky, while giving new room for more eastern influences. Johnson is a painter of subtle musical hues, and Keaggy shines as always in providing breathtaking
guitar work, whether simple or complex, acoustic or electric. Cappadocia is a recording of colors and textures, centered on a divine view of life and creation, inspired by the heritage and physical beauty of the
namesake region. On certain tracks on the CD, long-time listeners of Phil Keaggy can hear traces of melodies from other records. Signature sounds ike volume swells, Ebow, and backwards looping provide just the right
feel, whether it be in the mystical "Parousia (A Presence)", or the contemplative "Valley of Swords and Roses." Johnson creates aural landscapes with minimalist phrasing on the piano and keys, with just the right
emphasis or dynamic. Some of the songs carry an inborn irony to them; "That Which is Hidden" speaks of things unseen yet pulses with a driving power, with Keaggy laying down the melody on 12-string guitar; and
also on the final cut, "Trinity," a testament to the mystery of the Christian doctrine of God, opening with a series of three-note variations on electric guitar (channeling some very early Phil Keaggy playing from
the 1970's). I am sure this CD is being played on many "New Age" channels, since it really fits no easy musical categories, and listening is more of a sensory experience than hearing a pop tune. I could envision
filmmakers using some of these songs to create mood within a scene. This is really good music if you want to hear intricate compositions played by men who know their craft.
Pete Kent, "Free Energy," 2019
On his third CD, Free Energy, UK Guitarist Pete Kent offers an eclectic collection of originals and covers. His original compositions offer a tapestry on which Kent weaves his significant fretboard skill
and artistry. He blends just about every finger-style technique known with aplomb, energy and finesse throughout these tracks. The CD opens with two original compositions: the lively rhythmic gem "The Blakenhall
Shuffle" accented with speedy runs and pulsating bass lines, which crashes sublimely into "Mother Tongue," a gorgeous melody filled with precisely articulated bends and hammer ons. Track three is a sweet take on
Royal Blood's "Little Monster," that along with his covers of Jamiroquai's "Virtual Insanity" and a deep track from Radiohead's second album, "High and Dry," further cement Kent's reputation for arranging and
performing brilliantly unique and enlightening covers of an impressive variety of artists. Other tracks that stand out here include "Scottish Noodles," with its mix of reels accents, aggressive hammer ons and
finger picking, as well as the delicately nuanced "Take Me or Leave Me." Free Energy closes with, perhaps, the two most intriguing tracks, "Shadow Boxer" and "3.6.9." "Shadow Boxer" begins with two very different
rhythmic techniques before both blend into a frenzied rhythmic climax, which sets the stage for the finale - The rambunctious anthem like "3.6.9," complete with soaring electric lead. I have to wonder if Kent is
hinting at an abrupt turn in his artistic direction. Nonetheless, Free Energy certainly reenforces the accolades his first two releases garnered.
©
Céline Keating
Buy it at Amazon.com
Listen to "Dark Blue Wind"
©
Kirk Albrecht
Buy it at Bandcamp
Listen to "Extension of the Heart"
Listen to John Evergon at our podcast 
©
Brian Clark
Buy it at Amazon.com
Listen to "War Games"
©
James Scott
Buy it at Bandcamp
Listen to "Bluesette"
Listen to Nicholas Russell at our podcast
©
Kirk Albrecht
| Jeff Johnson Bandcamp
Buy it at Amazon.com
Listen to "Dove Visions"
©
James Filkins
Buy it at Amazon.com
Listen to "The Blakenhall Shuffle"
