Guitarist Matthew Rolin’s latest release and his second full-length this year, focuses on straightforward soli in the Takoma school style and the 12-string in particular. Passing demonstrates Rolin’s strengths as both a performer and composer with tunes that alternate fast and intricate fingerpicking with more gentle passages and are technically demanding but never showy. “Tracks,” for instance, builds steadily in speed and complexity in ways that seem both natural and unexpected, and the closing echoes the opening in a nice example of ring composition.
The album runs for 32 minutes, and the tunes are similarly concise, with only two exceeding 5 minutes. The title track, split into four minute-long sections distributed throughout the set, is suggestive of Rolin’s more experimental work in the Powers/Rolin duo and on the dense Sea of Stars released in May, being thick with overtones, echo and occasional distortion. “Plaster” similarly makes use of studio effects in its second half.
The rest of the tracks present the guitar unadorned though recorded so as to make the surrounding space palpable. “Shingles” resembles “Tracks” in its gradual build but ends in a different place, with a sense of anticipation suitable to its position as the first full-length track. Closer “Vent” also builds slowly to a cascade of chiming notes and then glides slowly to a halt.
Of the six-string tunes, “Fourth Street” has a bouncy feel but departs somewhat from the steady thumb that drives many of the other tunes, featuring bursts of notes and clever hammer-ons and pull-offs. “Silence,” as the name suggests, is perhaps the most reserved track here, but it is nevertheless carefully constructed, with changes in tempo and neat occasional harmonics.
In this and his preceding recordings, Rolin has firmly established himself among the post-Jack Rose generation of Takoma-school-style pickers. His solo work well complements his work with the duo (and sometimes trio), and he suggests here that he is prepared to carry the tradition forward.
Excited to join Burnt Bridge Cellars on Friday, April 5 from 6 to 8 p.m. for some wining, dining and serenading. I’ll be dusting off the old bossa nova and French pop, as well as playing a number of new songs of my own. See you there! 🌺
Getting the guitar tone from ZZ Top’s “Just Got Paid” requires a specific setup and attention to detail. This iconic song features Billy Gibbons’ distinctive guitar sound, which is characterized by a combination of factors including his guitar choice, amplifier setup, effects, and playing style.
Here’s how you can try to get close to that tone:
Guitar Choice
Billy Gibbons is known for using a…
"J's Lullaby" by Delaney Bailey is a gentle and soothing acoustic ballad that evokes a sense of peace and comfort. The song features Bailey's signature ethereal vocals, accompanied by delicate fingerpicking on the guitar. The lyrics, which describe the love and protection a mother feels for her child, are heartwarming and poignant, making this song a perfect choice for anyone looking for a calming and reassuring tune. Overall, "J's Lullaby" is a beautiful expression of the powerful bond between a parent and child.
Elijah McLaughlin Ensemble II by Elijah McLaughlin Ensemble
The Chicago group, which features Elijah McLaughlin on 12- and 6-string guitars, Joel Styzens on hammered dulcimer, and Jason Toth on upright bass, returns two years after its eponymous debut with the descriptively titled II to deliver a fresh set of drones and overtones that seem to issue from some chasm deep in a forest. The emotion and excitement that these three players sustain over a taut 36 minutes are remarkable, with the individual tracks seeming to form a kind of suite.
Opener “Zodiac Rabbit” establishes the basic template: the combined plucking and hammering of the guitar and dulcimer blend in a wash of mid-range atop shafts and pulses of bowed or (somewhat less often) pizzicato bass. Pastoral passages build to crescendos, with all three musicians remaining fully engaged throughout and fading out together at the end. Similarly propulsive is “Spring,” which erupts in a flurry of notes through which the bass pulls a haunting melody. A lull in the mid-section creates the space for the tension to build again, and there’s a great moment at 4:00 when Toth, having switched to pizzicato, switches back to arco.
Among the more meditative pieces, the atmospheric “Arc” floats slowly along on a bed of bass, and the vaguely country-ish “Viroqua” winds along like a trip through the hilly part of Wisconsin that the title apparently references. The stately “Effigy,” with strummy guitar and a lovely ascending and descending bowed bassline, hints at some dark mystery.
Points of reference include, to name just two, the Powers-Rollin Duo, in which the hammered dulcimer is used to somewhat different effect, and Pelt circa Pearls from the River in the interaction between Jack Rose and the various drones—but nothing sounds quite like this trio. Styzens coaxes an amazing range of sounds from his instrument, which is suggestive, at turns, of a mandolin (“Interlude”), pipa (“Confluence”), piano (“Blind Valley”) or twin of McLaughlin’s guitar (frequently and effectively). McLaughlin for his part switches back and forth seamlessly between fingerpicking and flatpicking (or rather thumbpicking) arpeggios in the manner of Basho and Blackshaw, sometimes very rapidly (“Wheel,” “Spring”), while at other times he hangs back and plays chords (“Arc”) or provides supportive and/or melodic strumming. Toth’s bowing is notable for both the clarity of the tone, which is at times indistinguishable from that of a cello (“Spring”), and the strength of the sustain, which allows him to fill the spot of a keyboard or shruti box player as well as contribute melody.
Where II represents a progression beyond its uniformly excellent predecessor is in the blending of the voices and the greater drive in the tunes. Styzens, in particular, has found a way of filling the space between his bandmates that makes the whole seem far more than the parts. Also, the emphasis this time around is even more on the “Ensemble”: tellingly, whereas the players enter sequentially on the opening track of the previous record, on the opener for this one, they come in in unison.
In these respects, the title II, even if ironic, is unfortunate. Far from being more of the same, this release both refines the approach and suggests that much remains to be explored in the sonic landscape mapped out by this trio.
What Is The Best Teaching Plan For New Acoustic Guitar Students?
The best teaching plan for new acoustic guitar students will depend on their age, skill level, and learning style. However, here is a general framework that can be adapted to suit different students:
Introduction: Start by introducing the parts of the guitar, how to hold it, and basic posture.
Basic chords: Teach the basic chords such as C, D, G, A, and E. Have students practice changing…