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Yasha Aginsky: Four American Roots Music Films

Yasha Aginsky: Four American Roots Music Films

Homemade American Music In visits with their friends and mentors, Mike Seeger and Alice Gerrard trace the origins of rural American music from traditional folk cultures in the southern United States and then demonstrate how traditional music is learned, played, adapted and performed by younger musicians from urban backgrounds. In addition to Mike and Alice, musicians include Tommy Jarrell, Roscoe Holcomb, Lily May Ledford, Elizabeth Cotten, Dewey Balfa, Marc Savoy, Tracy Schwarz, Hank Bradley, Jody Stecher, Irene Herrmann, Stefan Senders, Will Spires, Eric Thompson and Susie Rothfield. (1980, 42 minutes) Sonny Terry, Shoutin' the BluesIn a motel room in Oakland, California, blind blues harmonica great Sonny Terry tells a story about his start in show business and then plays an original solo in his own amazing style, created in over 50 years of playing. (1969, 6 minutes) Les Blues de BalfaThrough their festival appearances, concerts and recordings, the Balfa Brothers became the most renowned Cajun musicians and the first group to take their traditional music outside of southwest Louisiana. Tragically, just after this film was undertaken in 1979, brothers Rodney and Will were killed in a car crash. The surviving member of the group, Dewey Balfa, tells the history of his musical family and demonstrates the role of their musical tradition in his life, as he continues to spread Cajun music and culture in schools, music festivals and by playing with other musicians in local dance halls and clubs. In addition to the Balfa Brothers, musicians include Allie Young, Nathan Abshire, Tony Balfa, Rockin' Dopsie, Raymond François and the Cajun Playboys and Tracy Schwarz. (1983, 27 minutes) Cajun Visits Filmed at homes in rural southwest Louisiana, this film presents six masters of traditional Cajun music: Denis McGee, Wallace 'Cheese' Read, Canray Fontenot, Leopold François, Robert Jardell and Dewey Balfa, singing and playing traditional songs and tunes and talking about their music, their lives, their work and their environment. Representing a diversity of ethnic origins, ages and social classes, they all continue to speak in the French language as well as English. (1983, 29 minutes)

SEK 267.00
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John Renbourn: Fingerstyle Guitar

The Fingerstyle Guitar Of Jody Stecher (DVD)

Celtic Melodies And Open Tunings

Woody Mann: Fingerstyle Blues Guitar

Advanced Fingerpicking Guitar Techniques: Blues Guitar

Pat Kirtley: Introduction To Celtic Fingerstyle Guitar

Dix Bruce: Basic Country Flatpicking Guitar

Dave Van Ronk: Folk, Blues And Ragtime

Stefan Grossman/John Renbourn: Under The Volcano

Stefan Grossman/John Renbourn: Under The Volcano

"The material is a mix of traditional and original, the playing superb. Grossman and Renbourn combine their talents and mix of styles here to produce appealing instrumental music of rare beauty and taste." ? AllMusic.comOn their duet records, John Renbourn and Stefan Grossman meet on the common turf of American blues and Celtic fiddle tunes and airs. Under The Volcano is a collection of seven duets. Including an extended four-part work for which the album is named, and one solo by each of the players, the album has what has come to be the characteristic sound of the duo. Reflecting what Stefan quite accurately describes as "an interweaving of styles," it is quite difficult, and somewhat pointless, to tell which of the two is playing the lead in most parts of the album. The original compositions are at once down-home and high-flown, brimming with contrapuntal funkiness, and the music manages to sound both loose and precise. Grossman and Renbourn contribute equally to the composition and arrangement of the traditional material. They aren't uptight about overdubbing or using the occasional electric guitar texture. But the lingering impression is one of crisp, snapping strings and air being moved by wooden-boxed guitars.Track Listing:1. Idaho Potato2. Medley: Sheebeg An Sheemore & Drunken Wagoner3. Under The Volcanoa) Resurrection of Blind Joe Deathb) Four for the Rosesc) Montagu's Pactd) Rights of Man4. Medley: Bonaparte's Retreat & Billy In The Lowgrounds5. Swedish Jig6. Water Gypsy7. All Things Parallel Must Converge8. The Blarney Pilgrim9. Mississippi Blues No. 3(All tunes except for "Bonaparte's Retreat" have been transcribed and included in a pdf tab/music booklet on the CD)

SEK 159.00
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Martin Carthy: British Fingerstyle Guitar

Duck Baker: Guitar Aerobics (DVD)

John Low: African Fingerstyle Guitar

John Fahey: Guitar Artistry

John Fahey: Guitar Artistry

One of acoustic music?s true innovators and eccentrics, John Fahey was a crucial figure in expanding the boundaries of the acoustic guitar over the last few decades. His music was so eclectic that it?s arguable whether he should be defined as a ?folk? artist. In a career that saw him issue several dozen albums, he drew from blues, Native American music, Indian ragas, experimental dissonance, and pop. His good friend Dr. Demento has noted that Fahey ?was the first to demonstrate that the fingerpicking techniques of traditional country and blues steel-string guitar could be used to express a world of non-traditional musical ideas -- harmonies and melodies you?d associate with Bartok, Charles Ives, or maybe the music of India.? The more meditative aspects of his work foreshadowed new age music, yet Fahey played with a fierce imagination and versatility that outshone any of the guitarists in that category. His idiosyncrasy may have limited him to a cult following, but it also ensured that his work continues to sound fresh.Fahey was a colorful figure from the time he became an accomplished guitarist in his teens. Already a collector of rare early blues and country music, he made his first album in 1959, ascribing part of it to the pseudonymous ?Blind Joe Death.? In college, he wrote a thesis on Charley Patton (an exotic subject at the time). Yet Fahey did not perform publicly for money until the mid-1960s, after his third album. Fahey?s early albums for Takoma in the mid-1960s laid out much of the territory he would explore. His instrumentals, filtering numerous genres of music into his own style, evoked haunting and open spaces. At times they could be soothing and plaintive; at other times they were disquieting, even dissonant.

SEK 267.00
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Tom Feldmann: The Guitar Of Blind Willie Johnson

Duck Baker: The Music Of Turlough O'Carolan

Stefan Grossman: Bottleneck Blues Guitar - Revised And Expanded Edition

The Guitar Artistry Of Chris Proctor - Morning Thunder

The Guitar Artistry Of Chris Proctor - Morning Thunder

In The Guitar Artistry Of Chris Proctor the National Fingerstyle Guitar Championship winner talks about his style and influences as well as giving dazzling performances on both 6- and 12- string guitars.Chris Proctor falls squarely into the ?New World? steel-string guitar style. Beginning with pop and rock music, Chris was soon drawn to the country blues. After exploring that tradition, he studied classical and jazz music, the traditional music of the British Isles, bluegrass and old-time Appalachian music, and, finally, began to investigate the world of the 12-string guitar.In 1982, Chris won the U.S. National Fingerstyle Guitar Championship and released his first recording, ?Runoff.? That recording, and the 8 that followed on the Flying Fish, Rounder, Windham Hill and Sugarhouse labels over the next 27 years, elevated Chris to the top rank in the steel-string world. Chris also wrote articles and books, filmed instructional videos of his transcriptions and techniques, created the guitar workshop program for Taylor Guitars, and designed the Taylor Chris Proctor Signature Model guitar.Beginning in the year 2000, Chris broadened his original focus on new music to include reinterpreting music of his diverse set of original influences. His performances today are a primer on the acoustic guitar music of the ?New World.? They feature original guitar techniques and devices invented and adapted by Chris, and they convey a striking array of tones, textures and moods.Titles include: Tap Room, Hot Spot, War Games, Ozymandias, Beppe, Ladybug Stomp, Nights in White Satin, Bach to Ireland, Late Again, Interstate, Morning Thunder, The Last Steam Engine Train, Revisiting the Sailor?s Grave, Gecko Drive and Medley:A Scarce O? Tatties/The Lyndhurst Jig    Review: Watching Taylor fingerstylist and original workshop clinician Chris Proctor in his new DVD Morning Thunder is an enlightening exercise. Proctor has always been an intrepid guitar explorer, and his expansive approach to guitar composition and playing is likely to leave your head percolating with fresh ideas to apply to your own fretboard excursions.    In the DVD, released through Stefan Grossman?s Vestapol Videos (www.guitarvideos.com) as part of Grossman?s ?Guitar Artistry? series, Proctor intersperses solo performances, played on his signature model rosewood Grand Concert and maple 12-string, with interview segments as he shares his influences and evolutionary steps as a player. He talks about the merits of composing with one?s head versus one?s hands, explains his approach to arranging and interpreting, and highlights the tools he uses to bring new textures to the acoustic guitar, like partial capos, the EBow, and alternate tunings.    Proctor?s rich aptitude for so many different styles of music, from blues and traditional Celtic to classical and jazz, inform his ?New World? approach, which synthesize different idioms in fresh ways, much like fingerstyle mavericks Leo Kottke and John Fahey, both of whom are significant influences. The DVD performances include a sweet version of Kottke?s ?Revisiting the Sailor?s Grace? and Fahey?s ?The Last Steam Engine Train,? along with Celtic medleys and Proctor?s original compositions, including the new tune ?Gecko Drive.?    Though the DVD doesn?t adhere to a traditional-style instr

SEK 267.00
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Doc & Merle

Tom Feldman: The Guitar Of Fred McDowell

Tom Feldman: The Guitar Of Fred McDowell

Who hasn't been influenced by Mississippi Fred McDowell? Imitated by just about everyone that has picked up a slide, his impact has spread the world over. With so many trying to figure out exactly how he played, we are so fortunate to have a lesson like this one where we get to learn from the man himself. The footage of Fred McDowell seen in this lesson is a treasure because it's as if it was filmed with us, the students of McDowell's style, in mind. With clear shots of his left and right hands, it's like your own private lesson with the master himself.DISC ONE is devoted to footage of Fred McDowell performing many of his classic tunes in Open E tuning. After each performance, Tom Feldmann breaks down Fred's techniques and then goes to the split screen, playing the song slowly as you play along.DISC TWO is devoted to the recordings of McDowell in Open A tuning. Tom performs this time around as none of the available footage has McDowell performing in Open A.A detailed tab/music booklet is included as a PDF file on each DVD. In addition the original recordings of all the tunes in lesson two are included. On Disc Two there is 51 minute interview with Tom Feldmann where he talks about his influences as well as performing a wide variety of tunes.Titles Include: OPEN E TUNING: When I Lay My Burden Down, Keep Your Lamp TrimmedAnd Burning, John Henry, Break 'Em On Down, Louise, Mojo Hand, I Heard Somebody Call OPEN A TUNING: Write Me A Few Lines, Been Drinking Out of A Hollow Log, Fred's Worried Life Blues, The Train I Ride, Kokomo Blues

SEK 382.00
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The Ragtime & Blues Guitar of Big Bill Broonzy

Stefan Grossman: Fingerpicking Blues Guitar Arrangements In Vestapol Tuning

Stefan Grossman: Fingerpicking Blues Guitar Arrangements In Vestapol Tuning

The Open D Tuning (D A D F# A D), also referred to as the Vestapol tuning, is a powerful and evocative tuning that was widely used by guitarists in the 1920s to play country blues, ballads, rags and folk tunes. In this lesson I focus on arranging five of my favorite blues melodies in Vestapol plus an original instrumental.The religious tune When I Lay My Burden Down was in the repertoire of both Black and White traditional guitarists. I have arranged it in an Elizabeth Cotten/Mississippi John Hurt style. The beautiful blues Goin' To Germany was recorded by the Cannon's Jug Stompers in the 1920s. I have always wanted to find the right setting for this melodic country blues and the Vestapol tuning gave me the feel and textures that I was looking for. Sam McGee played guitar behind Uncle Dave Macon when he recorded, I've Got The Morning Blues in Vestapol. This is a fun tune to play and leads nicely in to Hesitation Blues, a song recorded by many artists. My arrangement tries to combine a sliding jug sound with some funky blues licks. Peg Leg Howell's Skin Game Blues is a rare example of an early blues song with three distinct sections. Peg Leg played this with a bottleneck but for our arrangement we will rely on our fingers to make the notes sing out.We finish the lesson with Innocence Abroard. An original instrumental that ties together the right and left hand techniques we have studied.A detailed tab/music booklet is included as a PDF file on the DVD. Each tune is taught phrase by phrase and played slowly on a split-screen. Bonus audio tracks of the original 1920s recordings are included. These are the records I first heard that influenced me to rearrange the melodies to the Vestapol tuning. Stefan Grossman

SEK 301.00
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John Renbourn/Stefan Grossman: The Three Kingdoms

John Renbourn/Stefan Grossman: The Three Kingdoms

This is the fourth recorded collaboration between acoustic guitarists John Renbourn and Stefan Grossman, recorded in 1987 and produced by Led Zeppelin's John Paul Jones. As on its three predecessors, the appeal lies in the contrast between Renbourn's traditional British folk style and Grossman's jazz and folk-blues leanings. Ideally, as on 'Rites of Passage' and 'Keeper of the Vine,' Renbourn concentrates on an intricate, folk-based pattern that Grossman decorates with bluesy embellishments. The two have a previously expressed interest in adapting jazz classics to their two-guitar approach, and they do so here on the standard 'Round About Midnight,' then recall their earlier work on tunes by the late Charles Mingus with the mournful 'Farewell to Mr. Mingus.' Since they play differently, their guitar lines can be identified and appreciated separately even when they are intermingling. ? All Music GuideMany acoustic guitarists probably have some degree of acquaintance with the work of John Renbourn and Stefan Grossman, but for the unfamiliar, here's a short history: In the 1970s Stefan toured regularly, sometimes on double-bills with Renbourn. Fate stepped in when, through a promoter's error, it was advertised that these two legends-in-the-making would be performing guitar duets. Though they hadn't worked as a duo before, the guitarists decided to give it a go, and the seeds were planted for a series of fantastic duet albums. The playing on this album as well as Under The Volcano and their eponymous debut, is a fascinating melting pot of European and American musical styles, and the pair achieves a sound as elegant as it is expansive. Though their individual contributions to the world of guitar playing had been weighty before their partnership, these duet albums serve to take both guitarists' playing to new heights, and their enduring compositions still sound fresh today.

SEK 153.00
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Eric Bibb: Guitar Artistry

Eric Bibb: Guitar Artistry

Eric Bibb was raised in the folk tradition, the son of the folk singer Leon Bibb. Bibb?s uncle was the world-famous jazz pianist and composer, John Lewis, part of the Modern Jazz Quartet. Bibb was raised in a music-filled household, as family friends in the 1950s and 1960s included Pete Seeger, Odetta, Bob Dylan, and the late Paul Robeson, who was named Eric?s godfather. Bibb got his first steel guitar at age seven, and he got some advice from Dylan that he never forgot, to ?keep it simple, forget all that fancy stuff.? When he was 16, his father asked him to play guitar in the house band for his TV talent show, Someone New.In 1970, Eric left New York City for Paris, where he met with guitarist Mickey Baker. There he began to focus on blues guitar and after moving to Stockholm, he became enamored with prewar blues. A breakout performance at the 1996 London Blues Festival catapulted Eric to a higher level of visibility. Since then he has toured the world, performing at concert halls and major festivals. He has toured with Robert Cray, Keb Mo, Corey Harris and even opened shows for Ray Charles.Eric earned a Grammy nomination for his collaboration (with Taj Mahal and others) on the children?s record, SHAKIN? A TAILFEATHER. His album PAINTING SIGNS was recognized by New Age Voice as a Finalist for Best Folk Album of 2001. He joined Maria Muldaur and Rory Block to record the gospelflavored SISTERS & BROTHERS, and then released FRIENDS, a collection of duets with Taj Mahal, Odetta, and others. He has been nominated for many W.C. Handy Awards in a variety of categories. Eric?s rich and sensitive vocals and lyrics provide a perfect balance to his fine fingerpicking technique. Purveying a beautifully realized and deftly accomplished soulful folk-blues, Eric has no problem blending various genres effortlessly, melding a traditional rootsy American style with a subtle, contemporary sensibility.

SEK 267.00
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