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Stefan Grossman: My Creole Belle

Stefan Grossman: My Creole Belle

This solo guitar album by Stefan Grossman was first released in 1976. This is the first time it is available on an enhanced CD. The songs recorded have either been composed or greatly influenced by Black musicians from the early 1900s. Stefan has always been amazed about this period of music and how relevant it still is. You cannot escape its influence on today's rock and pop music. One is always confronted by these Black echoes and roots. Likewise the guitar techniques that 20th century Black musicians used are inescapable in today's recorded and performed music.

DKK 122.00
1

Tom Feldmann: Guitar Of Charlie Patton

Tom Feldmann: Guitar Of Charlie Patton

Charlie Patton, considered the ?Father of the Delta Blues,? is generally recognized as the most influential blues artist active in the first decades of the twentieth century. No single individual can be credited with ?inventing? the Delta blues style but Patton was one of the first mainstream stars of the Delta blues genre. Old fashioned and modern at the same time, Patton's music bridged the musical traditions of the 19th century while simultaneously creating a framework of his own that would inspire just about every other blues musician from that point on. In this double DVD lesson, Tom Feldmann gives you a note-for-note, detailed look at 18 of Patton's most celebrated tunes. Making this the definitive Charlie Patton lesson. DVD One is dedicated to songs in standard tuning, covering C, E, A and F positions. You'll learn Patton's relaxed right hand strum, top tapping technique, and of course his signature licks as you work through songs like, Down The Dirt Road Blues and Pony Blues. DVD Two focuses in Patton's bottleneck slide and non slide numbers in Spanish (Open G) and Vestapol (Open D) turnings. Songs like, Banty Rooster Blues, When Your Way Get's Dark and Screamin' and Hollerin' the Blues will become heavy hitters in your blues arsenal.A detailed tab/music booklet is included as a PDF file on both DVD's. In addition the original recordings of all the tunes are included.

DKK 306.00
1

Hot Tuna: 25 Years And Runnin' On

Hot Tuna: 25 Years And Runnin' On

Hot Tuna started life as a set-breaking acoustic showcase by the members of Jefferson Airplane intended to contrast with the band's infamous psychedelic rock explorations. Long before the days of MTV Unplugged, these impromptu performances would feature guitarist Jorma Kaukonen and bassist Jack Casady rockin' through ragtime blues standards and Tuna originals, true to the free spirit of the music's very roots.Jesse Block's concert documentary, 25 Years & Runnin' celebrates Hot Tuna's dedication to their influences and musical traditions. Jorma and Jack reflect on their influences and musical partnership since playing in a high school garage band, while their fans explain the Jorma/Jack chemistry that's kept them tuned to Tuna for a quarter century.

DKK 217.00
1

School Of Ragtime: 10 Classic Rags For Guitar By Scott Joplin

School Of Ragtime: 10 Classic Rags For Guitar By Scott Joplin

In the early 1960's guitar players from the cities started to tackle arranging classic rags onto the guitar. Prior to this period there was no recorded evidence of guitarists attempting to do this. At the turn of the century Vess Ossman and Fred Van Eps successfully transcribed classic rags for the five-string banjo. But the role of the guitar was dormant until David Laibman and Dave Van Ronk started to experiment with these ideas.This album presents ten Scott Joplin classic ragtime arrangements. They illustrate the fascinating approach that a guitar can take when playing ragtime. Plus they are great challenges for guitarists to master. In the world of fingerpicking these type of instrumentals are left for the "advanced pickers."

DKK 122.00
1

Rolly Brown: A Nuts & Bolts Approach To Chords

Rolly Brown: A Nuts & Bolts Approach To Chords

This lesson is designed to set you on the road to playing chordal swing and jazz guitar with the freedom of an accomplished improvisor. It can help you hold a large repertoire of chords in your head, without recourse to ?chord dictionaries? or other written material, and to then learn how these chords go together into sequences commonly found in swing and jazz standards and other music of the past century and beyond. Material covered includes:The simple ?240 chord? exercise: 3 minutes a day to develop a great chord repertoire. The five stringsets for 4 note chord voicings. The 3 basic chord families; how they work with each other, and how the art of ?chord substitution? provides an infinite amount of variability. The 3 most common systems of chord progression and their variations. How to start applying this material to actual tunes.

DKK 242.00
1

See What The Lord Has Done For Me : Rare & Unreleased Recordings

See What The Lord Has Done For Me : Rare & Unreleased Recordings

The songs on this collection, recorded in 1968 and 1970 at the Pittsburgh apartment of Ernie Hawkins find Reverend Gary Davis in a relaxed mood. The playing is light and loose at times as he reaches back into his vast musical memory to pull one surprise after another from his “bag of tricks” (his nonchalant term for guitar playing). Fingerpicked on the Rev’s Gibson J-200 and a borrowed Martin D12-35, these performances were not for the stage or the recording studio; rather, they chance upon Davis playing reflectively to himself and Ernie, you the listener privy to the intimate musical camaraderie caught on tape. So while not every note is perfectly played, it is perfectly Davis, who wows us with marvelous additions to his songbook and performances that stretch out in masterly ways: a “Blow, Gabriel” that swells in fiery exhortation over twelve minutes; an emotionally wrenching “Crucifixion” just under twenty minutes with neither note nor word wasted. As the title says, these are rare and previously unissued recordings, ones of historic and musical value. It’s uncommon for an artist to bemuse us anew nearly fifty years after his death, but Davis does so here. “That suits me,” he sings joyfully on the opening track, and I guarantee it will suit you, too.

DKK 200.00
1

David Laibman: Playing The Classic Rags Of Scott Joplin, James Scott & Joseph Lamb

David Laibman: Playing The Classic Rags Of Scott Joplin, James Scott & Joseph Lamb

The great ragtime pieces of the early 20th century were written mostly for Piano, but many translate superbly for the Guitar, and David Laibman will show you how.Here's a mystery: if the great ragtime pieces of the early 20th century were not written for Guitar, and if they weren't player on the Guitar at all (until some of us started doing so half a century ago), then why do they work so will on Guitar?Well, thumb vs. three fingers on the right hand (we'll leave out the pinky for now) creates that subtle antagonism between steady bass and syncopated melody - the 'twinkle in the eye' of Ragtime. There is a theory that the original borrowing actually went in the other directed, from three-finger Banjo to Piano. Who knows? But I'm finding that the 'educated thumb' is only one neat thing about ragtime Guitar. Classic rags are very expressive, with moods and tempers, hills and valley. You can capture some of this with left-hand notes (slides, hammer-ons, pull-offs), with right-hand brushes, rolls, nail strokes, with clever use of open strings and natural harmonics. This works. It is it's own story - not an imitation of a Piano, or of a dixieland or jazz band. It is, simply - ragtime Guitar.In these lessons, I have tried, for the most part, to meet two goals. First, to create versions of some of the most beautiful classical rags that 'lay down' well on Guitar, so when you play them you are working with the instrument, not fighting it. I have tried to pitch and arrange the pieces so that a lot of the action is in first position rather than high up on the neck, and to keep left hand gymnastics to a minimum. Second, I didn't want these arrangements to sound like 'student' arrangements, too elementary to be believable. It is all about striking a balance. I am generally pleased with the result, and I hope you will be too.While the focus of these lessons is on the 'greats' - Joplin, Lamb and Scott - I have also included one of my own recent compositions: Pandora's Rag. This version is simpler than the one I play on my recent CD, Adventures in Ragtime, in Em, G and E, rather than Am, C and A, and not so high up the neck. I hope you like it; I think it has some nice harmonies. No one will ever touch the ragtime masters, but I would not be doing them justice if I didn't try to use their inspiration to strike out on my own a bit.And that is what you should do too! It would be great is you learn to play these charming and challenging pieces. But even greater if you improve the arrangements, adapt them to your own tastes, see if you can apply the various techniques to other music - ragtime, and beyond - that can give pleasure to yourself and others, and enrich the treasure-house of fingerstyle Guitar. None of us has tapped even a fraction of its full potential - and that's what makes it fun!" - David Laibman

DKK 261.00
1

Spiced Up Fingerstyle Arrangements : Taught by Cory Seznec

Spiced Up Fingerstyle Arrangements : Taught by Cory Seznec

This lesson features a mixed bag of six songs arranged in a variety of ways with the idea of adding some spicy seasoning to the fingerpicker’s cookbook. The lesson employs tricks and licks that Cory has picked up over the years in his quest to find his own “style”. In this almost four hour lesson each song has it’s own built-in exercises for fingerpicker’s looking to head in new directions. The old standard A Sin To Tell A Lie becomes a highly arpeggiated waltz with some fun licks up the neck. Somebody Stole My Gal incorporates counterpoint, chord inversions, and nice bass movement. The old jug band tune Sadie Green (The Vamp of New Orleans) gets revamped with a feel that bounces from down low New Orleans rumba to punchy ragtime picking and back again. A highly unorthodox treatment of Blind Willie McTell’s East St Louis Blues gets deep into Cooder-esque syncopation, and a chorus was added to make it a little less repetitive. The instrumental “showpiece” No Hiding Place was influenced by Cool John Ferguson’s virtuosic zinger off of a Music Maker Relief Foundation music compilation (likely Ferguson’s take on the old gospel number No Hiding Place Down Here), and then taken on a bunch of detours. Those looking to “Africanize” their playing will enjoy Cory’s take on The Parting Glass which takes this old Celtic drinking ballad on a trip to east Africa, featuring funky polyrhythms and muted strings in 12/8. Titles include: Somebody Stole My Gal, A Sin To Tell A Lie, East St Louis Blues, Sadie Green (The Vamp of New Orleans), No Hiding Place, The Parting Glass

DKK 302.00
1

Lasse Johansson: Early Jazz for Fingerstyle Guitar (DVD)

Lasse Johansson: Early Jazz for Fingerstyle Guitar (DVD)

The ragtime and early jazz music pioneers during the first decades of the last century didn?t know that the sounds they created would echo in the music that people loved for years to come. They started an American music tradition that is alive to this day. I was born and raised in Sweden and I have always enjoyed the music from that era but being a Guitarist, I never thought that playing back-up in a jazz band was for me. I?d rather do something with these songs so that they would fit my approach playing fingerstyle Guitar.Many of the early jazz songs and of course classical ragtime often is played as Piano music, with a steady left hand playing bass notes and chords together with the right hand playing a syncopated melody on top. This style of playing is very similar to the alternating bass style on the Guitar. So these tunes easily lend themselves to a fingerstyle arrangement.With classical ragtime I approach arranging by transcribing the original Piano sheet-music. The important thing is to find keys that suit the Guitar and then decide what notes not to play since it is not technically possible to play all the notes in a Piano score on the Guitar. I like to play in keys that will give me the opportunity to use open strings in the bass while the melody moves up and down the neck. This is especially important since my aim is to make my arrangements not too difficult to play, so that the player can concentrate on the music instead of being too concerned with the technical aspects of his/her playing. The most important challenge though, is to make the tune sound like Guitar music, not Piano music played on the Guitar.

DKK 242.00
1