John Gorka, Between Five and Seven. Gorka's back, this time borrowing Mary Chapin Carpenter's band and a cortege of other monster acoustic players, including coproducer John Jennings and former Red House labelmates Peter Ostroushko and Dean Magraw. (Listen to Magraw's licks on track 2 and you'll wonder why you never heard of him.) Still, it's Gorka's own solid guitar playing, clever lyrics, and unique and slightly skewed view of the world that take center stage. He has a knack, as he sings in "Airstream Bohemians," for "the collectively misunderstood," and he makes us all the wiser for it. (High Street)
--Steve Givens
Mark Cosgrove, Bad Medicine. On his first solo CD, Mark Cosgrove--who bagged the National Flatpicking Guitar Champion title at Winfield in 1995 and also won the prestigious Doc Watson Guitar Contest in North Carolina--brews up an engaging mix of original tunes and classic flatpicking pieces. He has a powerhouse sound that could knock down a brick wall, yet his style retains a playful melodic sense that gives this record heart. The tunes range from flatpicking classics like "Alabama Jubilee" and "Ragtime Annie" to hot originals, all of which reveal an artist who's found a distinctive voice. (Noisy Neighbors Music, 6853 Tohickson Hill Rd., Pipersville, PA 18947)
--David McCarty
JustaBoutEverything. JustaBoutEverything is a hot acoustic quartet out of Adelaide, Australia, that grew out of the experimental rock group the Redfins. The eponymous CD presents a supercharged acoustic sound that cuts with a sharp edge and gritty lyrics to match. All the songs are by Chris Davies and Julian Barnett, English transplants and accomplished guitarists whose playing floats above the soaring sound of Aussie acoustic rock. (JBE, PO Box 465, Glenelg, South Australia 5045)
--Roger Deitz
The Gerard Edery Ensemble, Linda Amiga: Love Songs of the Sephardim and Renaissance Spain. In this collection of 12 songs from the Jewish and Christian sides of 15th- and 16th-century Spain, Edery's dark baritone and Cassandra Hoffman's soprano float over classical guitar arrangements. What separates this material from both conventional art-song and authentic instrument performances are Rex Benincasa's percussion and Edery's delicate, multitracked guitar settings, echoing the Spanish classical and flamenco traditions. The songs themselves (lyrics and English translations are included) are simple but haunting. In "La Sirena" for example, the siren sings her refrain, "Throw yourself into the sea and reach for me." (Sefarad, 392 Central Park West, Suite 17Y, New York, NY 10025)
--Russell Letson
Jacques Stotzem and Thierry Crommen, Different Ways. Guitar and harmonica duos have much to overcome, not the least of which is a propensity toward mediocre 12-bar blues jams. Stotzem and Crommen attain a much higher musical goal on these nine original compositions. Blues references are scattered here and there, but the duo's range of writing and dynamics shift in many unusual and interesting directions. "Lovely Eyes," by Crommen, is a smoldering, jazzy lament; Stotzem's "Sombre Histoire" swings to a bebop beat; and the duo's title piece has a hard-wired, manic energy most rock bands would admire. (Acoustic Music, 1610 Crestview Ave., Seal Beach, CA 90740)
--Jim Ohlschmidt
The Burns Sisters, In This World. The breezy, upbeat, sisterly harmonies of Jeannie, Annie, and Marie have earned them the nickname "the Everly Sisters." This recording brings them a step closer to the big time by adding a Nashville edge to their rich vocals via producer and E-Street Band alumnus Gary Tallent. The record proves that when country music is in the heart, even the Burns' hometown of Binghamton, New York, is on the outskirts of Music City, USA. (Philo/Rounder)
--Roger Deitz
Ranger Doug, Songs of the Sage. No artist has worked harder than Ranger Doug to preserve and promote cowboy and western music. Now, after 20 years as guitarist/vocalist with Riders in the Sky, he has released his first solo album of 12 outstanding original compositions. There are plenty of gently swinging tunes to showcase Ranger Doug's strong acoustic rhythm style and the spirited acoustic leads by Jimmy Capps. Rounding out the delightful ensemble are horns, strings, accordion, and more. The legacy of this unique American music, established in the '30s and '40s by Bob Nolan, Foy Willing, and others, is enriched by Ranger Doug's contributions. And yes, he's still with Riders in the Sky! (Warner)
--Riley Tharp
Phil Heywood, Local Joe. Heywood may be a local joe at home, but among guitar players he's no joe blow. His second effort offers more of his eclectic and occasionally eccentric repertoire. Several original tunes, such as "Home Range" and the title cut, have a busy rhythmic pulse and joyriding melodies akin to Leo Kottke's. Heywood offers a loving nod to Joseph Spence with his hip take on "Comin' In on a Wing and a Prayer" and lays down a swinging groove with a walking bass and vocal on Taj Mahal's "Good Mornin' Miss Brown." (Atomic Theory, 106 W. 49th St., Minneapolis, MN 55409)
--Jim Ohlschmidt
Modern Luthier. In this fascinating video, Will Ackerman gives us a glimpse into the thoughts and feelings of four prominent luthiers. The video explores the traditional designs of Froggy Bottom Guitars and James Olson and the radical aesthetics of Breedlove Guitars and Steve Klein. Ackerman's intelligent questions elicit thoughtful and candid responses about guitar-building philosophies and methods. These guys feel passionately about their work. But a guitar is ultimately judged by its sound, so we are also treated to performances by Rob Eberhard Young, Ed Gerhard, and Bill Cooley, letting us hear for ourselves how each guitar reflects the personality of its maker. (Jazzbud Productions, LLC, 663 Church St., Holland, MI 49423)
--Phil Campbell
Steve Kaufman, The Art of Guitar Cross-Picking. Few flatpicking techniques rival the sheer beauty and power of cross-picking. On this video, Steve Kaufman breaks down many of the mysteries and myths surrounding this style, starting with his explanation of how to effectively cross-pick using a down-up-down picking technique. He also offers useful practice techniques and speed drills, advice on avoiding technical dead ends, and great suggestions on incorporating this style into your playing using tunes like "Back Up and Push," "Golden Eagle Hornpipe," and "Bill Cheatham" as examples. The depth of instruction here makes this tape not only an excellent introduction to cross-picking, but also a useful tool to help experienced flatpickers find new places to incorporate the technique into their own playing. (Homespun Tapes, PO Box 694, Woodstock, NY 12498)
--David McCarty
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