Leggett has become a master of tones and textures, of perfectly matching instruments and moods, of using tunings to create distinct, sonically rich backgrounds.
“Sidewalk Chalk” is a lovely waltz with a beautiful set of chord changes. It’s also quite approachable and, like so much of Levy’s work, is a joy to play.
Over the last 10+ years, Joey Lusterman has worked in every department at Acoustic Guitar magazine: front desk, ad sales, editorial, sound guy, camera man, booth babe, email coder, podcast editor, photographer, book designer… And he’s been behind the camera for nearly every Sessions video! Here are just a few of his favorites (see them all.)
Many significant developments in classical guitar design and technique flourished in Spain during the past few centuries, but the story indeed began many years—perhaps millennia—earlier.
Compared to 2021’s ‘Window to the World,’ ‘Little River Canyon’ feels simpler, without the former’s loops or pedals, recorded live in the studio with only one guitar.
To learn more about Larkin Poe's journey from acoustic roots music to amped-up rock, we caught up with the sisters by phone from their home bases in Nashville.
On their latest release, In Between Thoughts... A New World, the spiritually inclined pair have invested their pan-genre musical values with some of their own more metaphysical ones.
The albums is an extension of Lenée’s current fascinations, which include experimenting with fingerstyle on the 12-string and an ongoing exploration of alternate tunings.
Half the songs on Miss Rhythm are originals, though if you didn’t see the writing credits, you could easily be fooled into thinking that they were pulled off scratchy 78s from the ’20s or ’30s.
Since Grant Gordy's 2010 self-titled debut album, he has used bluegrass as a foundation while stretching out far beyond the genre’s confines to find his voice as an improviser, composer, and arranger.
The nimble and expressive Colombian classical guitarist Irene Gómez has always played a diverse repertoire, as befits a musician whose varied guitar education included programs in her native country, in France, and at Juilliard in New York, where she studied with Sharon Isbin.
Now age 68, classical guitar virtuoso Eliot Fisk turns momentarily wistful looking back over his long and storied career. “Years pass by and I think, ‘How can this be?’ I’m just getting started,” he says, voice rising. “I’m at the point where I’m looking at the last chapters of my life.”
Ain’t Nobody Worried, the third installment in Rory Block’s Power Women of the Blues series, takes the acoustic slide guitar master and blues belter in some unexpected but completely rewarding new directions.
