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.)
Winter Hill Blues is Ryan Lee Crosby's strongest work yet, alternating between hard-droning blues on electric guitar and softer, brooding blues on acoustic guitars.
Nitty Gritty Dirt Band founders Jeff Hanna and Jimmie Fadden used to play Dylan tunes together in high school, now the band has released a tribute album, Dirt Does Dylan.
Many people think of the guitar as "America's instrument,” but the truth is the guitar was a relative latecomer to American music. Here, Michael Wright traces the instrument's origins
Playing his “favorite guitar in the world,” his trusty Huss & Dalton MJC, John McCutcheon deconstructs his song "Peekaboo" and shows how to play it slowly and up to speed.
In the folk music boom in New York in the 1960s, the music of guitarist Mississippi John Hurt was a huge influence on players like Happy Traum, John Sebastian, and others.
For this AG Session, Elijah McLaughlin and Jason Toth of the Elijah McLaughlin Ensemble perform two fingerstyle pieces from the ensemble's latest album
Contemporary fingerstyle guitar masters Andy McKee, Kaki King, Christie Lenée, and Mike Dawes reflect on the legacy of the revolutionary guitarist Michael Hedges.
Berta Rojas' album Legado features 12 tracks composed by or written in homage to a pair of classical guitar pioneers: Ida Presti (1924–1967) of France and María Luisa Anido (1907–1996) of Argentina.
Glenn Jones doesn’t see open tunings as an alternate to standard, but rather as the core to his approach to playing and composing on guitar, including on his album ‘Vade Mecum.‘
The performances by Grant Dermody & Frank Fotusky on Diggin’ in John’s Backyard sound like a couple of (really talented) pals casually sitting on the front porch pickin’, blowin’, and singin’.
Tony Trischka grew up with Pete Seeger’s banjo ringing in his house, by way of his parents’ records of the Weavers, the Almanac Singers, and Seeger’s folk songs for children. In 1962, at age 13, Trischka started getting serious about wanting to play. So he got ahold of Seeger’s seminal…
The Los Angeles Guitar Quartet (LAGQ), which celebrates its 40th anniversary this year, is as renowned for its virtuosity as for its adventurous musical programming.
The mood on Charlie Musselwhite's Mississippi Son is laid-back, as the guitarist delivers fingerpicked country blues on both acoustic and electric guitars.
Ry Cooder and Taj Mahal are now revered as legends themselves, and they’ve chosen this moment to time-travel back to honor two of their early heroes, Sonny Terry and Brownie McGhee.
Lyle Lovett describes the making of his album 12th of June and shares his thoughts on guitars, from his relationship with Collings to his preferred electronics setup.
