Acoustic Music   Axel Schultheiss : The Uplift (D,2007)****°

“While I was recording this music I rediscovered the beauty and the nearly endless possibilities of playing music on just one guitar. I sometimes felt like a child on an adventurous playground, on which new and exiting things were to be explored. This led to surprising and inspiring sounds and let me fall again in love with the acoustic guitar.” Axel introduces this new cd well. It has been some years since Axel’s latest cd, so it was a right time to show a next chapter. And he “explores” the guitar indeed, using techniques with it inspired from classical guitar playing and perhaps jazzy improvisation, often rather fingerfast in undertaking the exploration, but also smoothly and fluently melodic, powerful through its strength in focus, and with the melody and rhythm leading over the sound exploration : everything in balance and vibrantly vivid. Just a few tracks are more dominated by using new sound explorations, starting with the 11th track, “The Sham”, a brilliant track which sounds as if it is imitating some African string instrument(s). Also “Sketch N°2” after this, like a prepared guitar discovers a new world with its own harmonies and rhythmic moves finding its contemporary, still improvised composition. Not for one moment this sounds weird or uncomfortable. Axel keeps everywhere a core of pillars to inner balance intact: melody, rhythm, harmony in sounds and compositional structure, so that the compositions remain to come over like a human house of comfort. Another wonderful release.

Homepage : http://www.axelschultheiss.de/
with info : http://www.axelschultheiss.de/english/releases_/the_uplift/the_uplift.html
Twisted Nerve Rec.          Voice Of The Seven Woods (UK,2007)****

After having heard 2 splendid EP’s I looked forward very much to hear the first full release of the group. Voice of The Seven Woods is lead by guitarist Rick Tomlinson who also plays oud, sitar, piano, percussion and sings one song. He’s accompanied by Chris Walmsley on percussion and piano, and Pete Hedley on electric bass and violin.

The album is not focused on the guitar, but slightly improvises, smoothly from one section to the next in different styles of his interest, from Indian raga, to Middle Eastern rock to a troubadour song context, to improvised electric guitars and then also real acoustic guitar music. The changes, from section to section, sound logical and have a bit more of a rock context than I’m used to hearing from an acoustic guitarist. The guitar is used as an instrument, a tool, and nothing more, as well as the Middle Eastern, Indian, rock or whatever context. It is just fun and a pleasure to be there, while the skilful playing reveals sufficiency outside a technical context, showing nothing more than is needed, perhaps only a bit more rock context, just for the pleasure of playing this. 

Audio : "Sand and Flames", "Sayai Nova", "The Fire In My Head" ,"Silver Morning Branches", "Second Transition" ,"Valley Of The Rocks", "Underwater Journey",  "Return From Byzantium", "The Smoking Furnace", "Dusk Cloud"
video's of live sessions on youtube here & here (and see further links there)
Homepage : http://voiceofthesevenwoods.com/ & with audio : http://www.myspace.com/voiceofthesevenwoods
Info on group : http://www.finderskeepersrecords.com/press_voice.html
Live pictures : http://www.shot2bits.net/...
Review with 3 audio tracks : http://www.boomkat.com/item.cfm?id=45779
Other reviews : http://www.tinymixtapes.com/Voice-of-the-Seven-Woods
& http://brainwashed.com/index.php?option=com_content&task=view&id=6433&Itemid=64
& http://www.dustedmagazine.com/reviews/3825
& http://www.digitalisindustries.com/foxyd/reviews.php?which=2684
& http://www.inertia-music.com/catalogue/45407/Voices_Of_The_Seven/Voices_Of_The_Seven_Woods/
American Sketch Rec.Nick Schillace : Box Canyon (US,2005)****

Nick Schillace wrote a (249 page) thesis for his musicology degree on John Faheys primitive guitar and the process of American identity in the twentieth century, which can be read on his website here.  Of course his own fingerpicking steel string guitar style has developed from John Fahey’s heritage. These are rhythmical and half melodic, half rhythmic pickings mixed with, just twice slightly bluesy, inspired melodic evolutions. Recommended.

PS. Live he also performs acoustic and electric steelstring guitars with percussionist/sound collagist Jon Moshier in the group Indoorpark, and with banjo/mandolin player Tim Pak in the old-time duo Big Lake Trawler.

Audio : "A Mighty Fink","Green Green Grass"
Homepage : http://www.nickschillace.com/ & http://www.myspace.com/nickschillace
Other reviews : http://www.freep.com/entertainment/music/disc26e_20050626.htmnext album->
REVIEW PAGE 6  FOR  RAGA GUITARISTS AND CREATIVE GUITARISTS:

Jeff Fucillo, Andreas Martin, Axel Schultheiss (3x), Kevin Cardamore, Voice Of The Seven Woods (2x)
The Curable Interns/Kenneth Johnston/Rooster Kiev, Nick Schillace (2X), Clarelynn Rose (2x), Jack Rose
Roaratorio  Jeff Fuccillo : disturbed strings (US,2004)**°

Jeff Fucillo (who also was part of the Irving Klaw Trio) was playing solo acoustic guitar improvisations one day when he noticed John Fahey in the audience. John Fahey complemented him and asked him to record an album with him in his studio. John had prepared some samples to play over which he threw into the studio when Jeff was playing, deliberately disturbing or challenging the guitarist. Plans were made to edit the two hours of recording, which apparently never happened. After two years after having met John again, John Fahey expressed his dislike of the recordings, describing them as being “too nice”. Perhaps he meant too clean in inspiration, in their roughness, rawness and experimental aspect. The recording is raw and dry and might have become something different, even more experimental with a different production, with a person like Steven Stapelton for instance to give an example. It simply isn’t a record of structural invention, but has a different character, founded in Avant-garde / concrete music. Jeff Fuccillo deliberately disturbs the strings while improvising on them. Once you get a bit into them, one get the point, but as a dry, raw and primitive recording, I still have a slight question mark if there isn’t still something missing as a finishing touch that could make the ideas complete. Like this, the recordings sound less inspired as they might be. It has interesting aspects, but they still don’t come out too well. I guess I must listen various times to this to figure out how good it really is. It leaves me a bit puzzled with an unsatisfied curiosity towards the talent of the guitarist. LP of 500 copies only.

Audio : "Sazar", "Setagaya Shimmy" ; Other review : http://www.dustedmagazine.com/reviews/1624
& http://www.midheaven.com/artists/fuccillo.jeff.html
& http://www.bagatellen.com/archives/reviews/000520.html
Description : http://www.interpunk.com/item.cfm?Item=11267&
Label contact : http://www.roaratorio.com/ with info : http://www.tvbc.tv/roar/07.html
private     Andreas Martin : Live im loft (D,2005)***°'

Andreas Martin is Christoph Heeman’s older brother, member of HNAS since the “Melchior” album (HNAS is listed on next page) and Mimir. Andreas has a beautiful clear style quality, which for me as a non-guitarist are still somewhat hard to describe. He uses some guitar percussion during playing on “Border Towns” from Preston Reed. He interprets on acoustic guitar three Michael Hedges tracks, two Preston Reed tracks and a Michael Gulezian track. The least I can say is that he knows what he’s doing. There’s a technical mastery and colourful tone variation, and also a rhythmic colourful balance in the melodic evolution. There’s an underlying rhythmic bluesy feeling on “Border Towns” from Preston Reed, and warm moving tensions elsewhere, and everywhere strong rhythmic pulses and rhythmical colour-contrasts. His style is distinctive enough to call him a great guitarist.
Included is a video on mpeg viewable on any PC.

Info : http://brainwashed.com/andreas/
  
-(PS. Michael Gulezian has items reviewed on next page)-
1. private    The Curable Interns : the music of The curable Interns
arranged for solo guitar... (US,1986,2004)***°'

This album shows an incredible variety of ideas with guitar, from ethnical inspirations over old blues, avant-garde with prepared guitar, going from one idea to the next in a convincing, inspired way. It’s like a journey over the earth with acoustic and amplified and slide-guitar including unknown and not existing places. Brilliant as a visionary compilation of worlds.

Audio and info : http://cdbaby.com/cd/curableinterns3


2. private    The Curable Interns guitarist Kenneth Johnston :
Instrumental music from the Horsehead Point Community
-music from the invisible world of the American South- (US,2003)***°'

The concept of this album is an interpretation of old folkmusic of a fictive, perhaps partly astral or mystic or seen-in-the-future future ethno-community. Also the music is partly strange, odd, but on the other hand partly traditional. At its weirdest there are slight avant-garde harmonies of recognisable sources of melodies, shapes and improvisation techniques, like a Residents vision on ethno-folk and blues. Just once we had a more experimental-melodic electronic track. Elsewhere we have a few Captain Beefheart-like interpretations of what might originate from blues. Other inspirations are more “earthly” and vary from old time blues to folk, Appalachian and Middle Eastern. Interesting, convincing, and inspired.

Audio and info : http://cdbaby.com/cd/johnston


private    The Curable Interns play... Zenobia Marsh sings... (US,2005)***°

This album has thematical fantasy and more emotional songs in a singing style between Current 93 and David Thomas and with a more feminine energy, sometimes singer-songwriter styled, with interesting and fine electric and acoustic guitars, and with an art-rock feel and at least some acid-folk touch, so mostly with acoustic fundamentals. There’s also some bluesy touches just here and there which fit with the particular songs' inspirations. Just now and then this is Beefheartian.

Audio and info : http://cdbaby.com/cd/zmcurableinterns


3. privateKenneth Johnston : Texas Travel Guide (US,2005)***°

This is a collection of an unfinished solo guitar project under the working title of “The Texas Travel Guide”. The first two tracks are more complicated serious guitar compositions called “Vanderpool” and “Marathon”. Most other tracks have foundations in serious blues or ‘old blues’. “Fort Stockton” is in ragtime ? blues style if I’m not mistaken.
“Wilderness ridge” is a longer, somewhat experimental styled improvisation with amplified guitar. The last track, “Hair Pie bake 2” is an interpretation of a Captain Beefheart track arranged for solo guitar. I like especially the blues and classically arranged compositions, with “Marathon” as a highlight”.

Info : http://www.curableinterns.com/
Artwork : http://home.freeuk.net/composer/artist/johnston-k.html


4. private    The Curable Interns : The View From Ring Hog Hill (US,2004) ?


review could be added later


Audio and info :  http://cdbaby.com/cd/curableinterns2


5. private    Rooster Kiev : Music for Planetarium Operators (US,1987,iss.2005)****

This album, recorded live at an art gallery in 1987. It consists of 14 fingerpicking pieces for acoustic guitar and one additional longer composition for electric guitar. The inspiration for most of the music on this cd came from places of scenic, historic, or geological interest in the state of Texas, but evolved to something wider, which became a more thoroughly inspired and personalized vision. Different tunes (ragtime,..) gives the impression of a development of a personal vision, in a similar way as in experience and time the Appalachian areas developped older styles to something of their own. There is a portion of attention to the richness of tones and uppertones in melodies. While the acoustic pieces are melodic, the last, electric piece is more minimal in its evolution and in an ambient way experimental. For me, especially the first 14 pieces give an enriched vision on a variety of styles. One could experience this collection for moody listening with or without technical interest. A fine album.

Audio : "Fort Stockton Rag"
More audio and info : http://cdbaby.com/cd/roosterkiev
Playlist of my radioshow with Kenneth Jonhnston's music : http://psychevanhetfolk.homestead.com/files/acguitar.txt
Acoustic MusicAxel Schultheiss : Freemind (D,2000)****

Axel Schultheiss on this album shows some variety in his talent. He has a fresh sound, a developed picking using for some tracks, like “Free Mind”, a relively light and pleasant melody. Within this recognisable melodic structure he’s capable of adding fast picking details, which can be heard best with headphones. These melodies can be stretched to jazzy and moody parts. Especially “Highway Panic” and perhaps “Life Story”, show such virtuosity. “Lonely Hope” is a calmer track with jazzy stretching of tones and moods. “Spiral Dance” and “Daybreak” both use some part with an ambient drone and some echo without overuse. “Spiral Dance” also shows an arrangement with two picking guitars. A very nice album showing much potential.


Acoustic Music          Axel Schultheiss : Departure (D,2002)****°

With incredible skill there’s something unique developed out of ‘technique’ mixed with ‘focused strength’ in composition. The style has something of a jazz technique mixed with a very developed individual acoustic guitar technique which I can’t say I exactly know, how it is developed. I think the style of Axel has improved and became more a standing-stone on his own since his already interesting earlier release. The blended inspirations and ideas are amazing. Sometimes it is as if a complete group is playing on one acoustic guitar at once ; just listen to “A Walk through the field” or "Strung Up”. "Snowland" after this is a calmer track, a kind of meditation with inner strength. On "Impatience", followed hereafter, Axel shows once more a rarely seen and achieved result of a developped skill and talent. The last track, "The Sky breaks open" shows a very different approach. With some guitar drone loop on the background and some contributing female cloudy vocals by Susan Paul this track is spherical and rhythmical, played by some slide- and acoustic guitars.
A recommended release.

Homepage : http://www.axelschultheiss.de/
Info : http://www.acoustic-music.de/portrait/schultheiss.htm (see link "Künstlerportraits" at S)
Reviews of "Departure" : http://www.xs4all.nl/~guitars/reviews.html &
http://www.minor7th.com/shorttakes2_04.html   2007 release reviewed further down->
Heartwood Music    Clarelynn Rose : The Redwood Sidthe -solo acoustic guitar- (US,2003)****

Fingerestylist Clarelyn Rose in her acoustic guitar style, was greatly influenced by John Renbourne, with similar clear melodic picking and at least some folk inspirations, and by Alex de Grassi -like jazzy fluent warmth. Just here and there slightly folk/Celtic inspirations occur or with accidental similarities. Clarelynn’s style is in fact always graceful and elegant, with emotionally strong melodic evolutions, mused with a structural recognisable character also with certain open structural evolutions. She found some of her more intuitive and emotionally conceived ideas confirmed in a book called "Zen Guitar", like an organically playing into the structure of practice and the importance of inspiration during the disciplined learning and developing process, giving an importance to the “feels right” fundament. Most titles are inspired by nature and natural environment. –Let us not forget how the guitar has partly the sound of ‘wood’-. In respect for the forest resources 10% of the profit from this CD is donated to environmental education programs. Recommended, and a perfect listen.

Audio : "The Redwood Sidthe" (or here), "Across the Pond" (or here), "Miles", "Bai Ma (White Horse)",
"Rain Forest Rain", "Green Heron", "Lake Oswego Moon" (or here), 
"Diamond Creek", "Redwood Dawn", "Catwalk",  "Amithaba (Buddha)", "Offering"
Other Audiopage : http://www.emusic.com/album/10845/10845610.html

Webpage : http://artists.iuma.com/IUMA/Bands/Clarelynn_Rose/
Other reviews : http://www.windandwire.com/clarelynn_rose.htm#redwood
& http://www.guitar9.com/theredwoodsidthe.html
http://cdbaby.com/cd/clarelynnr & http://www.heartwoodmusic.com/reviews.htm
Article : http://www.13thfret.com/aotm/aotm_clarelynn.shtml

About 'Zen guitar' : http://www.heartwoodmusic.com/zenguitar.htm


* Heartwood Music   Clarelynn Rose : Meadow Run -solo guitar & Baroque lute (US,2004)****'

One could say that with John Renbourne’s developments on guitar he surely showed a new possibility in English folk and old music traditions, for acoustic guitar. It is mostly this approach which inspired Clarelynn Rose to compose this consistent album.
If I hear well in this way there's one layer of a light folk melody and an accompanying more bass melody ("GuiGui", "West Wind", "Headlands",...). The beautiful "White Roots" composition is played on 13 stringed Baroque lute with a similar technique, a track with I think a late Baroque/early Renaissance influence. (-Carelynn had studied briefly lute at the Lute Society of American seminar in 2004-). Various compositions after this (like "Phoenix", "Night Tide" and "Dust Dance") have slightly more complex, -ever fluent-, melodies or slightly different fingerpicking techniques, all with a similar melodic charm and delicacy. Last track is a "A Jig For John", showing the technique I mentioned earlier in its full complexity with the light melodic pleasantness still intact. Recommended !

-Besides being a guitarist Clarelynn also is a professional forester with cooperative projects to protect forests in China and US.-

Audio : "GuiGui" (or here), "West Wind", "Headlands" (or here), "Meadow Run", "The Honey Song",
"South Wind", "White Roots" (or here), "Phoenix", "Night Tide", "Dust Dance", "The Road to Roberton",
"A Jig For John"
Homepage : http://www.heartwoodmusic.com/
Bio : http://www.songpeddler.com/ClarelynnRose/index.asp
Interview : http://www.windandwire.com/april/clarelynn.htm
Small article : http://www.guitar9.com/undiscov42b.html
Private      Kevin Cardamore : Steel Strings (CAN,2002)****

We hear fluent melody line evolutions as if the guitar isn’t there but these are still played with guitar sounds. Every track is like an excursion of variations of similar moods. For these over 38 minutes, the recording is over before one notices. A very fine album !

Audio : "Steel Strings", "Machines and Gods", "Tale Spinner" ,"Sometime Forever", "Observations from Mars", "Shelter of a Heart", "Remembrance", "No!...Right?", "Summer", "The River", "Winfield", "Without A Song", "Loonie Moon", "Satin Finish".
Homepage : http://www.kevincardamore.hld.ca/
Info, review, MP3 : http://www.guitar9.com/steelstrings.html
VHF Rec.        Jack Rose : Kensington Blues (US,2005)****

For this release Jack Rose explores a couple of ragtime tracks, like “Rappahanock River Rag” and “Flirtin’ with the undertaker”. On “Kensington blues" his style is more a mixture between ragtime and blues, while most other tracks go into a raga-like improvisation mode. Especially “Now that I’m a man full grown II” sounds more Indian. Another great album by talented guitarist Jack Rose.

Audio : "Cross The North Fork", "Cathedral Et Chartres", "Sunflower River Blues"
& on http://www.myspace.com/... & http://www.secondlayer.co.uk/... & http://www.boomkat.com/...
Info with audio of all tracks : http://www.vhfrecords.com/catalog/92.htm
& http://www.midheaven.com/...       Jack's next 2 albums (2008) are reviewed on next page->
private         The Solo Joint :  demo (SP,2005)**°

Loosely improvised guitar solo/duo/trio/quartet is reviewed on http://psychedelicfolk.homestead.com/acidfolkreview13.html#anchor_249
Twisted Nerve Rec.      Voice Of The Seven Woods :  EP (UK,2005)****

This EP shows a talented guitarist with a Bert Jansch like fingerpicking style with a Faheyesque flavour. Second track, “Flavor” has a true duel part of picking, guitar-case-percussion and handpercussion. “Sly Of Grey” also has additional, almost psychrocking effect of percussion, some background deformed voice and wahwah guitar far in the background as additional effect. Last mini-track has fast picking in his recognisable baroque folkie guitar style. A great EP, which makes me curious to hear a future full album (-upcoming cd will be have lots of sitar so I heard-).
Guitarist Rick Tomlinson claims to be influenced by Tery Cox (Pentangle) and Turkish 70's psych, a last influence which isn't exactly recognisable here. John Renbourne recently asked Rick to accompany him on future live appearances.

Audio : "An Hour Before Dawn", "Spiral","Sky Of Grey" "Beginning"
Homepage : http://www.voiceofthesevenwoods.com/
& (with audio from "An hour before dawn") http://www.myspace.com/voiceofthesevenwoods
Info on release : http://www.twistednerve.co.uk/tn064/
& http://eil.com/shop/moreinfo.asp?catalogid=347092
Other review with 2 audio tracks : http://www.boomkat.com/item.cfm?id=20098
Article on Voice of Seven Woods : http://angryape.com/artists/v/voice-of-the-seven-woods
Interview : http://www.poptones.co.uk/index.php?/questions_of_doom/more/voices_of_the_seven_woods/

The next single, published in 2006 is reviewed on http://psychedelicfolk.homestead.com/acidfolkreview15.html#anchor_356
The full release done in 2007 is reviewed underneath ->
go to review page 7->








Burley Time Rec.Nick Schillace : Landscape and people (US,2008)****/***°

One rich chord starts the album majestatically but ultrashort (-in the Basho tradition-), then immediately shows another world of rather melodic, descriptive picking tunes. You can hear in them an optimistic view that brings back in mind a past of American folk, hints to certain blues traditions and even a short old time music memory while the pickings are presented as an individual story which bring us even to the influence of Nick’s latest studies in journalism : a way of describing and projecting the world he recognises into a descriptive logical order, as if he describes a few things that happened into one tune. "Ching-Chong" for instance, in it's opener, with a technique of quiet opening chords, playing them with space, at this first intro, just like another hint, seems to go back even further, to a Renaissance feeling before switching to a song-like pleasure which evolve to a few old time hints, is although it changes into something very different, it also shows a strong logic for doing so. It is easy to recognise in some of the more up tempo parts some more or less repetitive bass string rhythms, but not any of its parts are returning more than they have to. A perfect listen.

Audio : "1976" (or here), "Your Memories Of Oklahoma” & "Memoria Djalma"
& on http://cdbaby.com/cd/nickschillace2
& http://www.juno.co.uk/products/305659-01.htm
Homepage : http://www.nickschillace.com/ & http://www.myspace.com/nickschillace
Label info on artist : http://www.burlytime.com/artists/
& agency info : http://harrywestagency.com/nickschillace.aspx
Release info : http://slowpitchpr.com/wp/wp-content/uploads/2008/01/schillace_onesheet.pdf
Other reviews : http://crawdaddy.wolfgangsvault.com/Article.aspx?id=6042
& http://slyoyster.com/music/2008/the-unexpected-surprise-of-nick-schillace/
& info : http://blogger.xs4all.nl/werksman/archive/2008/04/20/380027.aspx
& http://www.heetstof.eu/english/nick_schillace.html
& http://rocksellout.com/2008/03/11/nick-schillace-landscape-and-people/