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Acoustic steel-string fingerstyle folk, American Primitive Guitar, Takoma School, whatever you want to call it, John Fahey, first in the 50???s, Robbie Basho in the 60???s and Peter Lang & Leo Kottke in the 70???s, forged a style of solo instrumental guitar playing that has been mimicked by many and taken to many different levels. Michael Hedges took it into outer space. William Ackerman took it to the bank. Sir Richard Bishop, James Blackshaw, Ben Chasny have dabbled in it and served it well, but Cul de Sac???s Glenn Jones with ???Against Which the Sea Continually Beats??? distills it to its very essence. Honoring his predecessors and fallen friends (Jones befriended both Fahey and Basho before their premature deaths), he nails it on the head and drives it home. A perfect balance of light and dark, fast and slow, short and long, slidin??? old-timey and hypnotic raga style, wedding songs and requiems, it???s all here. Jones takes 30 years of practice and refinement and delivers it where needed.
This is Jones??? second release of solo 6 & 12 string guitar music, the first being 2004???s darker ???This Is the Wind That Blows It Out???. He could just stop right here, because it???s hard to imagine a better one. Let???s get one thing straight, though, Jones is a capo man, and proud of it. Not just any capos. He hacksaws ???em, making his own custom 1/2 and 2/3 size capos, leaving some strings open (he sands them while watching old episodes of Sgt. Bilko). This allows him to come up with all kinds of unusual tunings that he incorporates on ???Against Which the Sea Continually Beats??? with welcome results.
Jones delivers as fine an example of (insert genre here) as you???ll likely find. Try it today. It???s fingerpickin’ good!
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