Paola Selva "Legno e Vento" 2019
Paola Selva is an Italian guitarist who performs in several genres, including classical and modern steel-string fingerstyle. On this solo instrumental album she focuses on the latter approach, offering eleven originals
and one nonoriginal medley. Selva plays with precision and considerable dynamic range, using a custom-made guitar that sounds like an orchestra-sized model. My favorites include "Legno e Vento", a lyrical piece with
a 70s pop sound, "Miaynak", which gives nods to Celtic and Spanish sources, and the classically influenced "Virginia's Room". The reflective "Lontano", like many other of Selva's pieces, is built on a strong, sensitive
melody. Near the end of the program, "Chitarristicamente" effectively combines New Age and melodic approaches. This strong recording should widen Paola Selva's following.
©
Patrick Ragains
The Gossamer Strings "Due to the Darkness" 2019
The Gossamer Strings offer bluegrass tinged Americana Harmony with an unabashed leaning towards traditional, old-time country on Due To The Darkness, a solid follow up to their 2017 debut CD Lake Toba
(free download available at gossamerstrings.com). The duo of Liat Lis and Kyle McGonegie, pick up where they left off with crystalline vocals and adeptly played guitar, banjo, mandolin and acoustic bass.
There is a synergy here that results in an effervescent sparkle in the both vocal and instrumental harmonies on Due To The Darkness. "Everything Breaks" and "She Can't Hear Her Heart" are sure to win you over.
©
James Filkins
Jim McAuley & Scot Ray "Second Earth" 2019
This album is a rare thing: a document of an improvised session
between two guitarists meeting for the first time. There was no
advance planning or discussion, and the music is presented in the
order it was recorded, without editing. Scot Ray plays lap steel
guitar (with effects, so this is not a purely acoustic date) and Jim
McAuley plays classical, 6-string, 12-string, high-strung Dobro, and
prepared parlor guitar. There are a wide array of sonic options--with
a bias towards an Americana sound world--but the improvisations are
characterized by empathy and close listening above all. The title tune
opens the set with sparse call and response which deepens as it goes,
climaxing in a wild flurry of notes. "The Day Was Green" is marked by
rising and falling, then a remarkable coda that sounds completely
prepared. "Household Deer" finds Ray employing looping and backwards
effects. Free improvisation does not have to sound like noise: here is
proof.
©
Mark Sullivan