A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414 JANUARY / FEBRUARY 2007 VOL. 23 NO. 1 New New New New New Year! Great Co Year! Great Co Year! Great Co Year! Great Co Year! Great Concerts! ncerts! ncerts! ncerts! ncerts! Also In This Issue Interview with Dakota Dave Hull Local Artists concerts by James Flegel and Adam Granger Society News and Notes Duo Erato Duo Erato Duo Erato Duo Erato Duo Erato Saturday Saturday Saturday Saturday Saturday February th pm February th pm February th pm February th pm February th pm William Kanengiser William Kanengiser William Kanengiser William Kanengiser William Kanengiser Saturday Saturday Saturday Saturday Saturday January th pm January th pm January th pm January th pm January th pm
Transcript
A Publication of the Minnesota Guitar Society • P.O. Box 14986 • Minneapolis, MN 55414
JANUARY / FEBRUARY 2007 VOL. 23 NO. 1
New New New New New Year! Great CoYear! Great CoYear! Great CoYear! Great CoYear! Great Concerts!ncerts!ncerts!ncerts!ncerts!
Also In This Issue���
Interview with Dakota Dave Hull� Local Artists concerts by
James Flegel and Adam Granger� Society News and Notes
Duo EratoDuo EratoDuo EratoDuo EratoDuo EratoSaturday�Saturday�Saturday�Saturday�Saturday�
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january / february 3
Concert Spotlight: Bill Kanengiser
For the first Minnesota Guitar Society concert of 2007,and the fifth concert of our 2006–2007 Sundin Hall sea-son, we are proud and excited to
present William Kanengiser, a world-re-nowned member of the the Los AngelesGuitar Quartet and solo artist, in his firstTwin Cities solo concert, on Saturday, Jan-uary 27th at 8 pm.
Born in Orange, New Jersey, WilliamKanengiser studied at the University ofSouthern California, being named Out-standing Graduate of the School of Musicupon the completion of both his Bache-lor’s and Master’s degrees. His principalteachers were Malcolm Hamilton, PepeRomero, and James F. Smith.
Kanengiser won First Prize in the 1987Concert Artists Guild Competition as wellas major international competitions in Tor-onto (1981) and Paris (1983). The recipientof two Solo Recitalist Fellowships from theNational Endowment for the Arts, he wasalso chosen as one of Musical America’sOutstanding Young Artists. A member ofthe guitar faculty at the USC ThorntonSchool of Music in Los Angeles since 1983,he has given masterclasses at conservato-ries and guitar festivals around the world.
Recognized as one of America’s mostbrilliant guitarists, Kanengiser has devel-oped a unique repertoire for his instru-ment, ranging from dazzling arrangementsof Mozart, Handel, and Bartók to his inno-vative excursions into the music of EasternEurope and the Caribbean. Praised by the Los Angeles Timesfor his “dizzying execution” and “exceeding vitality andwarmth,” Kanengiser has performed in recital and as guestsoloist with orchestras in virtually every major American city,
ranging from New York City’s Carnegie Hall to San Fran-cisco’s Herbst Theater, as well as throughout Canada, Europe,
and Asia.Through unusual commissions and a
creative approach to transcription,Kanengiser has won recognition for ex-panding the repertory beyond the staplesof guitar literature. He has performed andrecorded works written for him by com-posers as diverse as Dusan Bogdanovich,Ian Krouse, and Brian Head, and has wonconsistent praise for his own transcriptionsof scores from the traditional repertory.Many of these arrangements have beenpublished by GSP, Gendai Guitar, and Do-berman Editions.
Kanengiser’s solo recordings are heardexclusively on the GSP label. His first re-cording, Ronda Alla Turka, won an “INDIE”award for Best Classical Recording. Hissecond solo CD, Echoes from the Old World,features music of the folk traditions of East-ern Europe and the Middle East. The third,Caribbean Souvenirs, contains music fromthe Caribbean and Mexico. His most recentrecording is Classical Cool, a 2003 GSP re-lease, that includes jazz-inspired composi-tions and arrangements for classical guitar.Kanengiser’s first live studio concert DVD,Classical Guitar and Beyond, was released inOctober 2006 by Mel Bay Publications; thealbum also includes his now-infamouscomedy imitation show from the 2005 Gui-tar Foundation of America Festival. He has
also produced two popular Hot Licks instructional videos, re-cently reissued on DVD, Effortless Classical Guitar and ClassicalGuitar Mastery. Kanengiser also hosted his own weekly radioshow for two years on KKGO-FM in Los Angeles.
As a founding member of the Los Angeles Guitar Quartet,Kanengiser tours extensively throughout North America,Asia, and Europe, and has recorded for the GHA, Delos, and
Directions to Sundin HallDirections to Sundin HallDirections to Sundin HallDirections to Sundin HallDirections to Sundin Hallon the Hamline U� Campuson the Hamline U� Campuson the Hamline U� Campuson the Hamline U� Campuson the Hamline U� CampusFrom I��� head north on SnellingAvenue in St� Paul� past University
Avenue to Hewitt Avenue�Turn right� Sundin Hall is on your left�
a half�block east of Snelling�
Free parking is available one blockpast the hall� in lots off Hewitt
(on your right) or off Pascal( block north)�
Kanengiser, continued on p. 5
Wm. KanengiserMasterclass
MacPhail Center for MusicSaturday, January 27th
12:30–2:30 pmFor info contact
Matthew Prediger at MacPhail612-767-5310
Cover photo by Bruce Summers; abovephoto by Richard Anderson. Photos from<www.besenarts.com/kanengiser>.
guitarist4
Concert Spotlight: Duo Erato
On Saturday, February 24th, our Sundin Hall concertwill mark the Twin Cities debut of Duo Erato, fea-turing guitarists Martha Masters and Risa Carlson,
in a varied and exciting program of classical guitar favorites.
Duo EratoDuo EratoDuo EratoDuo EratoDuo EratoIn duo, Masters and Carlson seamlessly blend their evoca-
tive styles into one. Named for the muse of lyric poetry andmusic, Duo Erato has impressed audiences and critics alikesince they won first prize in the 1994 National Guitar Sum-mer Workshop Competition for chamber ensembles and
were finalists in the1994 Baltimore Cham-ber Music Awards. InOctober 2000, theselong-time friends andformer Manuel Bar-rueco protégées re-united at the GuitarFoundation of Ameri-ca International SoloCompetition in SanAntonio, where bothemerged as individualprize-winners. Sincethat time, they have
enjoyed success both as soloists and as partners in Duo Era-to. Today, the duo’s extensive repertoire embraces worksfrom all periods of the genre’s history, as well as new worksand transcriptions. Duo Erato’s self-titled debut disc was re-leased in 2004 (see review by Dan Sturm, below).
Martha MastersMartha MastersMartha MastersMartha MastersMartha MastersMartha Masters is one of the most sought-after guitarists
of her generation. In October of 2000 she won first prize inthe Guitar Foundation of America (GFA) International SoloCompetition, which included a recording contract withNaxos, a concert video with Mel Bay, and an extensiveNorth American concert tour. In November of 2000, she alsowon the Andrés Segovia International Guitar Competitionin Linares, Spain and was a finalist in the Alexandre Tans-man International Competition of Musical Personalities inLodz, Poland. Prior to 2000, Masters was a prizewinner or fi-nalist in numerous other international competitions, includ-ing the 1999 International Guitar Competition “Paco Santia-go Marín” in Granada, Spain, the 1998 Tokyo InternationalGuitar Competition, and the 1997 GFA International SoloCompetition. She has released two solo recordings on theGSP label; the most recent, Viaggio in Italia, last year.
Masters received her Bachelor and Master of Music de-grees from the Peabody Conservatory, where she studiedwith Manuel Barrueco, and completed the Doctor of Musi-cal Arts degree at the University of Southern California as astudent of Scott Tennant. Currently, she is on the guitar fac-ulty at Loyola Marymount University in Los Angeles, andserves as the Executive Vice President of the Guitar Founda-tion of America.
Martha Masters and Risa Carlson.
Risa CarlsonRisa CarlsonRisa CarlsonRisa CarlsonRisa CarlsonSince beginning her study of the guitar at age six, Risa
Carlson has climbed into the top ranks of guitarists fromher generation. A featured performer and lecturer at festi-vals such as the Manuel Barrueco Masterclass, AlexandriaGuitar Festival, and the UTB Guitar Ensemble Festival,Carlson also maintains an active concert schedule, appear-ing in concert as a soloist and in chamber ensemble acrossthe United States. Recent highlights include the John E.Marlow Guitar Series, the Library of Congress, and thePhillips Collection Concert Series in the District of Colum-bia; Merrick Hall in Maryland; Columbia Artist Manage-ment Hall of New York City; for the Fort Worth, Dallas, andHouston Guitar Societies in Texas; for the St. Louis GuitarSociety in Missouri; for the Miami Classical Guitar Societyin Florida; for the Philadelphia Guitar Society in Pennsylva-nia; and for the Omaha Classical Guitar Guild in Nebraska.
Carlson has premiered several new works, includingMichael Daugherty’s “I Loved Lucy” and Paul Mathews’“devil gits sat on,” both for flute and guitar, and “Serenatafor solo guitar” by Bruno Amato.
Carlson was a top prizewinner at the 18th annual GuitarFoundation of America International Competition in SanAntonio, Texas. Other competition successes include topprizes at the 1997 Baltimore Chamber Music Award and the1995 National Guitar Summer Workshop Competition.
Carlson is chair of the guitar department at the LevineSchool of Music in Washington D.C., and has recently beenappointed Program Manager and Adjunct Professor forGeorgetown University’s new Artist Diploma Programs.Carlson received her Bachelor and Master of Music degreesas well as a Graduate Performance Diploma from the Pea-body Conservatory of Johns Hopkins University in Balti-more, Maryland under the tutelage of world-renownedconcert artist Manuel Barrueco.
CD ReviewCD ReviewCD ReviewCD ReviewCD Reviewby Daniel SturmDuo Erato: MusingsDuo Erato: MusingsDuo Erato: MusingsDuo Erato: MusingsDuo Erato: Musings
Risa Carlson and Martha Masters, guitarsGSP 1029CDTotal running time: 64:39
This recording is nothing less than stunning. It is a recitalof singular presentation achieved through gifted ensembleskills that are present through every moment of its run time.One’s money and time are well spent here.
I was struck by the subtitle, Musings, not knowing whatto expect, but as the program began I became hooked—lulled, coaxed, soothed, and enticed into a musing state,quite happily.
The disc opens with Toccata et Tarentelle pour deux Gui-tares, by Pierre Petit (1922–2000). Straight off, Carlson andMasters show us their unwavering skill, for here they findthe compositional slyness and cunning of the piece, more
Duo Erato, continued on p. 5
january / february 5
Sony Classical labels. LAGQ currently records exclusivelyfor Telarc. Their 2001 Telarc release, LAGQ: Latin, was nomi-nated for a Grammy, and their follow-up recording LAGQ’sGuitar Heroes won a Grammy for Best Classical Crossover Al-bum of 2004. The latest release, Spin, features an originalcomposition by Kanengiser for four guitars, “Turn to theSea.” LAGQ recently released a live concert DVD for Mel BayPublications, LAGQ LIVE!, and will record a CD of Brazilianmusic with jazz singer Luciana Souza in 2007.
Beyond his work with LAGQ, Mr. Kanengiser has per-formed chamber music at festivals and concerts with a widerange of noted artists and ensembles, including the MiamiString Quartet, the Vermeer Quartet, flutist Marina Piccinini,
Duo Erato, continued from p. 4
than ably showing us every nuance therein contained, as ifthey were the composer themselves. A pedestrian walk-through of this work would quite possibly yield a confusingand bombastic composition. Not so in this case, rather, theGershwinisms, Tedescoisms, and even Shostakovichismscome off in virtuosic candor. Any composer would be morethan delighted by such a performance as this.
Next comes Prélude, Fugue and Variation, op. 18, by CésarFranck (1822–1890). This work is a most welcome additionto the repertoire, masterfully transcribed by MatanyaOphee. The mastery continues, as this time the ensemblefinds this work’s unique personality. By now one might be-gin to wonder if this is not one guitarist playing, obviously itis not, yet the matching of tone color, articulation, and dy-namics make it seem entirely possible to be so.
Concert Variations on the Carnival of Venice by Johann Pad-owetz (1800–1873) follows next, and, quite frankly, I havenever been keen on the subject matter here. However, it isthe discovery once again of compositional slyness and cun-ning that makes the performance of this work none but thelovely delight.
The heart, the very core, of this recital lies in the perfor-mance of “Evocación,” from Iberia by Isaac Albéniz (1860–1909). For the pianist this work is no feat. On the other hand,simple as the notes appear on the page, this piece is formida-ble when it is to be performed by two people at once. Theelasticity of tempi, dynamics, and tone color changes foundin it, are simply very difficult for two people to do together.Again, while certainly obvious this is not so, I would havesworn it is one player. At this point in the recital I found thetimelessness that attends a very enjoyable time or happiness.The program continues with “El Puerto,” from Iberia also.
The remainder of the recital consists of L’Encouragement,op. 34, by Fernando Sor (1778–1839), Sonatina Tropical byErnesto Cordero (1946–), and Sonata in A Minor by BernardoPasquini (1637–1710). Carlson and Masters elevate the Sor toa new level of virtuosity that makes the most seasoned gui-tarist desirous to hear it many more times. As the Corderoenters I began to wonder if I had been charged too little forthe disc. The Pasquini left me sated, smilingly happy toknow, that but once again, there is a guitar duet album thatwill be savored for years and years to come. Brava. Brava.
pianist Mia Chung, violinist Maria Bachmann, and recorderartist Aldo Abreu.
For his Sundin Hall concert on Saturday, January 27th,Kanengiser will feature selections from his upcoming record-ing, Groovetune, which will explore the rhythmic drive andquiet lyricism ofAmerican Finger-style pieces, in-cluding works byRalph Towner, PatMetheny, OzzieKotami, and manyothers. The recitalprogram will openwith masterworksfrom the ClassicalPeriod, includingMozart (the“Rondo Alla Turka” from the Piano Sonata in A Major, whichhe prepared for the Columbia Pictures release, Crossroads, inwhich he was Ralph Macchio’s guitar double and coach),Paganini (who was also an extraordinary guitar virtuoso),and Fernando Sor (known as “the Chopin of the guitar”).
In addition to his concert, William Kanengiser will give aclassical guitar masterclass at MacPhail Center for Music onSaturday, January 27 from 12:30 to 2:30 pm.
For more information about that, contact Matthew Predi-ger at MacPhail, by phone (612-767-5310) or email<[email protected]>
Kanengiser, continued from p. 3
For ConcertFor ConcertFor ConcertFor ConcertFor Concert
and Ticketand Ticketand Ticketand Ticketand Ticket
In February, our Local Artists Series continues with twovery special events. On Saturday, February 10th, masterof the flatpick guitar Adam Granger performs for resi-
dents and family members at St. Andrew’s Village in Mah-tomedi. The next day, Sunday February 11th, classical gui-tarist James Flegel presents a faculty recital at Lloyd UltanRecital Hall, in Ferguson Hall at the University of Minneso-ta. Both concerts are begin at 2 pm and are free.
Adam GrangerAdam GrangerAdam GrangerAdam GrangerAdam GrangerGuitarist Adam Granger was a
member of A Prairie Home Com-panion’s original PowdermilkBiscuit Band from 1976–79. Hisalbum Mr. and Mrs. Jones was re-leased in 2003, its title tune re-corded on A Prairie Home Com-panion. Granger has writtenabout, taught, and played fiddletunes in the flatpick style for over25 years. He has recorded six al-bums. He makes his home in St. Paul, but travels each sum-mer, teaching at music camps in the U.S. and Canada. Heemcees and judges fiddle and guitar contests, and performsat folk and bluegrass festivals. In addition, Granger has longbeen active in documenting and publishing music. As thewebsite for his company describes it: “To say that we’resmall is an understatement. Our company consists of twocorporations. The first, Granger Publications, has a total per-sonnel force of two: Paul Christianson and Adam Granger(our wives help out in various and sundry ways also). Thesecond corporation is Granger Music Publications, and con-sists of the two of us and Brian Wicklund. This corporationis focused on Brian’s great series, The American Fiddle Meth-od. Volumes One and Two of this book/CD series are cur-rently available. Our facilities amount to three offices-in-home and a storage unit. We have an 800 number, a faxmachine, and three computers. Modesty is our middlename, but it doesn’t fit on the masthead.” Visit<www.granger-music.com> for more information.
No false modesty is needed in describing Granger’s tal-ents as a performer. A master of the flatpick style of playing,he’s sure to delight the audience at St. Andrew’s Village onFebruary 10th. St. Andrew’s Village in Mahtomedi is a se-nior living complex that has partnered with our Society for 5years to sponsor annual Local Artists concerts.
James FlegelJames FlegelJames FlegelJames FlegelJames FlegelClassical guitarist James Flegel received his DMA in Gui-
tar Performance from the University of Minnesota andjoined the School of Music faculty in 2004. He previouslyearned a master’s degree in music theory and composition,and a master’s in guitar performance, at the university. Hisprincipal guitar teachers were Jeffrey Van and Robert Guth-rie. Before joining the U of MN faculty, Flegel taught exten-sively in community education programs, private studios,and community colleges. He currently also teaches guitar at
Carleton College in Northfieldand Macalester College inSt. Paul.
In addition to many solo recit-als and performances as an ac-companist, he has performed assoloist with orchestras in JoaquinRodrigo’s Concierto de Aranjuezand Vivaldi’s Concerto in D. Hehas also worked with his wife,pianist Emilia Flegel, to arrangeand perform concerti by Rodrigo,Giuliani, Vivaldi, and Ponce, as well as chamber works byBach, Falla, and Ponce. A long-time member of MGS, Flegelhas often appeared in our annual Classical Guitarathon con-certs and other events. His performances are always markedby meticulous musicianship and great feeling, and the con-cert on Sunday February 11th should be no exception. Planto join us!
Location of Lloyd Ultan HallLocation of Lloyd Ultan HallLocation of Lloyd Ultan HallLocation of Lloyd Ultan HallLocation of Lloyd Ultan HallLloyd Ultan Recital Hall is inside Ferguson Hallat 2106 4th St. So., Minneapolis. Find a map at<onestop.umn.edu/Maps/FergH/index.html>
Directions to Lloyd Ultan HallDirections to Lloyd Ultan HallDirections to Lloyd Ultan HallDirections to Lloyd Ultan HallDirections to Lloyd Ultan HallFrom Eastbound I-94: Take the Riverside exit. Turn left on 25thAve., then left again on Riverside Ave.. Take Riverside to 21stAve. So., turn right, and then left into the parking ramp. FromWestbound I-94: Take the Riverside exit. Turn right on Rive-side Ave. Take Riverside to 21st Avenue So., turn right, andthen left into the 21st Ave. Parking Ramp. From NorthboundI-35: Take the U of M West Bank/Washington Ave. exit. Turnright on Washington Ave., which veers to the right into CedarAve. From Cedar, turn left on Riverside Ave., and left againonto 21st Ave. So.. Turn left into parking ramp. From South-bound I-35: Take the U of M West Bank exit. Turn left on Wash-ington Ave., which veers to the right into Cedar Ave. FromCedar turn left on Riverside Ave., and left again to 21st Ave. So.Turn left into the parking ramp. Parking: Available at the U.’s19th and 21st Ave. ramps. You must pay to park there. Moreinfo at <www1.umn.edu/pts/publicparking.htm>.
Future Local Artists ConcertsFuture Local Artists ConcertsFuture Local Artists ConcertsFuture Local Artists ConcertsFuture Local Artists ConcertsMatthew Dorn � Classical GuitarMatthew Dorn � Classical GuitarMatthew Dorn � Classical GuitarMatthew Dorn � Classical GuitarMatthew Dorn � Classical Guitar
Sunday� March ��� : pmUniv� of MN Ferguson Hall� Lloyd Ultan Recital Hall
� � �th St� So�� Minneapolis
Brent Weaver � Classical Guitar�Brent Weaver � Classical Guitar�Brent Weaver � Classical Guitar�Brent Weaver � Classical Guitar�Brent Weaver � Classical Guitar�music from Latin Americamusic from Latin Americamusic from Latin Americamusic from Latin Americamusic from Latin America
Co�sponsored by City of Woodbury Parks andRecreation Dept�
Sunday� April �� �: pmCentral Park Amphitheater
��� Central Park Dr�� Woodbury
january / february 7
Special Feature: Dave Hull
Classic American Fingerstyle Guitar:Classic American Fingerstyle Guitar:Classic American Fingerstyle Guitar:Classic American Fingerstyle Guitar:Classic American Fingerstyle Guitar:
An Interview with Dakota Dave HullAn Interview with Dakota Dave HullAn Interview with Dakota Dave HullAn Interview with Dakota Dave HullAn Interview with Dakota Dave Hullby Gloria Goodwin Rahejaby Gloria Goodwin Rahejaby Gloria Goodwin Rahejaby Gloria Goodwin Rahejaby Gloria Goodwin Raheja
Dave Hull, continued on p. 8
Since his arrival in the Twin Cities in 1969, DakotaDave Hull has performed and recorded with some ofMinnesota’s finest acoustic musicians, including Kari
Larson, Peter Ostroushko, Butch Thompson, Cam Waters,Eric Peltoniemi and Bill Hinkley. Over the last several yearshe’s also been performing with Phil Heywood, Peter Lang,Dean Magraw and Tim Sparks as oneof the Minnesota Guitar Wizards. Dur-ing the last four or five years, he’smoved from mostly flatpicking tomostly fingerstyle guitar and he’s be-come primarily a solo performer of in-strumental music. His 2002 CD, Sheri-dan Square Rag (with contributions ontwo tunes from Kari Larson on guitarand tenor guitar) and his entirely solo2004 recording, Loyalty Waltz, are jour-neys through the landscape of 1920s,1930s and 1940s Americana, punctuat-ed by fascinating detours throughDave’s own compositions. The land-scape he traverses is a varied one,ranging from spirituals and gospelsongs to ragtime, 1920s pop tunes, fid-dle tunes, string band music andmore. No respecter of genre bound-aries, Dave listens to and absorbs mu-sic from all these sources and plays el-egant and satisfying arrangements ofthe tunes he finds, and original musicinspired by those songs. Dave wroteon the liner notes to The Loyalty Waltzthat it never ceases to amaze him “thatblues, jazz, country music, old-time,bluegrass, soul music, ragtime, [and]popular music….sprang from the same primordial mud.You hear it in the early recordings, before everything gotcompartmented….People played together too, with ideasand sounds crossing back and forth across ethnic, racial andgenerational lines.” In his two most recent albums, as in somuch of his earlier music, that common history, that fertilesoil of American music, is conjured up as one listens to thenarrative flow of the records, and yet each song is stampedwith Dave’s own distinctive approach to the guitar, his ownmusical sensibility and unwavering good taste, and hismastery of guitar tone. And in every collection of tunes heplays, there is a unique blend of lyricism and narrativepower, solemnity and playful humor, delicacy and diggingin with the right hand for a big and powerful sound; no onewho’s ever heard Dave play would mistake him for another
guitarist. He’s also made significant contributions to theMinnesota music scene through his ensemble playing, hiswork for other musicians in the recording studio, and hisThursday morning KFAI radio show.
I spoke with Dave Hull in his studio in Minneapolis, anda few later emailed follow-up queries and responses have
been folded in to this interview.
GGR: In the past you were known mainlyas a flatpicker, but you’ve characterizedyour most recent work as “classic Ameri-can fingerstyle guitar.” How did thatchange come about?
DH: Well, it wasn’t so much a changeas you might think. First, it’s all guitarplaying, and second, I started out as afingerpicker back in high school,though I really didn’t do a lot of it formany years, except at home. But real-ly, by the mid-1980s I had picked it upagain, I was writing rags and record-ing some fingerstyle stuff, even thatearly. When Kari Larson and I decid-ed to quit playing together on a regu-lar basis, back at the end of 2001, itseemed for a variety of reasons that itwould be worth it to see if I could puttogether enough fingerstyle materialto record and perform on my own. Sothat’s where I put my efforts. Flatpick-ing is, by nature, more suited to en-semble playing, although not entirelyand I still flatpick a few tunes everynight. On the other hand, fingerstyle,while it works wonderfully in a group
environment, is perfect for most solo work, too. I started asa fingerstylist and never really gave that up; I’m just doingmore of it now.
GGR: As you moved in to specializing more in fingerstyle, did itmake a difference that you were here in the Twin Cities, with its re-markable concentration of superb fingerstyle players?
DH: Well, it’s always helped. To me, it’s really not so muchabout fingerstyle or plectrum or whatever, but rather justabout guitar playing. There’s always been a fabulous com-munity of guitar players in this town, it’s the biomagneticcenter of the universe, and that’s why! [Laughter] I don’tknow why that is, but we’re fortunate that there are somany great guitar players in the Twin Cities. From the be-
guitarist8
Special Feature: Dave Hull
Dave Hull, continued from p. 7
Dave Hull, continued on p. 9
ginning, when I came here in 1969 and lived on the WestBank and hung out at the Coffeehouse Extempore through-out the ’70s, it was great. We were all learning how to playand helped each other out a bunch. People came and peo-ple left, but there was a wonderful sense of being in this to-gether. We shared the things we were learning with eachother, almost on a daily basis. I find myself wishing thatthere was a scene like that today. I think it’s hard now to beyoung and trying to break into this business. Now, ofcourse, I’ve known most of the players around here forquite a while and I feel so fortunate and so grateful to beable to count so many great people among my friends. Theshort answer to that question would be: it’s been a blessing.GGR: You play a fascinating array of interesting and unusualvintage and new guitars and we’re surrounded by them here inyour studio. Can you say something about the ones you’ve usedon your last two recordings?DH: Well, I used five different guitars on Loyalty Waltz. Mybig flattop, a Gibson Jumbo, was made in 1935, I play thaton a few of the tunes. They’ll have to pry that one from mycold dead fingers.
I’ve got a Gibson-made smaller body guitar called a KelKroydon. It’s essentially a 12 fret Gibson L-0 or L-00 fromabout 1930 and it’s a remarkably great sounding instrumentthat’s also incredibly cool to look at. It may look like a toy,but it’s a great guitar. A friend of mine owned it for years,and the first time I played it I was blown away by it, it wasone of the nicest little guitars I’ve ever played for my style,and so I told him that if he ever wanted to sell that guitar,I’m your man. And lo and behold, he decided to sell it. It’s aKK-1, and as you can see it has twin birds of paradise paint-ed on the top! The KK-2, which I’d love to find one of, hasan Hawaiian volcano scene painted on it. I need one ofthose too, obviously. [Laughter….Folks who know Dave orhave seen him at his gigs will know that he seldom goes outof the house without one of his signature Hawaiian-styleshirts.] Unfortunately the Kel Kroydon is an extremely deli-cate guitar, so I can’t take it out much. I took it on a tour toCalifornia a couple of years ago, and it really didn’t like totravel, so it basically lives here in my studio at home, andoccasionally I let it out to do a show in Minneapolis, andthat’s about it. It’s mostly a studio instrument.
Then there’s my Epiphone Recording E, which is alsovery cool and has an extremely unusual voice. Almost likeit’s halfway between a flattop and an archtop. It was alsomade around 1930.
I have a more recent National steel guitar, a Style 1 fromthe year 2000. That instrument is so good that I sold my oldNational Style 1 from 1931 and never looked back, eventhough that 1931 model was a great guitar.
And finally, on Loyalty Waltz I played a 1998 piccolo gui-tar that Charles Hoffman [the Minneapolis luthier] madefor me. Several years ago in New York I heard someoneplaying a terz guitar, which is a smaller-bodied nylon or gutstringed guitar meant to be tuned up to G or A. They use
them a fair amount in Mexico, and actually I think TimSparks has one. I know he used to have one, at any rate, but Idigress. I was infatuated with the sound and when, severalyears later, I found a late ’30s three-quarter size Gibson L-00or L-0 (I still don’t really understand the difference betweenthose two models) I decided to try stringing it that way, andit was wonderful, more than I had hoped for. Unfortunatelythe neck was three-quarter size too, and I was stumbling allover myself, all the time. It was a great guitar, sounded great,but it was next to impossible to play. So I took it to Hoffman’swith the idea of getting a new one made. I’ve been friendswith Charlie Hoffman for many years and I have a 1976 cus-tom guitar that he made for me that I traveled with for years.I also used it for a couple of tunes on Sheridan Square Rag, so Iwas well aware of his talent as a luthier. So we looked at thatlittle Gibson and traced it and so forth, and sort of updatedthe design, and Charlie made a new instrument for me. Sowhy not have a cutaway, why not have some extra frets, ifyou’re updating the design anyway? So there are 24 frets onthat instrument, and the neck is 1 and æ inches wide. It oc-curred to me that I’ve always liked the sound of mahoganytopped instruments too, and that that might increase the sus-tain on such a small instrument. As of yet there isn’t really aspruce topped version to compare it to, but I think I wasright. And because it’s tuned up a fourth, it has a differentsort of tonality, a great different tone that I really like. Wetalked about how the instrument should look too, from thestandpoint of trim and finish. So the design of the piccologuitar was a collaboration between me and Charlie. Andnow just recently I’ve acquired the second Hoffman piccologuitar, and that guitar is the result of a collaboration too. I’mrapidly falling in love with that instrument, I think it’s goingto be wonderful. I can dig in more on it, and the tone is al-ready there. I’m rather amazed. I’ve been playing them both,and I’m going to have a tough choice on my hands. I canonly keep one and at this point I think it’ll be the new one. Ibelieve Charlie may actually start making these on a moreregular basis.
I have one other new guitar, a National M-2 baritone thatshowed up last fall and it’s been changing my life. It’s theanti-piccolo. You’ll definitely hear it on my next record.
In general though, I love guitars from the ’20s and ’30s.Old wood, aged wood, wood that’s been a guitar for awhilechanges somehow. I think maybe it takes awhile for it to fig-ure out that it’s not a tree anymore, that it’s a guitar. Oncethat happens it really starts to sound great. It opens up andthe tone becomes marvelous. They just keep getting betterand better. Apart from the instruments I used on LoyaltyWaltz, I have a number of other old guitars, including a 1929National Triolian
The 1920s and ’30s were the first golden age of acousticguitars. I think we’re in a second golden age and that some ofthe stuff being made now will outshine everything once theguitars have aged some. My 30 year old Hoffman guitar is aprime example of that—a wonderful instrument that has
january / february 9
Special Feature: Dave Hull
Dave Hull, continued from p. 8
Dave Hull, continued on p. 10
aged well and sounds old now. And it’s only going to getbetter.
I’m always looking for old guitars too. I’d love to find agood Martin OM-18 from the 1920s, but they’re out of sightmoney-wise now so I’d have to get real lucky.
GGR: In the liner notes to Loyalty Waltz you wrote about ideasand sounds that crisscross ethnic and racial lines, that come froma common stock of American musical traditions. That’s of course acentral theme in the history of American music. Did you have thisin mind when you chose the tunes you wanted to include on thealbum?
DH: I don’t know that I think about it in those terms beforethe fact, as I’m deciding what I want to play and record.When I record an album, it’s really more about how it goestogether, how I’m playing a particular tune. I don’t reallythink a lot about where they come from, it’s more of an emo-tional decision. But it’s intriguing to look at it after the factand think, “Oh, it’s interesting that, say, “900 Miles” and“Jesus Is A Dying Bed Maker” fit so nicely next to each oth-er on the album, especially considering that the first obvi-ously came out of the white tradition, and the second out ofthe black tradition. But they’re not all that different.
GGR: On that album there’s also a lovely tribute to Dave“Snaker” Ray you wrote, called “Snaker’s Gone,” played on yourNational Style 1. How did you come to write that?
DH: The title kind of came to me in a flash, not long afterDave died in November of 2001; Dave’s first solo albumwas called Snaker’s Here! I was on the radio, on KFAI, whenhe died on a Thursday, on Thanksgiving Day, and TonyGlover called in to the show to let me know, and I just wentand got a copy of his Snake Eyes album, which I think of ashis masterpiece, and played it, and people started calling inand asking about Dave, because I was playing so much ofhis music. I delivered the news to our community that day.It was very sad. When I went to try to write something of atribute to him, the tune began to take shape and it began tosound like a funeral march in my head. I called Dave Ray afriend. He was supportive of my career from the time I gotto the Twin Cities in 1969. He was a good listener and agood talker and a real inspiration as a musician and guitarplayer.
GGR: Over the years you’ve played several times with Doc Wat-son. What was that like, and what kinds of influence did he haveon your playing?
DH: As a kid, the first time I heard Doc was really an epiph-any. I didn’t know it was possible to do those kinds ofthings with the guitar, and I knew, immediately, that thatwas what I wanted to do. I think the tune that did it was“Tickling the Strings.” Later on I was fortunate enough tomeet Doc, play a couple of gigs with him, and have him as aguest on my “Hull’s Victory” album. It was quite an honor,but Doc is the kind of guy who can put you right at ease.
One thing I remember about the recording session was
that by simply being there Doc managed to get stellar per-formances out of all of the musicians. I think the one thingthat sticks in my mind the most is Butch Thompson’s pianobreak on “Ragtime Annie.” Butch is incredible even on abad day, but this was something else. The feeling of beingthere, of being a part of it, was amazing. One of the truehighlights of my career.
GGR: You were close friends with Dave Van Ronk. What do yousee as his place in the history of American music?
DH: That’s a really huge question. If you read Dylan’sbook, or most any history of the folk revival, Dave loomslarge. He was one of the first, maybe the first revivalist toplay country blues, one of the first guitarists to experimentwith ragtime, Jacques Brel, and most anything else thatcaught his fancy. His pallet was huge. The thing I admiremost about Dave’s work is that no matter what he was do-ing you could always tell who it was. Style trumps genre, inmy book, and Dave had style in spades.
I learned a ton about the art of arranging music fromDave; he really encouraged that aspect of my music. It’s onething to play a tune or a song but it’s something quite differ-ent to think about the settings, the pace, and so many otherthings. Dave was truly a master of this stuff.
Dave was the first to record a Dylan song. The first to
guitarist10
Special Feature: Dave Hull
Dave Hull, continued from p. 9
Dave Hull, continued on p. 11
record a Joni Mitchell song. He had a great ear for talent anda real knack of finding a great song. He liked to say that heremained blissfully on the sidelines in the wars between thetraditionalists and the modernists, and his book (the list ofsongs he performed) certainly bears that out. The amazingthing is no matter the source, the finished product alwayssounded like a Dave Van Ronk arrangement. He could takesongs as diverse as “Michigan Water Blues,” “Been on theJob Too Long,” “Urge for Going” and “Mack the Knife” andmake them fit together seamlessly in a set or on a record in away that would make the listener think: “of course! Whyhasn’t anyone else ever thought of that?” Style trumpsgenre.
I could go on and on about Dave but there’s just toomuch. His autobiography, “The Mayor of MacDougalStreet” is a wonderful history of the New York folk revivalup though about 1969. When I read it, it was like sitting inDave’s living room after a great meal (did I mention he wasa world-class cook?) sharing stories into the night. It shouldbe required reading for anyone interested in folk music,roots music or the revival. It’s also one of the funniest booksI’ve ever read.
I’m truly lucky to have known him.
GGR: How in general do you go about the process of writing andarranging?
DH: I’m a noodler. I sit around and just play the guitar athome a lot. Most times it doesn’t go anywhere, but once inawhile I’ll come up with something entirely new or the be-ginnings of an arrangement of something that already ex-ists. Often times it’ll be a “mistake” that sets me off on somenew track. “Six of One, Half a Dozen of the Other,” on Loy-alty Waltz, is a good example of that. I grabbed the guitar,didn’t look, thought I was in G and it turned out I was in F#.And I heard that thing, and I liked it, so it became a tune.Once you get the thing you’re halfway home. All you haveto do is surround it with interesting music to complement itand you’re there. At that point you have to learn it, come upwith an interesting arrangement for it, and that isn’t reallyany different that arranging any other tune for guitar. Ihope that makes some kind of sense.
GGR: The sound quality on both your recent CDs is superb, and Iknow you recorded them yourself here in your studio. What kindof recording set-up did you use?
DH: I’m a minimalist. I set up one mic and find the sweetspot. I use one mic because I don’t think that two micssounds like a guitar. I find that that is the best way to notonly make a guitar sound like a guitar, but to make a specif-ic guitar sound like a specific guitar. I want you the listenerto be able to tell the difference between the Kel Kroydon,the Epiphone, the Jumbo or whatever else happens to be onthe album. So I use a good tube mic, a good tube pre-amp,and mix it with as little processing as possible, put a little re-verb on it, and a little bit of limiting, which basically servesto make it sound more natural, to get it back to sounding
like what it sounded like in the room where it was played.That’s what I do. Once I’ve recorded and done some editingI take the stuff over to Steve Wiese at Creation Audio andwe mix and master it there. He’s got great ears, we’veworked together for thirty years, and he has a ton of greatgear that’s perfect for what I do.
GGR: What other recordings have you done in your studio re-cently?
DH: Let’s see, I recorded Phil Heywood’s last CD, Banks ofthe River, and I co-produced a CD for Tim Eriksen called Ev-ery Sound Below for Appleseed. I did an album for Cam Wa-ters and I’ve done Pop Wagner’s last couple of albums andLonnie Knight’s, too. We’re just finishing up Lonnie’s newone now. Eric Peltoniemi and I have started working on aproject together. We’ve known each other a long time, and2007 will be the 40th anniversary of the first time we shareda stage together. We’ll probably do a few concerts together,too. I’m doing a small project of Somali storytellers readingtraditional Somalian folk stories in both English and Soma-li, and that’s a lot of fun. I did a couple of projects for Na-tional Resophonic, too. Parts of Artists in Resonance II wasrecorded here—I recorded Charlie Parr, The Ditch Lillies,Joe & Vicky Price, Kari Larson, and myself. I recorded somewonderful solo mandolin of Kari’s for the newest version oftheir audio catalog, as well as my newest toy, the M-2 bari-tone. I did all that stuff at my Arabica Studio in Minneapo-lis, but the producing thing really started in earnest in theearly 1980s when I produced John Koerner’s Nobody Knowsthe Trouble I’ve Been. I’ve done a number of things at otherstudios, too.
GGR: It’s been almost two years since your last album. What newprojects are you working on now?
DH: Well, I mentioned that I’m working on a project withEric. I’m also working on a solo album of gospel music,hymns, spirituals and that sort of thing. I’ve always foundthat all roads in traditional and roots music eventually leadback to this stuff and I think it’s undeniably the deepest tra-dition. People have done all manner of art since before his-tory started being recorded trying to make sense of whywe’re here, of what it’s all about. I’ve come up with some in-teresting arrangements of “This Train Is Bound for Glory,”“Wayfaring Stranger,” a medley of the Carter Family’s“Will You Miss Me When I’m Gone” and the southernhymn “The Christians’ Goodnight,” the Martin Lutherhymn “A Mighty Fortress” (believe it or not—it sounds in-credible on the new National baritone guitar), a couple oftunes from the Sacred Harp tradition and a few otherthings. The list is by no means complete or final. I mightredo a couple of tunes I’ve recorded before, too. I’m reallynot sure when it’ll be available; that pretty much dependson when I finish the actual recording. I’m not really on aschedule, but I’m hoping to be able to offer it by the spring.
I’m also touring quite a bit more these days. I have theluxury of working with two agents and they’re both won-
january / february 11
Special Feature: Dave Hull
derful. I think their combined goal is to keep me out of townpermanently. I’m doing a couple of split-night shows withPeter Lang in the near future, one in Illinois and one inPennsylvania. And Phil Heywood and I are going to dosomething at Oak Center in early December. And then Kariand I are going to do some Christmas shows this year, so itshould be a very interesting few months.
GGR: What have you been listening to lately? Has it had anyeffect on your playing or choice of tunes?
DH: As you know, I do a weekly radio show on KFAI. Abenefit of that is that I’m forced to listen to a ton of music, allthe time. I gravitate towards stuff from the 1920s and 1930smainly, although I’ve been finding some earlier recordingsthat are making my socks roll up and down, too. Genre isn’tthat important to me; in fact the further you go back thecloser the various “genres” are. I go nuts when I hear LouisArmstrong on a Jimmie Rodgers recording or a brass bandversion of “L’il Liza Jane.” It just excites me. I’m sure it’shad an effect on my playing and my choices, but it’s indirectusually, kind of an osmosis sort of thing. Once in awhile I’llhear something that I decide I want to learn and go after it,but usually I just start playing a tune and then I get excitedand it evolves into something I can perform.
There are a number of great websites out there these daysfor people interested in vintage music. I adoreredhotjazz.com, which is mostly 1920s jazz, but not entirely.A lot of great information there, too.cylinders.library.ucsb.edu is a wonderful collection of earlycylinder records that have been digitized. It proves that thepopular music of 100 years ago could be as bad as the popu-lar music of today, but there’s a lot of great stuff there aswell. juneberry78s.com has a great collection of old-timemusic, a pretty good collection of early country blues also.It’s not very well organized or documented, but if youknow about this stuff there are some great finds here.dovesong.com has a good collection of gospel music, espe-cially the gospel quartets from both the black and white tra-ditions. It also has very little documentation, but it doeshave a lot of great music.
I think the main thing to me is that it’s about the musicmore than it’s about the guitar or any specific instrument.The more stuff I listen to the more stuff filters through intomy guitar music, or at least that’s my hope.
Dave Hull, continued from p. 10
Dakota Dave Hull has a website<http://www.dakotadavehull.com>.
For bookings, contact: David Alderson at<zapmusic.org> (612-781-1595) or
Nolan Howard at<walnutstreetmusic.com> or (866-925-6889).
Contributor Note: Gloria Goodwin Raheja is a professor of an-thropology at the University of Minnesota. Beyond her academicwork in the anthropology of India, she is interested in contempo-rary American fingerstyle guitar, pre-war acoustic blues, old-timemusic and West African guitar music, and she is writing a book onmusic in the Appalachian coalfields in the 1920s, with a focus onthe guitarist Frank Hutchison. She teaches occasional courses onblues and American popular music at the University, and she is amember of the Minnesota Guitar Society.
OpenStageOpenStageOpenStageOpenStageOpenStageOpenStage is a structured but informal way for guitarists
of any level to experience the joy of playing for (and listen-ing to) each other. Our next meeting is on Sunday, January7th at 3 pm. We’re returning to Audubon Coffeehouse.Audubon is a small, friendly place at 2852 Johnson St. NE inNortheast Minneapolis. Additional get-togethers areplanned at Brady Education Center (lower level, usuallyRoom 7, University of St. Thomas, St. Paul campus) for 3 pmon Sunday, February 4th and Sunday, April 22nd. Markyour calendars, and start polishing your renditions of classi-cal, folk, and jazz favorites. Contact <[email protected]>for more information.
Minnesota Guitar Society Web SiteMinnesota Guitar Society Web SiteMinnesota Guitar Society Web SiteMinnesota Guitar Society Web SiteMinnesota Guitar Society Web SiteInformation about guitar-related events can be found at
the MGS website calendar. Visit <www.mnguitar.org>. Atthe home page, click on “Calendar.” In addition to Societyconcerts, included are events featuring MGS members andother guitarists of note. To get yours listed, email Al Nortonat <[email protected]>.
Contributions WelcomeContributions WelcomeContributions WelcomeContributions WelcomeContributions WelcomeSend us your news—gigs, concerts, CDs, etc.—by January
10th to appear in the March/April issue.
Volunteer OpportunitiesVolunteer OpportunitiesVolunteer OpportunitiesVolunteer OpportunitiesVolunteer OpportunitiesWe need help distributing the newsletter, especially in the
northeast corner of the metro (White Bear Lake and Stillwa-ter ) and the southwest (Savage, Burnsville, Edina, andBloomington). Time commitment: 1 hour, every othermonth. Other opportunities with the Society exist, especial-ly in fundraising and membership support. Call Paul Hintzat 651-699-6827 or email <[email protected]> for moreinfo.
Shank/Hagedorn Duo ConcertShank/Hagedorn Duo ConcertShank/Hagedorn Duo ConcertShank/Hagedorn Duo ConcertShank/Hagedorn Duo ConcertA concert featuring SPCO member Leslie Shank on violin
and MGS Artistic Director (and Mpls Guitar Quartet mem-ber) Joe Hagedorn on guitar will be presented at SundinHall on Tuesday, February 20th at 8 pm. The concert will fea-ture the music of Dean Magraw (world premiere), DavidHahn (world premiere), Giuseppe Tartini, Enrique Grana-dos, and Maria Kalaniemi. Tickets on sale at the door. CallSundin Hall at 651-523-2459 for more information.
News and Notes
Next Sundin ConcertsNext Sundin ConcertsNext Sundin ConcertsNext Sundin ConcertsNext Sundin ConcertsSaturday, March 17th, Earl KlughSaturday, April 21st, Nigel NorthSaturday, May 26th, Classical GuitarathonAll concerts at 8 pm. Call 612-677-1151 for reservations
and more information.
Earl Klugh MasterclassEarl Klugh MasterclassEarl Klugh MasterclassEarl Klugh MasterclassEarl Klugh MasterclassIn addition to his Sundin Hall concert, Earl Klugh will be
giving a masterclass at MacPhail Center for Music in Minne-apolis on Sunday, March 18th at 2 pm. Visit the MacPhailwebsite at <www.macphail.org/events_masterclasses.htm>for more information. Co-sponsored by MGS.
Reynold PhilipsekReynold PhilipsekReynold PhilipsekReynold PhilipsekReynold PhilipsekGuitarist Reynold Philipsek has a new CD out, Artifacts
and Curiosities, as well as upcoming gigs and projects withthe Twin Cities Hot Club and others. Visit his website at<www.reynold.com> for more information.
Exquisite CorpsExquisite CorpsExquisite CorpsExquisite CorpsExquisite CorpsThis jazz trio, featuring guitarist David Roos, has
released a self-titled CD. Visit their website at<exquisitecorpsjazztrio.com> for more information aboutthat, and the origins of the band’s name.
Duo Erato In�School VisitDuo Erato In�School VisitDuo Erato In�School VisitDuo Erato In�School VisitDuo Erato In�School VisitThe day before their Sundin Hall concert appearance on
February 24th, Martha Masters and Risa Carlson will give aworkshop for students in the guitar classes at Patrick HenryHigh School in Minneapolis, as part of the Society’s Guitarsin the Schools program. We hope to expand this programnext year. Watch for details in future issues of the newsletter.
Youth Acoustic Guitarathon Date SetYouth Acoustic Guitarathon Date SetYouth Acoustic Guitarathon Date SetYouth Acoustic Guitarathon Date SetYouth Acoustic Guitarathon Date SetOn Sunday, June 10, the Minnesota Guitar Society will
host the first annual Youth Acoustic Guitarathon. Auditionswill be on Sunday, May 6, at MacPhail Center for Music inMinneapolis. For more information, contact coordinatorBrent Weaver at <[email protected]>.
Lute CafeLute CafeLute CafeLute CafeLute CafeThe Lute Café is a series of casual lute concerts sponsored
by the Twin Cities Lute Cooperative, co-produced by locallutenists Phil Rukavina and Rick Griffith. The Café is openin the Village View Room at Hillcrest Recreation Center,1978 Ford Parkway in St. Paul’s Highland Park neighbor-hood, on the last Thursday of each month. The series fea-tures lute music in a casual, coffeehouse-type setting whereyou can listen to great music, have a coffee or a snack, read abook, or just stare out the window and relax.
Information about the Lute Café can be found at the MGSwebsite. A full schedule is also available at each show. Thereis no set charge for attending, but a $10 per person donationis suggested to help defray costs. Future concerts areplanned through April 2007. Call 612-865-5954 for furtherinformation.
“The Minnesota Guitar Society concert season is co�
sponsored by Sundin Music Hall and is made possible with
funding from the D’Addario Foundation� and the Minne�
sota State Arts Board from an appropriation from the Min�
nesota State Legislature� Matching funds have been pro�
vided by General Mills� ADC Telecommunications� AT&T�
and American Express� Hotel accomodations for artists in
the � �–� � season are provided by Hyatt Regency
Minneapolis at � Nicollet Mall� home of Oceanaire Sea�
food and Manny's Steakhouse�”
guitarist10
Guitars Amps Accessories Lessons
763-757-8555
www.guitarzoneonline.com
12763 Central Ave NE, Blaine, MNJust a half block north of Cub on the east side of Highway 65
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612-872-0454www.jeffguitar.com
Ex p lo r e J a z z i n th e Twi n Cit ie s !
Jan. 14, 2 p.m. - Bloomington‘My Shining Hour -
Tribute to Harold Arlen’ featuring Christine Rosholt, Bruce
Henry and Connie Olson(952) 563-8575
Jan. 19, 7:30 p.m. - MahtomediSt. Croix Jazz Orchestra
(651) 762-9672
Feb. 16, 7 p.m. - BloomingtonRick Carlson & the ‘Twin Cities’Best Keepers of the Basie Flame’
with nine vocalists!Bloomington KC Hall, $10 ($7 TCJS)
The Minnesota Guitar SocietyPO Box 14986Minneapolis, MN 55414
GUITAR LESSONS: Classical & jazz guitar, by professional in-structor with degree in classical guitar and more than 15 yearsof teaching experience. Call Pavel Jany at 651-649-0114.
GUITAR LESSONS: folk, classical, country blues, American fin-gerstyle. 30+ years experience. Call Ed McGarrity at 763-205-2959.
LESSONS: Guitar, banjo, Suzuki guitar and violin, piano, elec.bass, voice, mandolin! Everything from rock to blue grass. In-struction and instruments. Northern Pine Studios in Lino Lakes.Call Chris at 651-780-1625.
FLAMENCO GUITAR TECHNIQUE Group Class. Meets Sun. af-ternoons and Wed. evenings. Guaranteed to help any classicalguitarist equally. $20 for a 2 hour session = great value & greatfun in a relaxed and supportive ambience. Call Scott MateoDavies at 612-724-2318.
I BUY GUITARS! Call Dakota Dave Hull at 612-724-6995.
Music notation and digital audio editing services. Software:Finale, Pro Tools. $45/hour. Samples available. Contact JeffLambert at 612-872-0454 or [email protected].
FOR SALE: 2005 Lance Litchfield classical guitar with travelcase, $6,000.00. Spruce top, Indian rosewood back and sides.Excellent condition. Exclusive US dealer for Australian LitchfieldGuitars. Visit <www.litchfieldguitars.com> for details. Call 715-865-6068 for additional information.
FOR SALE: Harrison Petite Grand Piano, photo available uponrequest. Negotiable $2,500. Call Will Agar at 612-920-2591. Anexcellent alternative to your guitar playing.
FOR SALE: 1998 Simon Ambridge classical guitar. Spruce/Bra-zilian rosewood. Excellent condition. $5,500. 1992 StephenKakos 8 String short scale-cutaway classical guitar. Spruce top,Honduran rosewood back and sides. Excellent condition, newlyFrench polished by builder. $3,500 or best offer. Call AlanJohnston at 651-774-6523.
FOR SALE: 10% Percent Off all in-stock Fender, Taylor, andMartin guitars when you show your MGS membership card.GuitarZone, 12763 Central Ave. NE, Blaine, 763-757-8555.
CLASSIFIED ADS are free to MGS members. Place ad by mailing (please type or print clearly) to: MGS, PO BOX 14986,Mpls, MN 55414 or by emailing to <[email protected]>. Please limit ads to a 6-line maximum. Ads will run for amaximum of 6 issues (1 year) unless renewed.
FOR SALE:1/2 guitars(4):$45-$85/Yamaha G-231:$125/Laney:$125/2006 OSP:$250/Randall RG80-112c:$285/Road-stars(5):$250-$425/Les Paul:$450/JC-120:$450/Cordo-va:$450/Takamine C136S:$450/93' RI Strat MIJ:$495/Carv-in X60-112:$450/93' Roeder (Terz):$950,RhodesVK1000:$950/77' MM Stingray:$995/78' MM Sabre:$995/96'Fender Jazz Bass:$1250/01' Firebird V:$1400/86' Yairi CY-132c:$1600/81' Chapman:$2400/651-292-4929.
FOR SALE: 1982 Stephen Kakos classical guitar. Spruce top,brazilian rosewood back and sides. Plays and sounds great.Several cosmetic flaws. $2,000 or best offer. Contact BenGateno at 507-529-7972 or <[email protected]>
RECORDING STUDIO: Come and record with me! I specializein recording acoustic guitar and vocals. Neumann microphones,Pro Tools, comfortable setting. I record, mix and masterand have excellent ears. Reasonable rates. I can email youMP3 clips of my work. Call Kevin Lee at 952-852-0367 or<[email protected]>
ONLINE INFORMATION: Visit The Bill Frisell Discography at<www.bryanaaker.net>
TWIN CITIES JAZZ Information! Call the Twin Cities Jazz Soci-ety JazzLine: 651-633-3134; <www.tcjs.org>.
MUSICIANSHIP: Music Theory Software ear-training, sight-reading, instrument study, rhythm at <musicgoals.com>.
FOR SALE. 1977 Yamaha G235 classical, $200; looks, sounds,plays great; laminate spruce top. 1974 Yamaha G150A, $100;a little beat up but sounds and plays fine; laminate spruce top;replaced tuners with Schallers. Both in chipboard cases. Call:612-987-7726.
FOR SALE: 2005 GV Rubio Estudio classical guitar with hardcase. $1500. Spruce top, palo escrito rosewood back and sides.Excellent condition. Visit <http://home.comcast.net/~eliotmb/rubio.htm> or call 763-350-4522 for more details.
