Tag Archives: open tunings

LIVE 171 • Ohio River Rag (Alt Take)

Here is another take of “Ohio River Rag,” which was recorded as part of my Awake Again album project.  While revisiting that project and remixing the album (the full album is on this page), I came across some alternate takes of a couple of songs that I thought it would be fun to publish; this is one of those songs.  The Awake Again album featured a good mix of both Hawaiian Ki Ho’alu / slack key and traditional acoustic blues influences, though I tend to think of songs like this as more of a blues number.

Recorded with a Taylor 310ce (Sapele/Spruce, Elixir Polyweb 80/20 Bronze) and a matched stereo pair of Shure KSM141 microphones in Holualoa, Hawai’i.  

LIVE 165 • Sí Bheag, Sí Mhór (Taylor 312ce)

Here is another version of my arrangement of Si Bheag, Si Mhor, composed by famous 17th century bard Turlough O’Carolan.  While some of my prior recordings of this song were down tempo, this is a more up tempo version with a snappier feel.  I think the song works well both ways to be honest, one of the many interesting things about it.  Hope you enjoy.

Recorded with a Taylor 312ce (Sapele/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Line Audio CM4 small diaphragm condenser microphone.

LIVE 163 • Acacia Improv (K22ce)

Acacia Improv is an outtake of some improvisation done one day while I was recording “Acacia Just Noticed.”  That song as well as this short little improv were meant to highlight the koa guitar’s warm low-mid tone with a touch of sparkle in the treble register, to bring out the characteristic warmth and sweetness of the wood.  Hope you enjoy.

Recorded with a Taylor K22ce (solid koa grand concert with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 103 microphone.

LIVE 162 • Acacia Just Noticed (K22ce)

Acacia Just Noticed came to me one day while improvising on my koa guitar.  Once aged a little, koa (part of the Acacia family, thus the titular play on words) imparts a warm low-mid tone with a touch of sparkle.  Sometimes, depending on how you’re playing, koa can be a little thin and bright, but here I’m playing without a pick and using part of the pads of my fingers to soften things up – especially useful with some of the snappy parts here.  Along with that, I feel like the the two sections of this song are played in registers that particularly lend themselves to bringing out warmth and sweetness of koa.  The overall combination of these elements melds together in a way that I felt made the wood shine through, thus the nod in the title.  Hope you enjoy.

Recorded with a Taylor K22ce (solid koa grand concert with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Line Audio CM4 small diaphragm condenser microphone.  

LIVE 167 • After the Solstice (Early Take)

After the Solstice and its harmonic laden chorus came to me one day after a winter solstice.  It’s a quiet, peaceful time of year where the days are gradually getting longer and your mind turns to the hope of a new cycle.  (I think it’s also fine for the already long days of summer too though.)  Hope you enjoy.

Recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and a Neumann TLM 102 microphone.

LIVE 156 • Here Comes the Sun – Fingerstyle Beatles Cover (Taylor 412ce)

One of the classic George Harrison songs from the Abbey Road album, Here Comes the Sun is a bright, happy tune that sounds great on acoustic guitar.  This is an alternate take of my  fingerstyle arrangement of the song.  Hope you enjoy.

Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 102 microphone in Honolulu, Hawai’i .

LIVE 135 • Keiki Slack Key (412ce)

Here is another version of the Ray Kane classic “Keiki Slack Key” I recorded on my Taylor 412ce-R steel string guitar.  Keiki Slack Key (not to be confused with the Sonny Chillingworth song of the same name) is one of the first slack key songs I transcribed, and has stayed on my setlists ever since.  To me, Ray Kane is probably the best example of an ‘old style’ slack key player, and his tracks are always nahenahe.  Hope you enjoy.

Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) a Neumann TLM 102 microphone in Honolulu, Hawai’i.

LIVE 127 • Ki Ho’alu (Gabby Pahinui Slack Key Cover, Taylor Nylon Guitar)

Here’s an alternate version of my take on Gabby Pahinui’s classic instrumental simply and appropriately titled “Ki Ho’alu,” which of course is the Hawaiian term for “slack key.”  I probably first heard this song on the stellar “Pure Gabby” album, although it has appeared on other compilations and been covered by numerous slack key artists, including Ozzie Kotani’s excellent version.  My version is inspired by Gabby, Ozzie, and also Dennis Kamakahi who was prolific in the Mauna Loa tuning.

Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and a Neumann TLM 102 microphone.

LIVE 130 • Slack Key Number 1 (Taylor 412ce)

Here is an alternate take of Slack Key No. 1, the classic showpiece of slack key master Sonny Chillingworth.  I first heard it on the Dancing Cat release “Endlessly,” and it also appears on his 1964 solo release “Waimea Cowboy.”  The Waimea Cowboy version sounds like it was recorded on an electric guitar, while the version on Endlessly was recorded on acoustic guitar.  Both versions are very similar, though with some slight differences.  I have incorporated elements from both versions in the arrangement I play.  Hope you enjoy. 

Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) and a Neumann TLM 102 microphone.