Tag Archives: relaxing guitar

LIVE 144 • Sound and Solace (Original Fingerstyle)

This song was born of my desire to improvise around some familiar ideas and possibly discover some new ones. Using familiar shapes and runs, perhaps I would come to appreciate them from a new angle, or juxtapose them in a way that I hadn’t before. I wanted to explore textures, try to accent some of the notes in a different way, give the strings a staccato strum or two, play some lush harmonics. Sometimes rather than trying to come up with something totally new, you want to explore the familiar ground of existing templates, maybe change them just a little – not to the point they’re unrecognizable, but to explore how they can be tweaked and see if it suits.

In addition to trying out some musical ideas, I wanted to see how they would sound with a microphone I hadn’t used lately, recording with a different sound. The mic I chose sounds crisp, picking up all the harmonic details and giving clear note separation. It’s quiet, and also good at gathering room ambiance. The bass is not as bold and the mid-scooped rosewood sound isn’t as prominent as another mic I had been using lately, but this mic would provide a nice, hi-fi, detailed sound – one I might now want to explore even more. Anyway, sometimes it’s important to try something a little different with your sound, to record an improvisation and see what happens. Hope you enjoy.

Recorded with a Taylor 912ce (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD Light strings) and a Neumann TLM 103 microphone.

LIVE 142 • Hualalai Sunrise (Early Take)

“Hualalai Sunrise” was inspired by the morning sunrises in Kailua-Kona on the Big Island of Hawai’i.  Much of North Kona – from Kalaoa where I spent much of my early childhood to Holualoa where I later lived – can see the sun shining over the top ridges of Hualalai in the morning, bathing its warm light over the slopes from the summit to the ocean.  This is an early version of this song, though I have improvised several slightly different versions since.  Hope you enjoy.

Recorded with a Taylor 414ce-NR (Rosewood/Spruce grand auditorium nylon string) and a Telefunken M60 microphone.

LIVE 138 • Little Grass Shack, Pua Tuberose – Slack Key Medley

From the vaults, here is an old recording of a slack key medley performed during an informal kanikapila at what was then the Sheraton Keauhou Bay Resort Hotel (it has since changed hands from Sheraton).  The medley starts out with a rendition of Little Grass Shack, followed by the classic Pua Tuberose.  Hope you enjoy.

LIVE 136 • Wayvvs Crashin

Here’s an isolated track that I recorded for a collaboration a few years ago.  That particular collaboration didn’t end up coming together, so I thought I would release this track as a stand alone piece.  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 microphone. 

LIVE 140 • Bron Yr Aur (K22ce)

Bron-Yr-Aur is probably my favorite Led Zeppelin acoustic song.  Written by Jimmy Page about a tranquil cottage in the Welsh countryside, the song is meditative and bucolic; it always puts me in a different place whenever I hear it or play it.  This version was recorded on my Taylor K22ce.

Recorded with a Taylor K22ce (solid koa grand concert with Elixir Nanoweb 80/20 Bronze HD gauge set) and a Telefunken M60 microphone.

LIVE 124 • Bantry Girl’s Lament (912ce)

The Bantry Girl’s Lament is a traditional Celtic song which dates back to the early 1800’s.  The ‘lament’ is for the soldiers who were called off to fight in the Napoleonic wars, but I find the melody is more wistful than maudlin.  My fingerstyle version is based on Martin Simpson’s version from his fine album “Leaves of Life.”  While Martin used a Drop D tuning for the song (or rather its equivalent on Baritone guitar), I play it here in open G6: (D-G-D-G-B-E).  To me, this is a peaceful, meditative song that gives pause.  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 133 • Meadows Slack Key (912ce)

“Meadows” is a slack key song I wrote during a full moon in Kailua-Kona.  I think the song was influenced by the night air and night sounds – the occasional chirp of geckos, the distant sounds of traffic on Mamalahoa Highway and the waves in the ocean.  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 126 • Opihi Moemoe (improv on K22ce)

Here’s a recently found recording where I’m improvising some ideas around Leonard Kwan’s classic slack key song Opihi Moemoe.  One of the most popular songs in the slack key repertoire, this song has been covered by everyone from Ledward Kaapana to Chet Atkins.  Opihi MoeMoe is a fun piece that lends itself well to improvised variations, and everyone seems to bring something a little different to this deceptively simple song.  Hope you enjoy.

Recorded with a Taylor K22ce (solid koa grand concert with Elixir HD Light gauge set) and an Ear Trumpet Labs “Edwina” microphone.

LIVE 125 • Bach Cello Suite #1 Prelude (Alt Take)

Here is an alternate take of the Bach Cello Prelude (BWV 1007) on guitar.  I fell in love with the Pablo Casals recordings of the Bach cello suites a few years back.  The prelude to the first suite is oft adapted for guitar, but it’s still a great piece to play.  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 134 • Every Breath You Take by The Police

Here is a fingerstyle cover of “Every Breath You Take,” the hypnotic signature tune from The Police.  Many stories surround the writing, recording, and subsequent success of the song – for example one interesting tidbit is that Sting apparently wrote the song while sitting at Ian Fleming’s writing desk on his famous Goldeneye estate in Jamaica.  With its classic guitar part, “Every Breath” has a mellow / dreamy feel seemingly at odds with its borderline creepy lyrics – though some may find the song is a tad less sinister as an instrumental 🙂  Hope you enjoy.

Recorded with a Taylor 412ce LTD (Rosewood/Spruce, with Elixir Nanoweb Phosphor Bronze HD gauge set) a single Beyerdynamic MC 930 microphone in Honolulu, Hawai’i 8/25/14.