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SGGW CDs >>> Complete Listings Our new line, now with 20 CDs with more to come in the near future. Some are "enhanced CDs" featuring pdf files containing the tab/music. We have indicated which tunes are transcribed with an asterisk (*). |
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Bermuda Triangle Exit We decided to record a duet album together. . . . Tokio arranged guitar parts and we put down the tracks during his family's visit to our home in January, 2007. The music ranges from blues, rags, folk tunes to original compositions. . . . |
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Played A Little Fiddle Depending on the venue, the Web site, or to whom one talks, they're called Kalb, Grossman and Katz; Grossman, Katz and Kalb; Katz, Kalb and Grossman; and every other possible combination. At the end of the day, though, they're Steve Katz, Danny Kalb and Stefan Grossman, master guitarists who have been members of such seminal bands as the Even Dozen Jug Band, Blues Project, Blood, Sweat & Tears and American Flyer. . . . |
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Country Blues Guitar In this 71 minute CD, rare recordings of a young Rory Block and Stefan Grossman are featured. As well, the original landmark 1964 Elektra release of their HOW TO PLAY BLUES GUITAR (plus out-takes) is presented. This is an enhanced CD and features a PDF file of tab/music for all the tunes from HOW TO PLAY BLUES GUITAR. . . . |
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Famous Ragtime Guitar Solos This was Ton Van Bergeyk’s first solo guitar album (recorded in 1973). The focus is on the Classic Rags of the early 1900s. Ton’s arrangements have received worldwide praise and for the last 30 years he has been an underground guitar hero to aspiring fingerstyle guitarists. . . . |
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Contemporary Guitar Workshop This album was original released in 1975. I was very interested in trying to put together a project that would illustrate some of the approaches that fingerpicking guitar is taking. I asked for the help of four guitarists whom I admire greatly and whom I thought would each compliment the other as each has a distinct style and feel. . . . |
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There's Something For Everyone In America This is Duck’s first album . It was recorded in 1975 and presents a wonderful variety of guitar solos - from the hot foottapper Jackson Stomp to the slow and haunting Hick’s Farewell to the tongue in cheek Take Me Out To The all Game. . . . |
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Blues & Jazz Guitar It is almost embarrassing to call a musician “a legend in his own time”. But Mickey Baker is surely that. Over the last fifty years he has explored and developed his guitar styles and musical ideas in areas of music as diverse as R&B, folk, contemporary jazz, rock and roll, bebop and delta blues. . . . |
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Women's Guitar Workshop Originally released in the 1970s by Kicking Mule Records. Enhanced CD containing a pdf tab/music booklet on the CD. . . . |
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Blues Guitar Workshop Originally released in the 1970s by Kicking Mule Records. . . . |
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Relax Your Mind The songs on this album have all been favorites of mine for many years - some for as long as I have been playing guitar. Each one says something that touches me, or tells a story that I enjoy retelling. I have arranged them all in the fingerpicking style, for a unity of feeling and for the sake of those, who want to learn to pick. . . . |
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Friends Forever Playing guitar with friends has been a great joy and inspiration to me. Over the last 40 years I have been so fortunate to have recorded with some great guitarists, i.e. John Renbourn, Larry Coryell, Mickey Baker, Sam Mitchell, Duck Baker, Rory Block, Mike Cooper and Tokio Uchida . This collection puts together some of these tracks. . . . |
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World of Fingerstyle Jazz Guitar The evolution of Fingerstyle jazz guitar continues today with Martin Taylor, Tommy Crook, Jim Nichols, Duck Baker and Woody Mann. Each player has developed a distinctly different approach to interpreting and writing jazz for solo guitar by listening intently to numerous other musicians and composers – pianists, horn players, bassists, and singers as well as many guitarists in jazz, blues and other styles. What distinguishes them from more traditional jazz guitarists (who more or less function as a linear voice in an ensemble) is their ability to play (or imply) all aspects of the music – rhythm, chords, bass, and melody – without accompaniment. . . . |
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Adventures In Ragtime Enhanced CD containing a pdf tab/music booklet on the CD. . . . |
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Live At Gerde's Folk City It’s hard for me to believe. Almost 50 years has passed since I was sitting by the stage at Gerde’s Folk City in New York City with my two track Tandberg tape machine recording my teacher, Rev. Gary Davis’ performances. It was the week of February 3rd to 10th, 1962. Rev. Davis was booked along with the New World Singers (Gil Turner, Happy Traum and Bob Cohen) at the famous bar in Greenwich Village. During the week’s engagement all the new and old folk singers of the Village came by to watch, listen and pay their respects - from Dave Van Ronk to a newly arrived Bob Dylan. . . . |
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Stefan Grossman & John Renbourn The album is all instrumental, all – except for a Mingus composition – original. Though it's much more bluesy, lilting, and sly, it reminds me of John McLaughlin’s acoustic album, My Goal's Beyond, with its gentle-jazz whispers and dramatic pauses. If one has ever picked or, plucked, the album is an invitation to figure out new ways to contort the fingers. . . . |
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Some People Play Guitar . . . Like A Lotta People Don't In the mid-1970s I started Kicking Mule Records with my friend Ed Denson. The idea was to have a record label devoted to guitar playing and especially fingerstyle guitar. Some People Play Guitar... Like a Lotta People Don't was the second collection I put together for the label. The idea was to present friends and my teacher, Rev. Gary Davis in an anthology of blues and ragtime playing. . . . |
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Contemporary Ragtime Guitar Stefan Grossman . . . has put together a collection of some classic ragtime pieces. It's a wonderful album, demonstrating all the light, easy, exciting sounds of ragtime. All the players perform with authority and the commitment that master musicians have. . . . |
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Dance For Two People This is Davey Graham’s second solo album recorded in 1979 for Kicking Mule Records. Having pioneered a world view which made the music of the Orient as accessible to aficionados of folk as the seán-nós of Connemara, it has been an open secret for some years that Davey Graham has been pursuing that path to its logical conclusion, and has added the Arabic and Indian lutes, the oud and the sarod, to his repertoire of virtuosity, and, most recently, the Greek bouzouki. This CD presents the many musical talents of Davey on a tour around the globe. . . . |
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Bottleneck / Slide Guitar Recorded in 1976, this was Sam Mitchell’s first solo album and it presents his mastery of the slide guitar in both an acoustic and electric setting. Sam has transcribed many of his arrangements and these can be found in the PDF booklet. This is a great listening CD as well as a tutorial for guitar players wanting to delve in to the evocative sound of bottleneck/slide guitar. . . . |
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Irish Reels, Jigs, Hornpipes & Airs Recorded in 1979, this was the first anthology of solo fingerstyle guitarists presenting Celtic music. . . . |
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Sad Pig Dance Dave's approach to the instrument certainly owes in a general way to what was going on around him in the Sixties, but his sound is utterly unique, as is his feeling for harmony. Some of Bert's beautifully understated early compositions (one of which is on this recording) are relevant, and others remind the listener of the impressionistic composers, particularly the maverick, Eric Satie. You can also hear echoes of what was going on in the British rock world and even traces of country blues playing. . . . |
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The Complete Guitarist The sixteen tunes on this album were all chosen because they were instrumentals Davey likes and enjoys playing, rather than to demonstrate particular guitar styles but of course the results work on both levels. This album is both an intriguing musical selection and a tribute to his remarkable technique. He has included hymn tunes, a selection of Irish melodies that are a great personal favorite of his. . . . |
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Thunder On The Run What Stefan achieved with the blues is a musical ideal that other folk musicians, working in different fields, might have followed if they'd had the skill or the imagination. From his base in Rome, he spends part of his time writing books on the early blues and guitar technique, part of his time touring, and part of his time writing. His songs are ‘totally blues influenced’, he insists, ‘though some may not sound like it. Some may sound like jazz or Bach, but it's blues-influenced, because that's my base, that's where I learned about music’. . . . |
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