Released on Elektra in 1968 Format: LP
Released in 2003 on Asthmatic Kitty Records Format: LPx2
Released in 1977 on ECM Records Format: LP, white label promo
Released in 1970 on Harvest Records 2014 Pressing Format: LP
Released in 2006 on Warp Records 2012 Pressing Format: LPx2, 180g, 45rpm
Released in 2007 on Eclipse Records Format: LP Includes 12″x24″ insert
Released in 1971 on Reprise Records Format: LP White label promo copy
“World Music” is often a cheap umbrella term for non-Eurocentric music, but when acoustic guitar shredders Jorge Strunz and Ardeshir Farah, from Costa Rica and Iran respectively, bring together a Cuban rhythm section, South Indian violinist, and Kuwaiti guitarist, the music they create truly does have a sense of cultural unity deserving of the term.
For fans of flamenco, Arabic folk, and acoustic guitar virtuosity
Whilst in Istanbul for an artist residency, the adventurous Canadian chamber rock group (featuring past members of Silver Mt. Zion and GY!BE) recorded with an ensemble of Turkish musicians, augmenting their core sound of cello, marimba, drums, and tenor banjo with the saz and several other instruments used in Turkish and Arabic folk music.
Released in 1969 on Elektra Records
Originally released in 1974 2018 Earth Records Pressing Digitally Remastered Format: LP
Released in 2018 on Columbia Records Recorded September and December, 1974
An acoustic trio of piano, upright bass, and drums utilize creative extended techniques to play evolving minimalist compositions of mutating grooves, polyrhythms, and textures.
Released in 1966 on Blue Note Records 1971 United Artists Repress Format: LP
Released in 2011 on Sub Pop Records Produced by Phil Ek and Fleet Foxes Format: LPx2 Includes large foldout poster
Released in 1959 on Atlantic Records 1970’s Pressing
Released in 2006 on Drag City Records Format: LPx2
Information: Released in 1974 on Milestone Recorded on July 7, 1973
On his debut album, the guitar and banjo virtuoso starts off with a 22-minute droning epic fusing American and Arabic Folk music with Indian Raga on his acoustic guitar (often trying to imitate the feeling of the oud). Here, he is accompanied by the fluid, driving drums of Billy Higgins. Side 2 is made up of 4 shorter solo pieces, mostly for the banjo, including an impressive rendition of “Carmina Burana” by German composer Carl Orff and a folky mountain song.
Pastoral psychfolk from guitar master Ben Chasney. Here his serene acoustic fingerpicking is occasionally accompanied by harmonium drones and trippy guitar overdubs, but overall the album is extremely sparse and meditative.
Performed on acoustic guitar and an early delay pedal, Christopher Idylls is a soothing, reflective way to ease into the morning. It fits somewhere between ambient, new age, and American primitive guitar.
Shakti means “Creative Intelligence, Beauty & Power” and trust me, these are all in abundance on these devotional jazz ragas. Featuring John McLaughlin joined by a quartet of Indian master musicians, this album is a blissfully uplifting and meditative release.
In this energizing exploration of Hindustani classical music from a jazz perspective, John McLaughlin joins a virtuosic trio of Indian musicians who inspire some of the most impassioned and impressive playing of his career. His acoustic guitar shredding veers close to the bendy sounds of the sitar and fits nicely with the dense web of percussion created by Vikku Vinayakram and Zakir Hussain. Violinist Lakshiminarayana Shankar’s emotive themes and fiery solos make him a perfect foil to McLaughlin.
A fingerpicking folk odyssey that traverses through passages of delicate piano motifs, tribal drum circles, meditative ambience, celebratory horn arrangements, reverent organ drones, and even a cathartic drum solo, all within a single 40 minute track.
“The music in this album is dedicated to creating a better world; a world without war and killing, without racism, without poverty and exploitation; a world where men of all governments realize the vital importance of life and strive to protect it rather than destroy it. We hope to see a new society of enlightenment and wisdom where creative thought becomes the dominant force in all people’s lives” – Charlie Haden
Somber ambient-folk with layers of delicate, circular fingerpicking and sparse arrangements of droning harmonium, piano, guitar feedback and the occasional chirping crickets. The soft reverb dampens everything like a light drizzle over the American prairie
Album information: Released on Takoma Records in 1969
Primitivist acoustic guitar instrumentals in the form of droney ragas, jovial ragtime, and pastoral fingerpicking