Multi-instrumentalist and historian Dom Flemons hosts a roundtable discussion with three talented artists who represent different aspects of American roots music.
In a wide-ranging phone interview, Goryachev discusses his early training, interactions with Paco de Lucía, arrival in America, and approach to performing.
No matter how far the Ireland-based guitarist travels, both physically and musically, his connection to Congo is ever-present, as this Zoom interview reveals.
DiFranco sits down with Peter Mulvey to discuss her new record, writing, touring, her love of tenor and rubber bridge guitars, and the meaning of the term “umwelt.”
We’ll examine the techniques and approaches that made the acoustic guitar an essential component of the swing era, while tracing its journey through the big band era and its lasting impact on jazz.
Maya de Vitry discuses her formative musical years, her deep rhythmic relationship with the acoustic guitar, and her love of instruments that don’t feel delicate.
It wasn’t until a recent solo acoustic tour that Glaspy played for a public audience with just her steel-string guitar for the first time in her professional life, a format she found freeing both literally and metaphorically.
When Acoustic Guitar invited me to interview Smither, I was delighted to sit down in his study to talk about how his performance and writing have evolved over the years.
Snowden shares reflections on her education, the extramusical disciplines that inform her practice regimen, and her adventurous work as a composer-arranger.
On a long, jovial Zoom call, Elkington and Salsburg spoke to Acoustic Guitar from their respective homes about the nuts and bolts of their work as a duo.
Happy Traum was a Renaissance man in both senses of the term, a person of wide and deep interests and pursuits and a man capable of invention and reinvention throughout the long life that just ended after 86 eventful years.
Sam Grisman Project, Andy Falco and
Travis Book, Wake the Dead, and Grahame Lesh share thoughts on what the Dead's songbook means to them, and how they approach it as a living tradition.
D’Agostino uses unorthodox tunings, percussion, and other techniques to open up new vistas on the instrument. Yet his compositions feel driven by melody.
The legacy Frank leaves behind is much greater than just the story of his work—it is also a legacy of community, innovation, education, and friendship.