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Acoustic Sketches (Deluxe)

by Phil Keaggy - Studio Instrumentals

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1.
2.
Rivulets 03:00
3.
4.
5.
6.
Del's Bells 01:32
7.
Looking Back 00:40
8.
Paka 02:58
9.
10.
11.
12.
The 50th 07:02
13.
Morning Snow 03:17
14.
15.
16.
Icicles 02:19
17.
18.
Griegarious 00:15
19.
Legacy 05:26
20.
21.
22.
23.

about

Back when I was exploring new ways to use my Lexicon Jamman in the mid 90s, and still recording to an analog 8 track reel to reel machine, I plugged my Langejans guitar into the Jamman and out of the Jamman straight into the input of channel 1 and 2 of the Tascam 388/ 8 track machine. I just started making stuff up and looping over the phrases.
Here’s a run down of the obvious tracks that were spontaneous:
Tracks 1,2,4,6,7,10,13,14,16,17 and 18 were improvised on the spot.
The other tracks were formulated and constructed beforehand.
Track 11—Swing Low was actually recorded during my Beyond Nature sessions but we all agreed it didn’t fit that project, and it feels more at home here.
Tracks 21, 22 and 23 are bonus live recordings put here, hopefully for your listening pleasure—and mine as well, as I enjoyed hearing these live recordings, especially Nellie’s Tune!
Well, there you have it---Freehand came about a few years later with an assortment of improvised pieces and worked out songs as well, similar to this collection.
Cheers—Phil Keaggy
Aug,15, 2019


Original Liner Notes:

1 Metamorphosis
I began my loose sketches with this piece – something I’ve had in the back of my mind for years. Actually, the execution of it was not exact, but it’s where I began just to see what would come of it. The slower section is where I activated my Lexicon JamMan – many of the following tunes incorporated the use of the JamMan with no tape over dubbing involved. This is how some moments with one guitar come about in concert. So let this first piece serve as an introduction of what’s to come on this project.

2 Rivulets
This one has a cascading effect with the first pass locked into the JamMan. As it develops, each pass signifies how I become acquainted with my first pass. This piece is an attempt to try my hand at something almost classical. I bail out eventually and do one of my riffs signifying an exit. Much of my playing style is a result of simply playing and less of discipline and study. Any true classical guitarists would note this, but to the less-trained ear (including my own), it’s simply a series of playful notes running into each other.

3 Nellie's Tune
One of my favorites on this CD. I wrote it in a hotel room in Dublin, Ireland, summer of ’94. It’s titled after my Irish grandmother, whose voice you can hear on the “The 50th” (Way Back Home version). I capo the 2nd fret and then capo the 4th fret with two notches cut out for the B and D strings, creating more fifths in the chords. David Wilcox inspired the capo idea that I use on this piece. The guitar is my 1984 James Olson.

4 Passing Thought
I first created a loop in my JamMan, fading it in after my tape machine started, and then I just started playing over it. I always enjoy a shuffle. It reoccurs later on, but with other lead lines (entitled “On Second Thought”). Many of these pieces were recorded with my Langejans guitar and the new L.R. Baggs mic/pickup system plugged direct into a Tascam 388.

5 The Marionette
This piece was recorded in Michael Card’s studio, “Mole End.” I simply listened to Calvin Miller’s short story about a marionette on strings, and played along spontaneously. If you’d like to hear the version with his voice and the story, it’s available from the PKC. I played the Olson guitar on this piece.

6 Del’s Bells
This piece is played with a Michael Hedges tapping style. I’ve done this number now and then in a full length effort, usually when I’m very comfortable and confident, and the picking nails aren’t too grown out. As you can hear, the guitar (Langejans) has a very responsive harmonics, as does the Olson guitar. When I first heard this melody in my head, it wasn’t easy to execute, but with practice…I almost have it down!

7 Looking Back
A very short piece using my JamMan to create a backward loop, and playing the chords to it.

8 Paka
This is a piece I’ve toyed with for a while now. I eventually wrote lyrics to it, so it’s a full length song in memory of my father James, whose grandchildren called him “Paka.” It has a Chet Atkins style picking pattern in alternate tuning: E-B-C#-G-B-E. I play the Olson guitar and a Paul McGill resonator guitar on loan from my friend John Schroeter – a beautiful guitar with a great, unique sound. The finger snaps were provided by Nabisco – just kidding – actually off my Korg 01W keyboard.

9 Spend My Life With You
An Instrumental version, very simply done one day. This has always been a favorite of mine in concerts over the years since 1980. It was recorded on my “Ph’lip Side” album (vocal version). It’s in D with a dropped E-to-D on the 6th string. Two Olson guitars.

10 Jam in the Pocket
I sampled in my JamMan a little rhythm pattern about four bars, and then played it over, restarting the pattern again before the sample ran out. This is just a jam with more of a bluesy touch - no key changes – just a groove and “in the pocket.” I quote some of my electric licks here and there.

11 Swing Low Sweet Chariot
This is an out-take from my “Beyond Nature” album. Phil Madeira popped in with his National Reso-Phonic guitar; Madeira is playing the slide, I’m flat picking and playing bass. Later we added tuba while we were doing horns on “Light of Common Day.” I was hoping this track would have made the Beyond Nature album, but I’m glad to see it appear here. Everyone should hear a real live tuba now and then – even Ralph Vaughn-Williams scored a tube concert that’s fantastic.

12 The 50th
This is an abridged version of the piece I wrote in memory of my grandparents 50th wedding anniversary. It’s an E tuning piece (E-E-B-E-B-B), touching on the themes of “No Place Like Home” and “I Want a Girl Just Like the Girl that Married Dear Old Dad” with some of my own bits thrown in. I play the Olson on this – two guitars.

13 Morning Snow
The Langejans guitar here, with a loop created on my JamMan. A gentle melody, reminiscent of “As Warm As Tears.” Although it’s short, your CD player can be programmed to play it over and over again for 24 hours if you like! I think of these short pieces as passing thoughts that sort of come and go. I often hear these kinds of melodies in my head throughout an average day.

14 Spanish Fantasy
This is a piece that was inspired by kinds of things that Anthony Phillips has done in the past (eg. “The Geese and the Ghost”, one of my old favorite albums from the 70’s).

15 On Some Distant Shore
This moody piece was one of those recordings I’d forgotten about, and then came upon while trying to identify some old unmarked 7-inch reels of tape, probably from 1990, perhaps while writing music for “Beyond Nature.” Sections are reminiscent of “A Place of Springs.” I can imagine seeing the north coast of Ireland again, with the waves gently breaking on the shore with it’s interesting rock formations.

16 Icicles
More of the same – Langejans direct into the 8-track, with the JamMan looping the original pass. The closing part is rhythmically similar to Andreas Vollenweider’s style on the electric harp.

17 On Second Thought
Part II of “Passing Thought” – just a longer version. Same loop, but with more lead work. This is the kind of thing that’s fun to keep going on and on. I often create a loop while practicing, and try my hand at working on different legato phrases such as hammer-ons, chromatic phrases with a bend or two, and harmonies. Call it what you like – I’ll call it a reprise of a reprise.

18 Griegarious
A touch of “Symphonic Dance” from “Beyond Nature.” If you yawn, you may miss it as it goes by quite suddenly.

19 Legacy
The closing number, in a C tuning, alternates from C minor (C-G-C-G-C-Eb) to C major (C-G-C-G-C-E) on the fly. I’ve played this in concert now and then over the past few years. Finally I just played it direct to tape with slapping harmonics and bends. This is a lot of fun to play, and it has an ascending section that gives it some attempts at a melodic flow. I liken this piece to “The Reunion” from “The Wind and the Wheat” which, like “Del’s Bells”, was Hedges inspired.

credits

released July 8, 2019

Produced by Phil Keaggy and John Schroeter
Digitally remastered by Tom Gregor and John Schroeter at Startsong Recording
Art Direction by Ed Rother
Photography by Ben Pearson
Guitars Played:
- Tracks 1, 2, 4, 6, 9, 12 , 13, 15, 16, 17, 18: Del Langejans
- Tracks 3,5,7,8,10,11,14,19: James Olson
- Track 7: Paul McGill Resonator

Copyright © 1996 by Marguerite Music. All rights reserved.

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Phil Keaggy - Studio Instrumentals Nashville, Tennessee

Phil Keaggy is one of the most admired guitarists in music today. A master of both electric rock and acoustic finger style, he has been honing his craft for over 50 years.
He continues to sell out concerts all over the United States, with his ever-changing style, ranging from rock-and-roll to fully orchestrated instrumental compositions.
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