Joan Shelley and Nathan Salsburg have been touring heavily behind last years critically acclaimed Over and Even, and their most recent stop was at the storied Newport Folk Festival in Newport, [...]
Third is the stunning third album by Nathan Salsburg, one of his generation’s most gifted and idiosyncratic acoustic guitarists. It’s been five years since his last solo record (Hard for to Win and Can’t Be Won, 2013) — but not because he hasn’t been playing guitar. In the intervening years he’s backed up Joan Shelley on three releases and several hundred live dates; put out a collection of guitar duets with multi-instrumentalist James Elkington; teamed up with fellow Louisvillian and neighbor Bonnie “Prince” Billy on an EP; and contributed playing to records by The Weather Station, Wooden Wand, Watter (what’s with the Ws?), Jake Fussell, and Red River Dialect. Meantime he’s also managed to keep his head above water at his day job as curator of the Alan Lomax Archive.
The original pieces on Third, his first strictly solo guitar record—no singing, no guests—were composed in fragments of down-time, with little expectation that they would ever come to comprise a collection: Impossible Air, was written in a converted cow-shed outside of Eeklo, Belgium; Sketch from Life, while watching college basketball on TV. Exilic Excursions resisted completion for nearly four years. The songs, as others have before them, distill a love of old-time dance music and rural ragtime; the melody-centric compositions of American guitarists Peter Lang and William Ackerman; and the work of Scottish and English folk-revivalists like Dick Gaughan, Dolly Collins, and especially Nic Jones, whose monumental arrangement of the pipe tune Planxty Davis has been adapted here in turn. And they all display a notable increase in confidence and ease, as Salsburg has quietly, persistently established a style marked by a depth and a complexity that are utterly his own.
No shows booked at the moment.
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