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Review by Dave Kidman April 2007 on the NetRhythms website

Guitar Maestros DVD (Series 1): No. 8: Gordon Giltrap (Sound Techniques)

Following swiftly on from the Martin Carthy issue, this is one I've been eagerly anticipating. Gordon's another of those unsung heroes of the guitar, a consummate maestro who's refreshing in his altogether unassuming expertise. This latest title in the marvellous ongoing Guitar Maestros series follows roughly the same format as the previous seven: the Main Feature, lasting a little over an hour, consists of an interview incorporating live-in-the-studio performances of eight pieces, and it's followed by nine additional tracks and a twelve-minute bonus feature in which Gordon demonstrates the use of technology to enhance his playing. It's worth mentioning the latter aspect of Gordon's art at the outset, for it's one that despite best intentions is sometimes misconstrued; Gordon's view is that while acoustic music is essentially honest music, the organic nature of his compositions does in fact lend itself to the occasional use of creative technological enhancement to keep the music (and the performer!) fresh. While some guitarists may hide behind technology to mask their own inadequacies in technique, Gordon emphasises the selective nature of his own use of its possibilities; the bonus feature, Dodo's Dream, is a very persuasive demonstration of this indeed.

Elsewhere, the focus is firmly on direct hands-on-frets-and-strings, on a selection of pieces on which Gordon shows himself to be master of virtually any musical style (even though he modestly considers himself to be a living embodiment of the guiding principle of exploiting one's own limitations!). From the folk-style fingerwork of Maddie Goes West, the medievalism of Lord's Seat (much admired by Ritchie Blackmore) and the delicate "harping" technique of Nursery Chimes to the devilish intricacy of Lucifer's Cage and the exciting, dashing, breakneck breezy percussiveness of Gordon's erstwhile "hit single" Heartsong, this is an enchanting and stimulating set. From the very start, we get to appreciate the benefits of Gordon's unique right-hand technique (sometimes described as crab-like), whereby, using the little finger in tandem with the plectrum, he's able to integrate a harmony line into his playing. Other hallmarks of Gordon's technique are the gentle ringing tone and the delicate resonances he conjures from creative use of harmonics. When asked whether he practises (!), Gordon replies (with a typical combination of honesty and playful delight in sharing a confidence) that the best form of practice is the act of composition, the challenge of coming up with a melodic idea and then trying to play it! All of the pieces Gordon plays during the course of this DVD are his own compositions, primarily in the earcatching but tricky "soundscape" vein (sometimes, fairly reasonably, compared to Mike Oldfield - another former singer-songwriter who forsook singing for playing).

In communicating the music to us, Gordon treats us to a guided tour of his various guitars, relating the origin of each one and explaining any modifications which he's needed to make to the instruments themselves (after all, Gordon says, the instruments are organic, living objects). This aspect of the interview segment will surely be guitarists' heaven, with the Fylde Signature model (immortalised by Mark Radcliffe in his novel Northern Sky) possibly the pride of Gordon's collection but others (from the humble "car boot sale", "baby" and "tiny" models to the more showy but intensely practical double-necked John Bailey ) proving of much fascination to him too. And what a fantastic sound Gordon coaxes from the strings: often technically complex in execution, sure, but always highly musical and invariably intriguing and immensely appealing to listen to.

Gordon is a true visionary of the guitar, and this DVD will prove a revelation to the viewer I'm sure; perhaps more so than some earlier issues in the series which dealt with more widely celebrated performers, it's as much a taster that will introduce Gordon's virtuosity and versatility to folks to whom he's (still) but a name, as a glorious set of intimate performances. It really does do Gordon's talents justice. The camerawork is ideally executed, allowing close observation of plenty of all-important detail yet never becoming tedious or obscuring the wider picture of the rich musical canvas. The interview itself is well carried out, Trevor Dann knowing exactly when to pursue a line of enquiry further and when it has briefly and sensibly run its course. The sound quality is excellent, naturally, and the various access points and menus are simply and intelligently managed.

Dave Kidman April 2007