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There are only a few living luthiers whose instruments command the respect (and prices) of those made by Tennessee’s Lynn Dudenbostel. Doc Simpson interviews “Dude” at his studio and learns how the luthier’s studies with photography great Ansel Adams shaped his instrument making. We also learn a bit more about Dudenbostel’s early instruments, his friendship with Chris Thile and his advice for young luthiers. Stunning photographs by Don Dudenbostel (Lynn’s brother and another Adams devotee) run throughout the piece.
Hamilton de Holanda is simultaneously pushing both the boundaries of Brazilian music and mandolin music. But, as Matt Sircely learns in his interview with de Holanda, playing at this level required years of classical training, a supportive family and ears wide open to the sounds of choro, bossa nova, bluegrass, jazz and rock.
In the late ‘80s when he was just a teenager, guitarist Paul Henry placed a custom order for a Mosrite Guitar. As writer/luthier Todd Lunneborg learns, Henry not only got his guitar but a treasure trove of correspondence and friendship with the aging Mosley. We take a look at the Mosrite, still in Henry’s possession, as well as hear the story of how the guitar came to be.
Warren Haynes is downright ubiquitous these days: in addition to his thriving solo careers, he’s a member of the Allman Brothers Band and the Dead. In this lengthy interview, Editor Marc Greilsamer has Haynes walk us through his storied career, which includes stints with David Allan Coe, the improv-based Gov’t Mule, the Dead and much more. Haynes also tells us about his slide guitar technique, his favorite Gibson guitars and the players who influenced him.
With Fur Peace Ranch, Hot Tuna’s Jorma Kaukonen has created an idyllic retreat where guitarists and mandolin players from all over the world can learn from some of the masters. As photographer Eric Futran discovers, this place is far more than just a “guitar camp.” Here, players such as Bill Kirchen, Chris Hillman, GE Smith and David Bromberg are having a blast alongside their students.
Whether he’s playing Cuban party music, a Hendrix tune or accompanying heavyweights such as John Zorn or Tom Waits, Marc Ribot’s jazz guitar sound is instantly recognizable. John Kruth interviews the legendary musician at his NYC home about what it’s like to play such disparate music and styles. We also take a look at Ribot’s stash of guitars, including his beloved Wandre electric, his Gibson HG-00, his Kays, his ’57 Telcaster and much more.