He as soon as explained himself in AG as”a hillbilly from North Carolina,” Tim Sparks has actually long been among the fingerstyle guitar world’s fantastic eclectics– an innovative and prodigiously knowledgeable stylist proficient at playing whatever from folk, jazz, ragtime, bluegrass, and early blues to classical, Greek, klezmer, Latin, Brazilian, and more. Lost and Found is his very first solo album in almost a years, and not remarkably it makes use of a broad series of designs on a choice of popular folk, jazz, nation, and pop tunes from the ’60s– consisting of 4 by the Beatles– and 3 strong originals.[[Editor’s note: Check out Tim Sparks on our Beatles Roundtable episode of the Acoustic Guitar Podcast.]
This time out there are just 4 real solo tunes on the all-instrumental album. The rest are by a trio: Sparks on his Tim Reede Alouette archtop, Ben Abrahamson on a Córdoba C7-CE nylon-string and a Salvador Castillo flamenco design, and Ted Olsen on upright bass. (All 3 are based in Minneapolis, as is the luthier Reede.) And what an ensemble it is! The archtop and nylon-string mix works wonderfully, and the 2 guitar players absolutely share the load throughout, tossing solos backward and forward and supporting each other rhythmically when the other is soloing, both anchored by Olsen’s consistent and flexible bass work.
To be sincere, when I initially took a look at the lineup of cover tunes– all tunes I enjoy, however the majority of relatively basic, traditional timeless rock (plus one jazz and one nation number)– I questioned what Sparks and business might do to cheer them up instrumentally. Well, the response is plentyDo not be wed to the original’s structure and even the chords. Exercise brand-new consistencies for familiar passages. Find out brand-new methods to enter into the tune. Why can’t “Me and Bobby McGee” seem like it’s being used the deck of a Mexican ranchero? Why not offer the Beatles’ “Ticket to Ride” an opening that has a Brazilian samba taste and after that begin the long solo exposition by pricing estimate thoroughly from George Harrison’s “Within You Without You”? How about “Michelle” with an off-kilter Spanish opening and Django-esque solo? Why not go escape on part of “Mr. Tambourine Man”?
The secret is that absolutely nothing is spiritual and opportunities are taken at every turn. You might believe you understand these tunes, however Sparks and business take them to a wide variety of unforeseeable and unforeseen locations that most likely never ever struck you.
For those searching for up-tempo flash, there’s lots of that here, too: take a look at the solo variation of Jerry Reed’s “The Claw” and Sparks’ own “Moonshine Ramble.” Simply as effective to my ears, however in a peaceful method, is the unique “Breakfast in Barbes,” Sparks’ beautiful evocation of a specific area in Paris.
This album is packed with vibrant and daring improvisations filled with twists and uncommon flourishes. Not every note lands easily, nor is every shift entirely smooth, however the excitement of hearing Sparks decrease numerous difficult opportunities (how will he ever make it back to the tonic chord?) makes this one of the more appealing and interesting albums I’ve heard in a long time.
This short article initially appeared in the May/June 2024 concern of Acoustic Guitar publication.