CD version of the 2009 Mississippi Records release. Highly recommended to followers of the Blackshaw/Wissem line of acoustic instrumental composition that runs through the Imprec catalog.
From the original notes:
"Portland guitar wizard MARISA ANDERSON's long awaited solo guitar record. Marisa has been a fixture on many a music scene for years & years playing w/ everyone from the Evolutionary Jass Band to Tara Jane O'Neil to The Dolly Ranchers. In any context, she can't escape her rag/blues/folk roots no matter how hard she tries. This LP featuring only guitar, no vocals, no overdubs, we are treated to a very intimate sounding home recording filled w/ delicate grace. Comparisons to John Fahey & his ilk are bound to occur, but won't be the last words"
When I listen to Marisa Anderson's solo guitar music, I think of Sun Ra's poem about "Tone Scientists." It wasn't enough for Ra that his musicians hit the notes; he wanted them to play with precision, discipline, and an awareness of tone and architecture. Anderson, who's based in Portland, Oregon, has paid her dues and done her research: she played in country, circus, and jazz bands before applying her acumen to a series of solo instrumental records for acoustic and electric guitar and lap steel. On her latest LP, Traditional and Public Domain Songs (Grapefruit), her performances of chestnuts such as "Just a Closer Walk With Thee" and "Farther Along" are structurally sound and patiently paced, allowing the audience to soak in her waves of Pops Staples-style reverb and be hypnotized by her Elizabeth Cotton-inspired fingerpicking. In concert, Anderson keeps her verbal commentary to a minimum, instead telling a story with her sequencing of material—usually a mix of originals (often named after natural phenomena) and vintage tunes steeped in themes of community and spirituality. Anderson opens for local instrumental quartet Brokeback, which will play new material and debut a modified lineup—Jim Elkington is taking over from the departing Chris Hansen on guitar, and Areif Sless-Kitain is stepping in to fill Elkington's spot behind the drums. —Bill Meyer/Chicago Reader
""She's from Portland Oregon, and plays these beautiful, timeless instrumentals that you'd think were recorded in the Thirties or Forties, this deep Appalachian guitar music. She plays electric too, and makes it a little gnarlier in some of her performances. It's pretty meditative but bad-ass at the same time!" Sharon Von Etten