Brussels Razen-member serves up very personal European fingerpicking compositions
Aside from being one of the core members of acoustic avant-garde improvisation ensemble Razen, Brecht Ameel is also a brilliant guitarist who has dedicated his entire career to the study and development of his ‘European fingerpicking’ technique. With his steel resonator guitar and a resonator mandolin, he has developed an entirely own, renaissance- and baroque-music indebted, nostalgic musical language that is fed by his love of ragtime and slide guitar. His recently released album ‘Polygraph Heartbeat’ (on Kraak) lets us hear a dedicated musician at work, where emotionality and the power of imagination are on a par with technique.
AMERICAN PRIMITIVE GUITAR NIGHT FEAT. BRECHT AMEEL
It was American fingerpicking-guitarist and pioneer John Fahey who put the American primitive guitar style on the map in the late 1950s/early 1960s. Fahey: ‘The New Age people call it Folk. The Folk people call it New Age, but it is really neither. It's transitional. The style is derived from the country blues and string band music of the '20s and '30s, however much of the music is contemporary.’ BRDCST dedicates an entire evening to the genre – implicitly honouring John Fahey and Jack Rose – and in doing so allows Gwenifer Raymond (from Wales) and Brecht Ameel (from Brussels) to join generational peers like James Blackshaw, Daniel Bachman and Bill Orcutt.