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Paul
Andrews
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Paul Andrews
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Paul Andrews recently received a BA in music production from the University of Kent in England. He teaches guitar at a Yamaha music school in Canterbury, Kent, where he specializes in blues and rock. Andrews’s main skills lie in music education and music theory; he has also released his first book, a rhythmic teaching aid called Musical Maths (www.musicalmaths.com). He has written articles for Guitar Teacher and Play Guitar! and contributes regularly to www.GuitarNoise.com.
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Dan
Apczynski
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Dan Apczynski
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Dan Apczynski is an associate editor at Acoustic Guitar. In 2002, he completed his bachelor’s degree in Philosophy and left his home state of Michigan for the Bay Area, where he now thinks deep thoughts about music notation. When not engraving lessons for Acoustic Guitar, he gigs regularly around the San Francisco Bay Area.
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Douglas
Baldwin
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Douglas Baldwin
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“I believe that an accurate product review is as important as an educational article or a ‘how-to’ with a great songwriter,” says Douglas Baldwin. “It’s an opportunity to tell the Leonardo da Vincis of the music world that a great new paintbrush is available.” A former associate editor of Guitar One magazine, Douglas is also the author of Play Guitar by Ear (Hal Leonard, 2005). He teaches guitar at Coyote Music, gigs regularly in settings ranging from solo acoustic performances to rock bands to electronic soundscapes, and lives with his wife and son in the aptly named village of Sound Beach, New York.
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Steve
Baughman
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Steve Baughman
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Steve Baughman is a San Francisco guitarist who loves guitar music with melody, especially Celtic and Appalachian music. He has one solo album, A Drop of the Pure, on his own Tall Trees record label (1522 29th Ave., San Francisco, CA 94122; [800] 649-4745) and he appears with Pierre Bensusan, Martin Simpson, and others on the Rounder Records compilation Ramble to Cashel. Baughman has also released two Mel Bay books, Celtic Guitar Method and Celtic Fingerstyle Solos. He is a partner in the San Francisco law firm of Baughman and Wang, where he practices primarily in the area of political asylum law. He has taught at the Swannanoa Gathering and can be reached at www.celticguitar.com.
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Kenny
Berkowitz
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Dick
Boak
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Dick Boak
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Dick Boak has worked at the Martin Guitar Co. in Nazareth, Pennsylvania, since 1976. Originally hired as a design draftsman, he has been a builder of prototypes, manager of the 1833 Shop, founder of A Woodworker's Dream (which evolved in to Guitarmaker's Connection), and manager of Martin's in-house advertising department and print shop. He also established Martin’s Limited Edition program, which has produced signature models for more than 100 artists, including Eric Clapton, Paul Simon, Joan Baez, Johnny Cash, Willie Nelson, and Tom Petty. He chronicled his personal experiences developing Martin artist editions in the acclaimed book Martin Guitar Masterpieces (Bulfinch Press, www.bulfinchpress.com). In addition to his varied responsibilities at Martin, Boak was instrumental in founding ASIA (the Association of Stringed Instrument Artisans), edited and published ASIA's Guitarmaker magazine from 1989 to 1995, and organized many of ASIA's biannual symposiums.
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Claus
Boesser-Ferrari
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Claus Boesser-Ferrari
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Claus Boesser-Ferrari grew up in southwestern Germany and took his first guitar lessons from a rockabilly-playing American soldier who was bivouacked in Boesser-Ferrari’s hometown of Bellheim. His second guitar teacher—the mother of a school friend—was a Gypsy. After a short career playing rock ’n’ roll, Boesser-Ferrari studied classical guitar at the Speyer Conservatory (near Mannheim) and took private lessons with John Renbourn in Cambridge, England. A tour of South America, he says, changed his life, inspiring him to add percussion to his eclectic musical studies. With five solo CDs to his credit, Boesser-Ferrari recently released Wandertag, featuring fellow guitarist Marc Ribot (Acoustic Music, www.acoustic-music.de). He also composes and performs music for avant-garde theater productions. For more information, visit www.boesser-ferrari.de.
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Steve
Boisson
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Steve Boisson
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Steve Boisson has always found it difficult to talk and pick at the same time, hence his appreciation for the talking blues. “Alice’s Restaurant Massacree,” Arlo Guthrie’s classic, 18-minute yarn, impressed Boisson as a masterpiece of the genre, and for years he assumed that massacree meant “long talking blues.” Had he not recently learned that the word is not recognized by dictionaries, he would have used it in his recent Player Spotlight profile of Todd Snider, whose songs often mix spoken word narratives with musical choruses. Boisson, who wrote a feature on John Fahey for Acoustic Guitar's October 2006 issue, is currently at work on a biography of the late guitarist, who never talked while he played.
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Bob
Calo
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Bob Calo
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Bob Calo played his first jazz chords in 1959 under the watchful eye (and ear) of a family friend who idolized Barney Kessel, Joe Pass, and above all, Wes Montgomery. During the ’60s Calo took a predictable detour into blues and rock guitar and ultimately a longer detour into television news and documentary production. Finally, he’s returned to playing the music his old teacher so badly wanted him to play. Currently he teaches at UC Berkeley's graduate school of journalism and performs frequently around the Bay Area.
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