In Japanese clubs you have a choice; see the show or watch TV
It’s been a great year and I’ve been on the road quite a bit. In the spring I kicked off a European tour at the Acoustic Guitar Meeting in beautiful Sarzana, Italy. The festival hosted some old friends of mine (Bob Brozman, Woody Mann,Paolo Giordano) and some new friends (Michael Manring,Tommy Emmanuel, Peter Rowan). Peter, Michael and I joined for the finale, playing the Bob Marley classic “No Woman, No Cry.” It was great to see all my Italian friends.
From Italy I traveled to Germany for a ten day tour with Laurence Juber and the Germany’s Ulli Bögershausen. The tour crew was great to work with and I enjoyed myself immensely. We had very little time for sightseeing but we did make it to the St.
Thomas Church in Leipzig where Bach was cantor. Germany was lush, green and
In Italy with Michael Manring (L) and Peter Rowan
beautiful. After the tour wound up in Berlin I headed off to Switzerland for a couple of shows. The first was in the beautiful town of Basel. Paul Smith hosted the show and did a fabulous job. Last stop on the tour was a concert in Gams, a spectacularly beautiful town in southeastern Switzerland. We were hosted by friends Urs and Ursula and had a great time spending a few days with them. In September I traveled back to Japan. As always I had a great time with my friends old and new, and ate plenty of sushi.
We’ve also begun working with a new record label in Japan called Soft Edge. They have released my “Counting the Ways” album and will issue “Christmas” very soon. I’m pleased to be working with the good people at the label and am planning another trip to Japan soon to usher in these releases. Domo!
In Bremen, Germany. Ulli’s “Love Dungeon” hotel room Ulli, Laurence and Ed
At Bean’s, Tokyo. Sushi and guitars, what
could be better?
Thanks to all the journalists and reviewers around the world who wrote wonderful words about House of Guitars. And thanks to all the radio stations and DJs for playing House of Guitars. House of Guitars. was nominated for the Folk Roots 2001 Critics Poll. The Washington Times called it “… beautiful, fragile and natural…spectacular… a gem.” Frets Magazine called it a “…creative and sonic masterpiece.”
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