British guitarist Martin Taylor is one of the most highly regarded guitaris… Read Full Bio ↴British guitarist Martin Taylor is one of the most highly regarded guitarists in the world. Specialising in jazz, he has performed in groups, guitar ensembles and as an accompanist to many of the world’s most famous musicians. However, it is for his remarkable solo fingerstyle performances, in which he provides bass and chordal accompaniment in addition to a melody, that he is most renowned.
Taylor was born in Harlow, Essex in 1956 into a family with a musical heritage and a gypsy/traveller tradition, although he did not strictly lead the traditional gypsy lifestyle. It was no surprise then that, after being given a guitar at age 4 by his father, bassist William ‘Buck’ Taylor, he would develop a passion for jazz in general and Django Reinhardt in particular. Over the next few years the young Taylor would hone his skills and, by age 11, was playing regularly in his father’s band. This experience made him determined to pursue a career in music and, after much persuasion, his parents allowed him to leave school aged 15 to try and achieve this ambition.
Over the next few years Taylor played in numerous bands, in holiday camps, various radio dates and on cruise ships (one cruise lead to the personal highlight of jamming with the Count Basie orchestra). Performing dates in and around London soon brought him into contact with fellow jazz guitarist Ike Isaacs who took the younger man under his wing. In addition to performing with Taylor as a duet, Isaacs helped develop his sense of jazz harmony and started him on the road to developing his unique fingerstyle technique. It was through Isaacs that Taylor was introduced to Stephane Grappelli, erstwhile violinist in Hot Club of France with Django Reinhardt. When one of Grappelli’s regular band members sustained an injury, Taylor was invited to deputise for a few European dates. Suitably impressed, Grappelli invited him to join his band full-time. He accepted and performed and recorded with the Frenchman for the next eleven years.
His success with Grappelli allowed him more freedom in his career. He reduced some of his commitments and relocated to Scotland where he still lives (this explains why he is sometimes referred to as Scottish). Another benefit of his Grappelli association was that he began to tour North America regularly, allowing him to reach a new audience and to build new relations. He came to know musicians such as Chet Atkins and David Grisman, with whom he would both record, while another contact financed the production of an album, Sarabanda. The album received substantial airplay but financial difficulties at the record label prevented any major success.
This success was tempered by a difficult period in the mid 80s stemming from Grappelli suffering a heart attack. Although the Frenchman would go on to make a full recovery, it was some time before he would be able to tour again. Taylor found it difficult to replace the Grappelli gig with other work and fell into a period of financial hardship, forced to sell his guitars to survive. Depressed at being unable to provide for his family he became disenchanted with music, his guitars going virtually untouched for almost a year. He finally agreed a price for his one remaining guitar, a gift from mentor Isaacs, but, on the way to close the deal he pulled his car over to allow himself a final play of the instrument and suddenly found his passion for playing re-ignited. The deal was called off and this incident proved to be the catalyst in the next stage of his career.
Keen to avoid having to rely on other musicians for income, Taylor spent some time working on his fingerstyle technique before starting to perform as a solo act. These concerts were immediately successful, both critically and financially. So much so that, after a few years, he was able to stop touring with Grappelli and concentrate on his solo career, aided by a recording contract with Scottish label Linn. Primarily a manufacturer of high-end audio equipment, Linn felt that Taylor’s intimate and intricate style and unique tone would ably demonstrate the quality of their equipment. Some of these Linn recordings are solo (Artistry and Portraits which featured Chet Atkins), some recorded as a modern jazz quartet (Don’t Fret) and there is also a reunion album with Grappelli. The relative success of these albums, and his concert dates, raised his profile in the guitar community as his peers became interested in his unique style.
While Taylor is inspired by many guitarists, musically he relates more to pianists such as Art Tatum and Bill Evans and this influence can clearly be heard in his playing. His philosophy is that the guitar should be a complete instrument able to provide bass, harmony and melody. His arrangements and compositions are often influenced by composers like Nelson Riddle featuring moving lines and complex harmony as opposed to block chords with single note lines over the top. All this is achieved without compromising the melody which he considers the most important element in any arrangement.
From a technical standpoint Taylor’s most distinguishing feature is his ability to syncopate rapid bass lines with the melody, often incorporating thumb upstrokes on the bass strings to give a distinct rhythmic quality to his playing, Combined with a unique tone and extensive use of harmonics, his playing is instantly recognisable. His solo version of Gershwin’s ‘I Got Rhythm’ from his album Portraits, with its lightning fast double-time walking bass line, is probably the best example of all these qualities on a single recording.
Around the mid-90s Taylor started a band inspired by the music of Django Reinhardt and the Hot Club which he named Spirit of Django. He recorded and toured successfully with this band while continuing his solo commitments. At the end of the decade he signed for Sony, releasing two albums Kiss and Tell and Nitelife. After Sony he set up his own company P3 music with whom he has released the acclaimed Solo, and The Valley which features guest appearances by Bryn Terfel, Sacha Distel and Simon Dinnigan. Recently he has appeared with a few ensemble groups including the 4 Martins (with Martin Simpson, Martin Carthy and Juan Martin), Guitars 3 (with Neil Stacey and Martin Simpson) and Le Nouveau Trio Gitan (with Christian Escoude and Davide Reinhardt, grandson of Django). He has also worked with Bill Wyman’s Rhythm Kings and composer Karl Jenkins.
Some of his other achievements include a British Academy of Composers & Songwriters 'Gold Badge of Merit', ten time winner of Best guitarist at British Jazz awards, Freeman of the City of London, honorary doctorate awarded by Paisley University, Scotland, and in 2002 he was appointed a Member of the British Empire (MBE) for services to jazz. In 1999 Martin founded an International Guitar festival which is held over three days in the village of Kirkmichael, near his home in Ayrshire. The festival includes concerts, recitals and tutorials from some of the world’s best guitarists and emerging talents. The money raised is used to fund a Guitar for Schools program, a charity which provides equipment and tuition for local schools.
Martin Taylor is also a UK based stage hypnotist, who has created audio-guides to self-hypnosis.
Taylor was born in Harlow, Essex in 1956 into a family with a musical heritage and a gypsy/traveller tradition, although he did not strictly lead the traditional gypsy lifestyle. It was no surprise then that, after being given a guitar at age 4 by his father, bassist William ‘Buck’ Taylor, he would develop a passion for jazz in general and Django Reinhardt in particular. Over the next few years the young Taylor would hone his skills and, by age 11, was playing regularly in his father’s band. This experience made him determined to pursue a career in music and, after much persuasion, his parents allowed him to leave school aged 15 to try and achieve this ambition.
Over the next few years Taylor played in numerous bands, in holiday camps, various radio dates and on cruise ships (one cruise lead to the personal highlight of jamming with the Count Basie orchestra). Performing dates in and around London soon brought him into contact with fellow jazz guitarist Ike Isaacs who took the younger man under his wing. In addition to performing with Taylor as a duet, Isaacs helped develop his sense of jazz harmony and started him on the road to developing his unique fingerstyle technique. It was through Isaacs that Taylor was introduced to Stephane Grappelli, erstwhile violinist in Hot Club of France with Django Reinhardt. When one of Grappelli’s regular band members sustained an injury, Taylor was invited to deputise for a few European dates. Suitably impressed, Grappelli invited him to join his band full-time. He accepted and performed and recorded with the Frenchman for the next eleven years.
His success with Grappelli allowed him more freedom in his career. He reduced some of his commitments and relocated to Scotland where he still lives (this explains why he is sometimes referred to as Scottish). Another benefit of his Grappelli association was that he began to tour North America regularly, allowing him to reach a new audience and to build new relations. He came to know musicians such as Chet Atkins and David Grisman, with whom he would both record, while another contact financed the production of an album, Sarabanda. The album received substantial airplay but financial difficulties at the record label prevented any major success.
This success was tempered by a difficult period in the mid 80s stemming from Grappelli suffering a heart attack. Although the Frenchman would go on to make a full recovery, it was some time before he would be able to tour again. Taylor found it difficult to replace the Grappelli gig with other work and fell into a period of financial hardship, forced to sell his guitars to survive. Depressed at being unable to provide for his family he became disenchanted with music, his guitars going virtually untouched for almost a year. He finally agreed a price for his one remaining guitar, a gift from mentor Isaacs, but, on the way to close the deal he pulled his car over to allow himself a final play of the instrument and suddenly found his passion for playing re-ignited. The deal was called off and this incident proved to be the catalyst in the next stage of his career.
Keen to avoid having to rely on other musicians for income, Taylor spent some time working on his fingerstyle technique before starting to perform as a solo act. These concerts were immediately successful, both critically and financially. So much so that, after a few years, he was able to stop touring with Grappelli and concentrate on his solo career, aided by a recording contract with Scottish label Linn. Primarily a manufacturer of high-end audio equipment, Linn felt that Taylor’s intimate and intricate style and unique tone would ably demonstrate the quality of their equipment. Some of these Linn recordings are solo (Artistry and Portraits which featured Chet Atkins), some recorded as a modern jazz quartet (Don’t Fret) and there is also a reunion album with Grappelli. The relative success of these albums, and his concert dates, raised his profile in the guitar community as his peers became interested in his unique style.
While Taylor is inspired by many guitarists, musically he relates more to pianists such as Art Tatum and Bill Evans and this influence can clearly be heard in his playing. His philosophy is that the guitar should be a complete instrument able to provide bass, harmony and melody. His arrangements and compositions are often influenced by composers like Nelson Riddle featuring moving lines and complex harmony as opposed to block chords with single note lines over the top. All this is achieved without compromising the melody which he considers the most important element in any arrangement.
From a technical standpoint Taylor’s most distinguishing feature is his ability to syncopate rapid bass lines with the melody, often incorporating thumb upstrokes on the bass strings to give a distinct rhythmic quality to his playing, Combined with a unique tone and extensive use of harmonics, his playing is instantly recognisable. His solo version of Gershwin’s ‘I Got Rhythm’ from his album Portraits, with its lightning fast double-time walking bass line, is probably the best example of all these qualities on a single recording.
Around the mid-90s Taylor started a band inspired by the music of Django Reinhardt and the Hot Club which he named Spirit of Django. He recorded and toured successfully with this band while continuing his solo commitments. At the end of the decade he signed for Sony, releasing two albums Kiss and Tell and Nitelife. After Sony he set up his own company P3 music with whom he has released the acclaimed Solo, and The Valley which features guest appearances by Bryn Terfel, Sacha Distel and Simon Dinnigan. Recently he has appeared with a few ensemble groups including the 4 Martins (with Martin Simpson, Martin Carthy and Juan Martin), Guitars 3 (with Neil Stacey and Martin Simpson) and Le Nouveau Trio Gitan (with Christian Escoude and Davide Reinhardt, grandson of Django). He has also worked with Bill Wyman’s Rhythm Kings and composer Karl Jenkins.
Some of his other achievements include a British Academy of Composers & Songwriters 'Gold Badge of Merit', ten time winner of Best guitarist at British Jazz awards, Freeman of the City of London, honorary doctorate awarded by Paisley University, Scotland, and in 2002 he was appointed a Member of the British Empire (MBE) for services to jazz. In 1999 Martin founded an International Guitar festival which is held over three days in the village of Kirkmichael, near his home in Ayrshire. The festival includes concerts, recitals and tutorials from some of the world’s best guitarists and emerging talents. The money raised is used to fund a Guitar for Schools program, a charity which provides equipment and tuition for local schools.
Martin Taylor is also a UK based stage hypnotist, who has created audio-guides to self-hypnosis.
I'm Beginning To See The Light
Martin Taylor Lyrics
We have lyrics for 'I'm Beginning To See The Light' by these artists:
After Midnight I never cared much for moonlit skies I never wink back…
Al Jarreau Never, no never, never I'm beginning to think I should say n…
Al Jarreau & The Metropole Orkest Never, no never, never I'm beginning to think I should say…
Alice Babs & Duke Ellington I never cared much for moonlit skies I never wink back…
Art Tatum I never cared much for moonlit skies I never wink back…
Bert Kaempfert And His Orchestra I never cared much for moonlit skies I never wink back…
Billy May I never cared much for moonlit skies I never wink back…
Bobby Darin I never cared much for moonlit skies Never wink back at…
Cal Tjader & Mary Stallings I never cared much for moonlit skies I never wink back…
Claude Blouin & His Orchestra I never cared much for moonlit skies I never wink back…
Coleman Hawkins I never cared much for moonlit skies I never wink back…
Cootie Williams and His Orchestra I never cared much for moonlit skies I never wink back…
Count Basie / Joe Williams I never cared much for moonlit skies I never wink back…
Count Basie Orchestra/Ella Fitzgerald I never cared much for moonlit skies I never wink back…
Count Basie Orchestra/Joe Williams I never cared much for moonlit skies I never wink back…
Count Basie; Joe Williams I never cared much for moonlit skies I never wink back…
Darin Bobby I never cared much for moonlit skies Never wink back at…
Dave Barbour & His Orchestra & Billy May & His Orchestra I never cared much for moonlit skies I never wink back…
Della Reese I never cared much for moonlit skies I never wink back…
Doris Day; Arranged & conducted by Mort Garson I never cared much for moonlit skies I never wink back…
Duke Ellington I never cared much for moonlit skies I never wink back…
Duke Ellington & Ella Fitzgerald I never cared much for moonlit skies I never wink back…
Duke Ellington & his Famous Orchestra;Joya Sherrill I never cared much for moonlit skies I never wink back…
Duke Ellington & his orchestra (with vocal: Joya Sherrill) I never cared much for moonlit skies I never wink back…
Duke Ellington & His Orchestra/Ella Fitzgerald I never cared much for moonlit skies I never wink back…
Duke Ellington & His Orchestra; Ella Fitzgerald I never cared much for moonlit skies I never wink back…
Duke Ellington & Luis Armstrong I never cared much for moonlit skies I never wink back…
Duke Ellington & Teresa Brewer I never cared much for moonlit skies I never wink back…
Duke Ellington and His Famous Orchestra & Joyce Sherrill I never cared much for moonlit skies I never wink back…
Duke Ellington And His Famous Orchestra Featuring Joyce Sherrill I never cared much for moonlit skies I never wink back…
Duke Ellington and His Orchestra I never cared much for moonlit skies I never wink back…
Duke Ellington with Arthur Fiedler and the Boston Pops I never cared much for moonlit skies I never wink back…
Eddy Howard & His Orchestra I never cared much for moonlit skies I never wink back…
Ella Fitzgerald & Ink Spots I never cared much for moonlit skies I never wink back…
Ella Fitzgerald & The Count Basie Orchestra I never cared much for moonlit skies I never wink back…
Ella Fitzgerald (Duet With The Ink Spots) I never cared much for moonlit skies I never wink back…
Ella Fitzgerald / Duke Ellington I never cared much for moonlit skies I never wink back…
Ella Fitzgerald / The Ink Spots I never cared much for moonlit skies I never wink back…
Ella Fitzgerald and Her Famous Orchestra I never cared much for moonlit skies I never wink back…
Ella Fitzgerald and Ink Spots I never cared much for moonlit skies I never wink back…
Ella Fitzgerald and The Ink Spots & The City Slickers I never cared much for moonlit skies I never wink back…
Ella Fitzgerald feat. the Ink Spots I never cared much for moonlit skies I never wink back…
Ella Fitzgerald Ink Spots I never cared much for moonlit skies I never wink back…
Ella Fitzgerald The Ink Spots I never cared much for moonlit skies I never wink back…
Ella Fitzgerald With Duke Ellington And His Orchestra I never cared much for moonlit skies I never wink back…
Ella Fitzgerald/Duke Ellington & His Orchestra I never cared much for moonlit skies I never wink back…
Ella FitzgeraldDuke Ellington & His Orchestra I never cared much for moonlit skies I never wink back…
Frances Wayne & Neal Hefti I never cared much for moonlight skies, I never wink…
Garth Brooks & Trisha Yearwood I never cared much for moonlit skies I never wink back…
Gene Ammons I never cared much for moonlit skies I never wink back…
Geraldo & His Orchestra I never cared much for moonlit skies I never wink back…
Gerry Mulligan I never cared much for moonlit skies I never wink back…
Gus Arnheim & His Orchestra I never cared much for moonlit skies I never wink back…
Harry James & His Music Makers I never cared much for moonlit skies I never wink back…
Harry James & His Orch. I never cared much for moonlit skies I never wink back…
Harry James And His Orchestra With Vocal Kitty Kallen I never cared much for moonlit skies I never wink back…
Harry James and His Orchestra [feat. Kitty Kallen] I never cared much for moonlit skies I never wink back…
Harry James/Helen Forrest I never cared much for moonlit skies I never wink back…
Helen Forrest I never cared much for moonlit skies I never wink back…
Hodges Johnny I never cared much for moonlit skies I never wink back…
Jarreau Never, no never, never I'm beginning to think I should say n…
Jenny Beaujean I never cared much for moonlit skies I never wink back…
Johnny Hodges I never cared much for moonlit skies I never wink back…
Joya Sherrill & Duke Ellington Orchestra I never cared much for moonlit skies I never wink back…
Kelly Rowland I never cared much for moonlit skies, Never winked back at…
Kelly Rowland(켈리 롤랜드) Look in my eyes What do you see? Only me Got nothing to…
KITCHEN - Louis Armstrong I never cared much for moonlit skies I never wink back…
Louis Armstrong Duke Ellington I never cared much for moonlit skies I never wink back…
Louis Armstrong & Duke Ellington I never cared much for moonlit skies I never wink back…
Louis Armstrong & Duke Ellington and His Orchestra I never cared much for moonlit skies I never wink back…
Louis Armstrong & His All‐Stars I never cared much for moonlit skies I never wink back…
Louis Armstrong and Duke Ellington I never cared much for moonlit skies I never wink back…
Louis Armstrong and His All-Stars I never cared much for moonlit skies I never wink back…
Louis Armstrong and the Duke Ellington Orchestra I never cared much for moonlit skies I never wink back…
Louis Armstrong/The Duke Ellington Orchestra I never cared much for moonlit skies I never wink back…
Louis Armstrong; Duke Ellington I never cared much for moonlit skies I never wink back…
Louis Armstrong| Duke Ellington I never cared much for moonlit skies I never wink back…
Lyle Ritz I never cared much for moonlit skies I never wink back…
Mary Stallings & Cal Tjader I never cared much for moonlit skies I never wink back…
Michael Bublé I never cared much for moonlit skies, I never winked back…
Mildred Bailey I never cared much for moonlit skies I never wink back…
Milt Jackson & Ray Brown & Joe Pass & Mickey Roker I never cared much for moonlit skies I never wink back…
Nancy Norman with Sammy Kaye and His Orchestra I never cared much for moonlit skies I never wink back…
Natalie Cole I never cared much for moonlit skies I never wink back…
Peggy Lee I never cared much for moonlit skies I never wink back…
Peggy Lee with the Dave Barbour Band Gone with the wind Just like a leaf that has flown…
Peter Rasmussen And His Orchestra I never cared much for moonlit skies I never wink back…
Phineas Newborn I never cared much for moonlit skies I never wink back…
Quincy Jones & Ella Fitzgerald I never cared much for moonlit skies I never wink back…
Ray Brown Jr. I never cared much for moonlit skies I never wink back…
Ray Charles I never cared much for moonlit skies I never wink back…
Ritz Lyle I never cared much for moonlit skies I never wink back…
Rosemary Clooney & Buddy Cole I never cared much for moonlit skies I never wink back…
Rosemary Clooney/Woody Herman & His Big Band I never cared much for moonlit skies I never wink back…
Ruth Brown I never cared much for moonlit skies I never wink back…
Sarah Vaughan And Billy Eckstine I never cared much for moonlit skies I never wink back…
Sutton Foster I never cared much for moonlit skies I never winked back…
Ted Lewis & His Band I never cared much for moonlit skies I never wink back…
The Four Freshmen I never cared much for moonlit skies I never wink back…
The Harry James Orchestra I never cared much for moonlit skies I never wink back…
The Ink Spots I never cared much for moonlit skies I never wink back…
The Ink Spots & Ella Fitzgerald I never cared much for moonlit skies I never wink back…
The Ink Spots Ella Fitzgerald I never cared much for moonlit skies I never wink back…
The Ink Spots [Feat. Ella Fitzgerald] I never cared much for moonlit skies I never wink back…
The Inkspots I never cared much for moonlit skies I never wink back…
Valerie Day I never cared much for moonlit skies I never wink back…
Vera Lynn I never cared much for moonlit skies, I never knew love…
Vol. 10 - Ella Fitzgerald I never cared much for moonlit skies I never wink back…
Woody Herman I never cared much for moonlit skies I never wink back…
Woody Herman & Erroll Garner I never cared much for moonlit skies I never wink back…
Al Jarreau Never, no never, never I'm beginning to think I should say n…
We have lyrics for these tracks by Martin Taylor:
A Foggy Day I was a stranger in the city Out of town were…
Autumn Leaves The falling leaves drift by the window The autumn leaves of…
bewitched She's a fool and don't I know it But a fool…
Bridge Over Troubled Water When you're down and out When you're on the street When even…
Deja Vu This is insane All you did was say hello Speak my name Fe…
Do You Know What It Means to Miss New Orleans? Do you know what it means to miss New Orleans And…
Don't Blame Me Ever since the lucky night I found you I've hung around…
East Of The Sun East of the sun and west of the moon We'll build…
Emily Emily, Emily, Emily Has the murmuring sound of may All silve…
Everything Happens To Me Black cats creep across my path Until I'm almost mad I must…
Georgia on My Mind Made Up My Mind Written by Josh Martin It takes courage to…
Ginger My Memory moh doo gee uhk hae yoh geuh soon…
Goofus I was born on a farm out in Ioway A flaming…
Have You Met Miss Jones? "Have you met Miss Jones?" someone said as we shook…
Here There and Everywhere To lead a better life I need my love to be…
How High the Moon Somewhere there's music How faint the tune Somewhere there's…
How Long Has This Been Going On? As a tot, when I trotted in little velvet panties, I…
I Got Rhythm I've got you under my skin. I've got you deep in…
I Wish I Knew How It Would Feel to Be Free I wish I knew how It would feel to be free I…
I'll Never Be the Same I'll never be the same Stars have lost their meaning for…
I'm Old Fashioned I am not such a clever one About the latest fads I…
I've Got You Under My Skin I've got you under my skin. I've got you deep in…
It's Only a Paper Moon Say, it's only a paper moon Sailing over a cardboard sea But…
Just Friends Just friends, lovers no more Just friends, but not like befo…
Just Squeeze Me Want you to know I go for your squeezin' Want you…
Lady Be Good Listen to my tale of woe, It's terribly sad but…
Like Someone in Love Lately, I find myself out gazing at stars, Hearing guitars…
Lulu's Back in Town Where's that careless chambermaid? Where'd she put my razor…
Mona Lisa Mona Lisa, Mona Lisa men have named you You're so like…
Mood Indigo You ain't never been blue; no, no, no, You ain't…
My Foolish Heart The night is like a lovely tune Beware my foolish heart How…
My Funny Valentine Şimdi uzaklardasın Gönül hicranla doldu Şimdi uzaklardasın G…
My One and Only Love The very thought of you makes my heart sing Like an…
Ol' Man River Ol' man river That ol' man river He don't say nothing But…
Polka Dots And Moonbeams A country dance was being held in a garden I felt…
Skylark Skylark Have you anything to say to me? Won't you tell me…
Sweet Lorraine Everything is set, skies are blue, Can't believe it yet, but…
Takin' a Chance on Love Here I go again, I hear those trumpets blow again. All…
Taking a Chance on Love Here I go again, I hear those trumpets blow again. All…
The Nearness Of You Its not the pale moon that excites me That thrills and…
Time After Time No eye has seen No ear has heard The beauty…
True One is the loneliest number that you'll ever do Two can…
You know it's true Do you know what it means to miss New Orleans And…
You Stepped Out Of A Dream You stepped out of a dream You are too wonderful to…
You're My Everything I know we don't always agree Feels like I'm always saying…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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André Rodrigues Pereira da Silva
Agree! I've just seen him here in Portugal. The quality of his live sound is astounding. I thought to myself «it's gonna be a long time before i hear someone that's gone this far». And he even is this warm, sweet guy when it comes to explain all his stuff, very open, no secrets, no bullshit. Amazing.
LARRY WAITE
Excellent arrangement for solo jazz guitar , played so expressively Martin -- never lost the beautiful of the melody
john king
May be very instructive for guitar players but I find it great just for listening...good tune ...well played.
Jay DeLuca
What a remarkably intelligent and instructive clip from perhaps the best jazz guitarist on the planet! Besides being infallibly lyrical, inventive and authentically musical, Martin conveys such insights into his playing and conception of these beautiful arrangements. He is among the finest guitarists I have ever heard. His intelligence and humanity shine through. Bravo! What I wouldn't give to spend some time with this genius of the instrument I have played for forty-five years...
Frank Menchaca
What a great instructive video from a guitar god.
Jay DeLuca
@ColinPRS Hey! Actually, Martin Taylor does have a new venture call his Guitar Academy if I recall. I am in no way affiliated with his company, but the instructional videos I have seen offered are great quality. Check out Martin's web site under his name. I am seriously considering joining in as there is the opportunity for interaction with this genius of the guitar. The cost is quite reasonable, imo. Martin Taylor is a superb teacher.
Jazz Monty Music
It’s a great arrangement in here.
Dave Danze
Are string tensions in this guitar a bit less than in say, a Martin D18 with light guage strings? Otherwise, wouldn't it kill your left wrist?
Colin P
@guitargod6997 Go for it, sounds great.
Ian Date
solid work