Fifteen of today's most talented acoustic guitar players playing duets on all-original tunes. The beauty and power of two acoustic steel string guitars flatpicked in a duet setting is revealed on every cut. The music here spans numerous musical genres-from bluegrass, to gypsy jazz, to blues, to acoustic jazz, to folk, to Jibaro, to the timeless waltz-displaying the tremendous versatility of the acoustic guitar played in the flatpick style. Delaware Tan (David Grier & Tim Stafford) Upside Down and Backwards (Jeff White & Jim Hurst) Jibaro Hoedown (Eric Thompson & Jim Nunally) Song for Emily (Kenny Smith & David Grier) Chestnut Flats (Tim Stafford & James Shelton) Zobern (Jim Hurst & Curtis Jones); Brittlebrush (Peter McLaughlin & Scott Nygaard) Mt. Dora Waltz (Jeff White & Bryan Sutton) North Fork of the Hulston (James Shelton & Chris Jones) Winslow (Scott Nygaard & Eric Thompson) Jordan's Reel (Wyatt Rice & Kenny Smith) Wit's End (Chris Jones & Brad Davis) Gloria's Waltz (Jim Nunally & Peter McLaughlin) Velvet Hammer (Brad Davis & Wyatt Rice) Django & Al (Curtis Jones & Bryan Sutton) A Brief History of New Standards for Flatpicking Guitar In September of 1999 Flatpicking Guitar Magazine began producing an instructional audio CD to accompany each issue. In preparation for the first audio CD we recorded Kenny Smith and Curtis Jones playing a duet on the tune 'Angeline the Baker' for the September/October 1999 issue. After listening to Kenny and Curtis play this tune together I realized the incredible beauty and power the sound of two acoustic guitars played in duo contained and the idea for New Standards was born. In preparation for this project I contacted fifteen of today's most talented acoustic guitar players and asked each to compose an original tune for this CD. I asked that the tune take advantage of the special characteristics of the guitar. I wanted guitar tunes, not fiddle tunes or banjo tunes played on the guitar. I also asked that the tune be something that would be appropriate for a guitar duo. I paired the players together taking into consideration their unique playing styles and the logistical challenges of getting each pair in the studio together. All songs were recorded live with the exception of 'Brittlebush.' The word 'standard' can mean 'something established and generally accepted' and it can also, among other things, mean 'serving as a gauge or criterion.' It is my hope that flatpickers will be inspired to learn these tunes and begin playing them at picking parties and jam sessions along with some of the old standards which reside in the flatpicking repertoire, so these tunes will indeed become new standards. I also think that the level of mastery demonstrated in the playing here will serve to 'raise the bar' and thus effectively set new standards of excellence for all flatpickers to strive to attain. Thus we give you New Standards for Flatpicking Guitar. Enjoy!