Martin Howard Discovers the Quiet Light on Nylon Strings

Martin Howard’s latest guitar solo sounds like the pause button on a remote control pressed at just the right time. Recorded on a fifty-year-old classical guitar, it has a warm and clean sound, each note ringing out fully before the next one comes. There is definitely a classical background to this writing, but it never sounds formal. Folk patterns and contemporary flourishes keep it earthed.

With the music reflecting the calm radiance of the moonscape painting that inspired it, the performance contains itself enough to allow the melody to speak for itself. Howard knows how to say a lot through a little. It’s a technique that evokes memories of musicians like Michael Hedges or Ry Cooder from way back when, when the guitar was both the rhythm and the vocals.

In a market that is currently dominated by cover versions and background instrumentals, Howard's commitment to creating new nylon string music is almost welcome. This is music that is better suited to quiet listening environments and is something that could sit alongside the scores by Gustavo Santaolalla or the more subdued sections of classical crossover albums. It is possible to create something emotively resonant with less.