One day in the early 1960s, Clarence White sat down with Kentucky Colonels bandmate Roger Bush and both men took out their guitars. In front of them sat a small tape recorder and a mic. With Roger playing backup, the young guitar genius methodically picked through nearly every guitar instrumental he knew, usually playing only a single chorus. He probably listened back to the tape a few times to gauge his playing, then put the tape away.

It sat forgotten in a box of Clarence's belongings until coming to light recently. John Delgatto, whose Sierra Records label has done more than anyone to keep the memory and music of Clarence White alive, took it upon himself to get permission to clean up the recording and issue the tape more or less as it was recorded more than 35 years ago.

The result is 33 Acoustic Guitar Instrumentals. For anyone who has ever reveled in the genius of Clarence White's guitar playing, this is manna from heaven. Clarence's 1950's D-l8, which he used almost exclusively as his flatpicking guitar, is bright and punchy and clearly recorded. There's none of the bottom end distortion heard on some other releases of early Kentucky Colonels material featuring his stunning lead guitar.

It's fascinating to listen to a younger Clarence work through tunes that would later become trademark guitar pieces for him - "Nine Pound Hammer," "I Am A Pilgrim," Billy ln The Lowground," "Farewell Blues" and more, and hear how he already had developed the incredibly sophisticated sense of timing and syncopation that made his later guitar work so breathtaking.

You can hear so many great moments here that recall brilliant phrases and lines he used on later recordings. The blazing Telecaster introduction on "Muleskinner Blues" from the Muleskinner studio album is a powerful echo of the opening lick he plays here to Don Reno's flatpicking classic, "Country Boy Rock and Roll." Much of Clarence's playing here had obviously been influenced by his exposure to Doc Watson. Many leads on this CD are straighter and more linear than on later versions. His Django-inspired trademark lick on "Farewell Blues" is missing, for example, although he still tries a similar melodic motif. "I Am A Pilgrim" experiments daringly with time and space, but lacks the reckless edge of adventure and exploration his later versions displayed. In a way, this CD may show Clarence's guitar playing in a more open and accessible way than anything else available, as his guitar technique still struggled to keep up with his unmatched musical imagination.

This musical treasure is as rare and valuable as an old Victrola recording of Bill and Charlie Monroe practicing their act for the Grand Ole Opry, if such a recording ever existed. But beyond the historical importance of this CD, the music contained here will enthrall any reader of Flatpicking Guitar Magazine. Thank you, John Delgatto, for keeping the faith and making this available! Here's hoping that even more of these kinds of rare gems can be retrieved from the vault of history in the near future.

Song List: Wildwood Flower, Master's Bouquet, Bury Me Beneath The Willow, Black Mountain Rag, Billy In The Lowground, I'm So Happy, He Will Set Your Fields On Fire, Sugarfoot Rag, Nine Pound Hammer, Cripple Creek, Under The Double Eagle, Farewell Blues; I Am A Pilgrim, Country Boy Rock and Roll, Forsaken Love, False Hearted Lover, Black Jack Davy, Banks of the Ohio, Jimmy Brown The Newsboy, Sally Goodin, Buckin' Mule, Shady Grove, Pike County Breakdown, Old Joe Clark, Footprints In The Snow, In The Pines, Journey's End, Pretty Polly, Cotten Eyed Joe, Clinch Mountain Backstep, Randy Lynn Rag, Mandolin Medley