莫莉·塔特尔is one of the most exciting acoustic guitarists and songwriters to hit the scene in recent years. With a new album and band that signals a return to her bluegrass roots, she’s only set to get bigger.
我们在科罗拉多州博尔德的一家咖啡店通过电话与塔特尔聊天，讨论吉他，G Tuning和Golden Highway。
You’ve been touring through some beautiful landscapes and have endured some truly extreme temperature changes.
“That’s right! We were in Cancún last weekend with戴夫·马修斯（Dave Matthews）, then we made our way to Steamboat, Colorado, and played outdoors at a ski resort. My suitcase was full of shorts, T-shirts and bikinis – and my giant, hot-pink snowsuit that I had specially made. It was the weirdest packing I’ve ever done for a tour!”
您的新专辑弯曲的树标志着您的回归蓝草的封面专辑但是我宁愿和你在一起.
“This record came about last year when I started writing bluegrass songs. I’ve always wanted to make a real bluegrass record but, at the same time, I love exploring other genres. I got the chance to do that in 2020 on my covers record, where I explored a bunch of styles of music. After that I found comfort in going back to the first musical memories I had, of listening to bluegrass as a kid. I realised that was the direction I wanted to go in.”
“与我所有的蓝草英雄联系并进行此录音很有趣。我
called up a bunch of artists that I’ve been listening to since I was a kid, like杰里·道格拉斯, Dan Tyminski, Old Crow Medicine Show, Gillian Welch – people I have admired my whole life. We went into the studio and made this record that I am really proud of.”
对于一个蓬勃发展界限的艺术家来说，很有趣的是您回到根源上。
“是的，这是真的。我喜欢推动自己，并扩大自己能做的事情的界限。有了我的最后几张唱片，我确实觉得自己正在走出舒适区，这正是我当时想做的。我真的不想一遍又一遍地记录相同的记录。”
“That said, this record flowed in a way that I hadn’t felt before in the studio. From the very beginning of writing the songs, recording them and now putting together the live show, it has felt so natural to me because I’ve grown up with this music.”
“From a songwriter’s point of view, I knew there were different templates of songs I could use and themes that I wanted to write about, where I felt I could bring my own experience and create something new while still staying in the tradition.”
您已经谈到了自己对写作和表演女性主角的歌曲的热爱。
“绝对，尤其是歌曲She’ll Change. But there are other examples. I had covered the滚石她是彩虹on my covers album and I had a lot of fun with that. I kind of wanted to write my own song about a badass woman. It’s always fun to sing songs that celebrate women in that way. It’s important to me.”
多年来，您已经看到了各种异国情调的手工吉他。你目前在玩什么？
“我一直在现场演奏战前吉他公司乐器。我经历了吉他的阶段，我将在那里演奏一堆，然后过渡到另一个。我一直带两个在路上，因为我玩了两次不同的调音。一个在巴西玫瑰木，一个在桃花心木中。到目前为止，我一直在乘坐巴西吉他旅行 - 自从大流行开始以来，我还没有出国，除非上周我去墨西哥，我随身携带。没有任何问题 - 到目前为止很好。”
“I hear such different things though. Some people say you need to register your guitar and get a bunch of forms. Other people tell me, “It’s fine, don’t worry about it”. I guess it may depend.”
扁平化的吉他手在标准或下拉音调外移动是相对不寻常的。您使用的其他调整是什么？
“我使用的另一个调音是DGDGCD，这是我弹奏Clawhammer吉他时使用的模型调整。班卓琴被调整为打开G，所以我基本上是将吉他调整为G，但是B字符串向上升至C，进行了第四次和弦调节。这与Dadgad一样，但它是G的钥匙。在吉他上调整对我来说很舒服，因为它直接取自班卓琴方法。当然，在吉他上，您还有一根琴弦可以使用。”
Acoustic musicians often sit in two distinct camps, favouring either vintage or modern luthier-made guitars.
“I have been thinking lately that I want to get a vintage guitar because I don’t have any. I haven’t bought a guitar in a long time. I have been connected with all these amazing luthiers that make such guitars that are a lot easier to take on the road. I tour so much. I was touring with a vintage ’44Martin而且我觉得自己只是在破坏吉他，将其拖入极端的温度，湿度和高度，我真的不想这样做，并对潜在的不可替代的吉他造成严重伤害。”
“My luthier-made guitars are super-nice instruments that I love. But they are road guitars with all sorts of technological advances like truss rods, which you don’t have in the vintage Martins!”
放大原声吉他有挑战。您的声音非常自然，动态插入声音。我们猜测这涉及某种混合拾音器魔法？
“在过去的几年中，我的拾音器声音微调了。这是一场真正的斗争。多年来，我会插入，节目结束后人们会告诉我他们听不到我的独奏，或者我的吉他听起来很瘦 - 有帮助的反馈！”
“我必须对自己的现场声音感到非常满意。我正在使用两个皮卡。我给我的朋友发短信比利弦乐看看他在使用什么，他让我与一项出色的技术保持联系。我现在在桥板下方有一个K+K mini，在声孔中有一个K+K双螺旋磁拾音器。”
“I run both pickups through a Grace Felix preamp and blend the sources there. The soundhole pickup is surprisingly natural and blends well with the transducer. That seems to be working for me so far. I’ve only had this set-up for less than a year but I’ve had a great response from people. The Felix has a boost, which I use a lot for solos.”
Much has been made of your exceptionally fluid and powerful right-hand technique. How did you develop that?
我从来没有真正对我的右手技术给予超级关注，但是突然之间，人们告诉我：“您的右手太酷了”。我并没有想到我所做的与其他人有很大的不同。
我想主要的区别是我没有将右手手指放在吉他上。我有点在弦上漂浮，同时仍将手放在鞍座上。我想我是从我的父亲那里得到的，父亲是我小时候的第一位吉他老师。我想我只是看了他的榜样，并在他之后对我的右手行动进行了建模 - 当他演奏时，他也像这样挥舞着他的手。
我喜欢通过将右手位置移到靠近声孔或桥梁的位置来探索所有可以发出的不同声音。当我在高音琴弦上玩耍时，我的手掌倾向于在低音琴弦上静置，当我低调时，我倾向于向鞍座移动。因此，无论如何，移动右手已经成为我技术的一部分。这并不总是是艺术选择。
接下来是什么？
我真的很喜欢我的现场乐队Golden Highway，这是在录制之后放在一起的。我与乐队中的每个人都呆了很长时间，在舞台上环顾四周并为与如此出色的演奏者制作音乐感到自豪是一种很好的感觉。我迫不及待想与这个新乐队一起唱片。
弯曲的树is out now onNonesuch Records.