B-Side Guys

Where some instrumental folk pieces meander, Ben Van Bonn’s “To Scotty’s Bay” charts a deliberate course through uncharted waters. The South Brooklyn guitarist’s latest offering weaves a nautical narrative using nothing more than six strings, slide work, and subtle bass accompaniment, proving that sometimes the most compelling stories are the ones told without words.

Van Bonn’s fingerpicking technique serves as both cartographer and storyteller here, mapping out a journey that feels simultaneously ancient and immediate. The opening phrases establish a hypnotic pattern that mirrors gentle waves, with each melodic variation suggesting new depths to explore. This masterful command of dynamics creates a sonic topography that’s as detailed as it is mysterious.

The introduction of slide guitar midway through the piece brings an otherworldly quality to the arrangement, its ghostly overtones suggesting something lurking beneath the surface. These ethereal moments provide perfect contrast to the more grounded fingerpicking passages, creating tension that builds with the precision of a master storyteller.

The bass work deserves particular attention for its restraint. Rather than simply providing rhythmic foundation, it moves like deep currents beneath the surface of the composition, suggesting the vast unknown that lies beneath Scotty’s seemingly tranquil waters. Each note feels purposeful, adding depth without disturbing the delicate ecosystem of the arrangement.

Van Bonn’s approach to composition reveals an understanding of how to build anticipation through purely instrumental means. The piece’s middle section, where the fingerpicking patterns begin to intensify, creates a sense of discovery that pays off in the final third, where all elements converge into a moment of revelation – or perhaps warning.

The production maintains an organic quality throughout, allowing the natural resonance of the acoustic instruments to create their own sense of space. This approach serves the mythological aspects of the piece particularly well, giving it a timeless quality that bridges the gap between folk tradition and contemporary composition.

What’s most impressive about “To Scotty’s Bay” is how it manages to suggest narrative without forcing it. The interplay between the main fingerpicking figure and the slide guitar creates moments of dialogue that feel almost conversational, as if we’re overhearing ancient mariners exchange warnings about what lies beneath.

Technical prowess aside, it’s Van Bonn’s gift for pacing that makes this piece so compelling. Each section flows naturally into the next, creating a journey that feels both inevitable and surprising. The result is a composition that rewards both casual listeners and those inclined to dive deeper into its mysteries.

“To Scotty’s Bay” stands as a testament to the continuing vitality of the American fingerpicking tradition, while suggesting new directions for instrumental folk storytelling. Van Bonn has created something that feels both rooted in tradition and entirely original – a musical map to waters both inviting and treacherous.