Guitar Moderne Record Picks XXVII

The late September and October releases are piling up so it became obvious that I needed to let you know about these already available recordings ASAP. Old friends Tim Motzer, Tim Olive, Elliott and Jake Vossler have been busy, along with some new faces as well.

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Guitar Moderne Record Picks XIX

It looks like many of us will be stuck inside for a while and many of these artists will be losing income due to cancelled shows because—virus. It would be a good time to buy some of these new recordings from Eivind Aarset, Nels Cline, David Torn, Eliot Sharp, and others so they have some money coming in and you have something to do while self-quarantining.

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Guitar Moderne Festival XX

Summer festival season will be here before you know it. Hopefully we will be virus-free by then and you can enjoy the outdoors in the company of like-minded music fans. Either way, you can count on Guitar Moderne to supply virtual festivals like this to enjoy in the air-conditioned, Portapotty and germ-free comfort of your home.

We start the proceedings with this amazing Terje Rypdal trio concert from a decade ago that I seem to have missed, with Miroslav Vitous triggering orchestral samples.

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Spotlight: Intakt Records

With the Xmas season fast approaching, this Swiss label could provide one-stop shopping for all the modern guitar records you need to please fellow fans or yourself. This small label offers over 250 recordings, many of which feature pioneers (Fred Frith, Elliot Sharp) and current stars (Mary Halvorson, Kurt Rosenwinkel) of modern guitar. It is also a great place to discover new players from Europe (Dominic Landolt, Vojko Huter).

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Book Review: IrRational Music by Elliott Sharp

My years of making music in New York City coincided at various times with Elliott Sharp’s. Our musical worlds, however, rarely overlapped. I was playing blues and country music; accompanying singer-songwriters, both struggling and famous; and playing in pop bands that were trying to get record deals (my more avant-garde efforts would come later). Elliott, on the other hand, was at the nexus of all the art that was pushing the envelope during that period, and is still to this day. I never saw him perform live or met him until shortly before I left New York to move to Nashville in 2012, and then it was in a wonderful duo performance with Mary Halvorson.

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