If anyone were to be into pedals it would be the modern guitarist. Granted there are a few who play only acoustic, and even fewer who exclusively play plugged straight into the amplifier, but the majority of modern guitarists are to some extent looking to find new sounds in the electric realm and pedals help them go there. The firmament of modern guitar heaven is filled with gods who use a plethora of stompboxes in their quest for sonic freshness. Adrian Belew, Nels Cline, Eivind Aarset, Stian Westerhus, David Torn, Nick Reinhardt, and others employ effect pedals as an essential part of their artistry.
For them, and guitarists of all stripes, this year has seen the release of, not one, but two books (actually three) devoted to these playable, collectable, fetish-encouraging devices.
In 2019, I kept running into Ed Pettersen at Big Ears. We had some interesting conversations during which I learned that we both lived in Nashville and that he was something of a musical polymath. He recently sent me an email describing the effect that Covid has had on his musical plans. I thought that many GM readers could relate and that it would be a good time to officially introduce Pettersen to the Guitar Moderne community.
One of the younger modern guitar maestros, Anthony Pirog knows nothing of stylistic limitations—his music is beyond category, embracing not only jazz, but avant-garde and indie rock, free improvisation, electronic sound, and ambient soundscapes.
Pirog has himself established with his work as one-half of the duo Janel & Anthony, the electric jazz improvisational Five Times Surprise, the classic DC-scene twang inspired Music From The Anacostia Delta, and the exciting trio Messthetics, with Brendan Canty and Joe Lally, the rhythmic section from Fugazi.
His new solo record, Pocket Poem, features the same musicians as 2015’s Palo Colorado Dream: acoustic bassist Michael Formanek and drummer Ches Smith. For this trio record Pirog wanted to layer the compositions with sounds created using modern technology and vintage guitar synthesizers. All of which and more we discuss here.
Eric Clapton’s playing on the Bluesbreakers record changed my life. This was a guitar tone unlike any other previously. Fat, sustaining, it recalled the violin on which I had begun playing music. So, of course, I bought the next Bluesbreakers record, this time featuring Peter Green, who died this week.