Guitars

Subterms

    More stories

    • 63 Shares189 Views

      in Music

      Jeff Beck’s 10 Essential Songs

      by

      The guitarist, who died on Tuesday, could make his instrument slash, burn and sigh. Listen to tracks released from 1966 to 2010 that reveal his range and intensity.Songs could barely contain Jeff Beck’s guitar. It jabbed at tunes with brute-force riffs. It sparred with singers for the spotlight. It clawed at the limits of verses and choruses, screaming melodies of its own, making notes slide and wriggle; sometimes it scraped out funky, contentious rhythm chords.Yet in quieter moments, Beck’s guitar could also be startlingly tender, cherishing a melody or proffering teasing, insinuating undercurrents. Beck, who died on Tuesday at 78, was also a master of electric guitar tones, of amplification and distortion. He could make his Stratocaster sound icy, searing, slashing and otherworldly in the course of a single track.With a career that began during the British Invasion, Beck at first tucked his guitar work into songs aimed for pop radio. But by the end of the 1960s, he was leading his own groups, backing his lead singers with roiling, slamming arrangements that made them shout to keep up; he was blasting his way toward metal. Beck’s instrumentals moved to the forefront in the 1970s, as his material shifted toward jazz-rock. But he never left behind the blues and rockabilly that had inspired him from the start.Here, in chronological order, are 10 tracks that reveal Beck’s range and intensity.The Yardbirds, ‘Over Under Sideways Down’ (1966)The pushy, up-and-down, Eastern-tinged guitar line that opens the song, and the squirming guitar riff behind the chorus, turn this track from jaunty British Invasion pop into something far more urgent. Beck’s lead guitar takes over for the entire last minute, melding rockabilly and something like raga, leaving the rest of the band to whoop along.Jeff Beck, ‘Shapes of Things’ (1968)Beck’s supercharged remake of a Yardbirds song has Rod Stewart on vocals and a churning, whipsawing arrangement that rivals anything from contemporaries like the Who. The song gallops from the get-go, as Beck answers his own power chords with countermelodies high and low. The bridge rockets into double time, and after the final verse the band stages a neat slow-motion collapse.Donovan with the Jeff Beck Group, ‘Barabajagal’ (1969)Beck the bandleader, abetted by wailing backup singers including Suzi Quatro, catalyzed this rowdy song by Donovan, the normally soft-spoken flower-child troubadour. Beck’s electric guitar opens with twangy rockabilly syncopation, sets up the choppy piano groove and pointedly spurs things along. He really starts to wail toward the song’s free-for-all finish.Stevie Wonder, ‘Lookin’ for Another Pure Love’ (1972)Beck and Stevie Wonder shared songs and appeared on each others’ albums in the 1970s, and “Lookin’ for Another Pure Love” from Wonder’s “Talking Book” featured the guitarist at his most sweetly melodic in the song’s bridge. His solo eases up to a high note and then casually trickles down, continuing through the track to garland Wonder’s vocals with little slides and curlicues, reveling in the song’s sophisticated chord progression.Jeff Beck, ‘Cause We’ve Ended as Lovers’ (1975)Beck’s best-known ballad is an instrumental version of a Wonder song. He plays it with long-lined phrases and constantly changing nuances of tone: as a dialogue, as a keening lament, as bitter self-accusations, as an anguished plea, as a fragile chance at hope. From start to finish, it sings.Jeff Beck, ‘Freeway Jam’ (1975)Written by Max Middleton, then the keyboardist in Beck’s band, “Freeway Jam” is a brisk shuffle that materializes and fades out as if it’s excerpted from a jam session, though parts are clearly mapped out. It gives Beck room to peal some clarion melodies and then attack them with trills, bent notes, blues licks and dissonances. A live version featuring the keyboardist Jan Hammer, released in 1977, makes the tune even more gleefully frenetic.Jeff Beck and Rod Stewart, ‘People Get Ready’ (1985)Rod Stewart rejoined Beck for a remake of the Curtis Mayfield gospel-soul standard, “People Get Ready,” that starts out restrained but grows fervid. Beck offers a stately, fanfare-like guitar hook after the first verse, then engages Stewart more and more: taking over the melody with note-bending variations, surging up from below, goading Stewart to shout and leap into falsetto. Despite its dated 1980s production, the song finds the spirit.Jeff Beck, ‘THX 138’ (1999)Could a player as physical as Beck handle the mechanical drive of electronica? Of course. A tireless programmed drumbeat drives “THX 138,” but Beck rides it in multiple ways: with an Eastern-tinged modal loop, with sustained power chords, with high blues lines, with ferocious stereo call-and-response chords, with a melody that leaps skyward. For all the gadgetry, human hands dominate this mix.Jeff Beck with Jimmy Page, ‘Beck’s Bolero’ (2009)Before he formed Led Zeppelin, Jimmy Page was Jeff Beck’s colead guitarist, and then his successor, in the Yardbirds. In 1966 they collaborated to record “Beck’s Bolero,” written by Page, for Beck’s first solo single. This gracious latter-day reunion for the Rock & Roll Hall of Fame is noisy, flashy, virtuosic and over the top in exactly the right proportions.Jeff Beck, ‘Over the Rainbow’ (2010)For all his speed and dexterity, Beck never underestimated the beauty of a sustained melody. He played this Hollywood standard backed by chords from a string orchestra, sliding through the tune, holding back some notes and using tremolo on others, making every turn of the familiar song sound like a precious discovery. More

    • 125 Shares199 Views

      in Music

      Wilko Johnson, Scorching Guitarist and Punk Pioneer, Dies at 75

      by

      Known later as an actor on “Game of Thrones,” he helped lay the foundation for a 1970s rock revolution on England’s pub circuit.Wilko Johnson, the searing yet stoical guitarist for the British band Dr. Feelgood, whose ferociously minimalist fretwork served as an early influence for punk-rock luminaries in the 1970s, died on Nov. 21 at his home in Westcliff-on-Sea, England. He was 75.His death was announced on his social media channels.In 2013, Mr. Johnson was diagnosed with pancreatic cancer and given 10 months to live. A cancer specialist in Cambridge, England, soon discovered a rare form of tumor — Mr. Johnson called it, at six and a half pounds, “the size of a baby” — and removed it in an 11-hour operation.He lived for nearly another decade and took an unexpected detour into acting, playing Ser Ilyn Payne, a mute executioner, in the first two seasons of “Game of Thrones,” as well as recording and touring with Roger Daltrey of the Who.His legacy, however, is rooted in his tenure with Dr. Feelgood, a rowdy pub-rock band of the 1970s whose high-adrenaline take on rhythm and blues helped lay the groundwork for the punk-rock revolution to follow.In performance, he cut a wild-eyed figure. Often clad in a black suit, Mr. Johnson, who was prone to amphetamine use in his early days, appeared equal parts robotic and manic onstage, glaring murderously at the audience while pacing the stage frantically.His staccato guitar phrasing formed a sound all his own. Mr. Johnson, who was born left-handed and learned to play right-handed, avoided basic rock staples like barre chords and even picks, relying instead on quick, aggressive finger strums — he called them “stabs” — on his black Fender Telecaster. His playing was explosive, as percussive as it was melodic.Mr. Johnson in what was billed as a farewell concert in North London in 2013, after he was diagnosed with pancreatic cancer and told that he had only 10 months to live. Joel Ryan/Invision, via Associated Press“Wilko Johnson was a precursor of punk,” the British singer and songwriter Billy Bragg said on Twitter after Mr. Johnson’s death. “His guitar playing was angry and angular, but his presence — twitchy, confrontational, out of control — was something we’d never beheld before in U.K. pop.”Mr. Bragg added that John Lydon (otherwise known as Johnny Rotten) of the Sex Pistols, Joe Strummer of the Clash and Paul Weller of the Jam “learned a lot from his edgy demeanor.”The volcanic approach of Mr. Johnson and his bandmates — the singer Lee Brilleaux, the bassist John Sparks and the drummer John Martin — helped make Dr. Feelgood a must-see band on England’s pub-rock circuit in the early 1970s.The band’s second album, “Malpractice” (1975), reached No. 17 on the British album chart. The live album “Stupidity” rocketed to No. 1 the next year, providing “the antidote to all those prog-rock double concept albums,” the British music writer Clinton Heylin wrote in an email, “and not a guitar solo in sight.”While his guitar sound was forward-looking, Mr. Johnson drew from the soulful sounds of the past, working out demons from a difficult childhood on Canvey Island, a once-thriving resort town at the mouth of the Thames that became a hub of the petrochemical industry.“My first inspiration was the blues, but I realized I couldn’t write about freight trains and chain gangs,” he said in a 2013 interview with the London-based music magazine Uncut. “There weren’t any in Canvey. So I tried to keep it all in Essex, to get the landscape, the oil refineries, into songs.”Mr. Johnson in 1981. He often discussed his struggles with depression, which he said were “certainly rooted in my childhood.”David Corio/Michael Ochs Archive, via Getty ImagesWilko Johnson was born John Peter Wilkinson on Canvey Island on July 12, 1947. His father, a gas fitter, was violent and abusive, Mr. Johnson recalled in a 2013 interview with the British music magazine Mojo.“I hated him,” he said. “He wasn’t just uneducated, he was stupid with it. The older I get the more I look like him. Every time I shave, I see that bastard looking back at me. So I thought by eradicating his name I could start my own dynasty.”Mr. Johnson often discussed his struggles with depression, which he said in one interview was “certainly rooted in my childhood.”“But I don’t think you should blame that,” he added. “You grow into an adult and you are what you are, whatever the influences.”By the time his father died, when Mr. Johnson was 16, music had already become an escape for him: He played guitar in local bands while attending Westcliff High School for Boys, where, he said, his mother “used to scrub floors at the gas company to pay for our grammar school uniforms.”He went on to study English at Newcastle University, where he taught himself Old Icelandic so he could read the Icelandic sagas. It was one of many antiquarian literary interests in which he would indulge over the years. Mr. Heylin said he once found Mr. Johnson backstage during a soundcheck reading “Sir Gawain and the Green Knight,” a 14th-century romance written in Middle English. “So much for the image of a bruiser who took up the guitar,” he wrote.After a trip to India following his university graduation, Mr. Johnson changed his name and joined with the other three musicians to form Dr. Feelgood in 1971. By the middle of the decade, the band was rolling in Britain but had failed to make a mark with record buyers in the United States.Yet the band was not unknown across the Atlantic. In a phone interview, the guitarist Chris Stein of Blondie recalled a party in 1975 at his band’s de facto headquarters, a loft on the Bowery near CBGB, the seminal New York punk club, before any of the major bands from that scene had made an album.Mr. Johnson, at left, performing in 1976 with the other members of Dr. Feelgood: the singer Lee Brilleaux, the drummer John Martin and the bassist John B. Sparks.Richard Creamer/Michael Ochs Archives, via Getty Images“We were having a huge party, and everyone in the scene was there — the Heartbreakers, the Ramones, probably some of the Talking Heads,” he said. “It went on all night.”Halfway through, Clem Burke, Blondie’s drummer, showed up after returning from a trip to London. He was enthusiastically waving a copy of Dr. Feelgood’s new album, “Malpractice.”“We put that on and played it repeatedly,” Mr. Stein said. “Everyone was transfixed. It was so simple and raw. I remember people saying, ‘This is what the Ramones are going to sound like when they make a record.’”Dr. Feelgood would not last long enough to ride the new wave it helped inspire. Rifts between Mr. Johnson and the other members came to a boiling point in 1977.“I think they lost it, they threw me out,” Mr. Johnson told Mojo. “The final argument that split the band came just after they had all my new songs in the can.” He added, “I was in a terrible state for months.”Mr. Johnson formed a new band, the Solid Senders, which released an album in 1978. He served a stint in Ian Dury’s band, the Blockheads, appearing on the group’s 1980 album, “Laughter.” He released “Ice on the Motorway,” the first of several albums under his own name, the next year, and he performed for decades with the Wilko Johnson Band.In 2009, the director Julien Temple released a documentary about Dr. Feelgood, “Oil City Confidential,” which “promotes Wilko Johnson as a 100-1 shot for the title of Greatest Living Englishman,” Peter Bradshaw wrote in a review in The Guardian.Mr. Johnson and Roger Daltrey of the Who, performing in 2014. The two released an album that year.Associated PressMr. Johnson’s survivors include his sons, Matthew and Simon, and a grandson. His wife, Irene Knight, died in 2004.While his pub-rock legacy became something of an obsession for rock connoisseurs and historians, Mr. Johnson experienced an unlikely career renaissance after his 2013 cancer scare. The album he made the next year with Mr. Daltrey, “Going Back Home,” which included songs from his Dr. Feelgood days as well as later compositions, reached No. 3 in Britain.“He’s one of those British guitarists that only the Brits make,” Mr. Daltrey said in a 2014 British television interview. “Wilko is a one-off, he really is.”By that point Mr. Johnson had found an unlikely home on premium cable, earning a role on “Game of Thrones” despite having no acting experience.“I got offered this part and it was a brilliant part, because the character that I play has had his tongue cut out, so I’ve got no lines to learn, right?” Mr. Johnson he said in a 2011 interview with the entertainment website Geeks of Doom. “I say, ‘What do you want me to do?’ ‘Just go around giving everyone dirty looks.’ I go, ‘I’m very good at that!’” More

    • 125 Shares179 Views

      in Music

      A Scruffy Guitar Shop Survives the Chelsea Hotel’s Chic Makeover

      by

      After a costly renovation, a landmark of Manhattan that was once home to Patti Smith and Bob Dylan is drawing a different crowd. Dan Courtenay, the proprietor of Chelsea Guitars, is fine with that.Ever since the Chelsea Hotel emerged from a long and costly renovation to become one of Manhattan’s trendiest playgrounds, the old hole-in-the-wall guitar shop on the ground floor has become an unlikely link to the building’s fabled bohemian past.Opened in the late 1980s, Chelsea Guitars has sold picks and strings to Patti Smith and Dee Dee Ramone. It started out as one of the hotel’s many street-level mom-and-pop shops. Now it’s the last one standing, a cluttered den of rare and vintage guitars that seems out of step with its chic surroundings. Hotel guests and out-of-towners who stumble into it, sometimes with one of the Lobby Bar’s signature $28 martinis swirling around in their bellies, are smitten by its scruffiness.Mr. Courtenay’s store occupies the small street-level space between the red awning of the freshly scrubbed bohemian landmark and the El Quijote restaurant.Lanna Apisukh for The New York TimesA mannequin of Marilyn Monroe strumming a ukulele sits outside the shop’s entrance on West 23rd Street. The narrow interior has cracked marble floors, a slow-spinning ceiling fan and brick walls lined with pictures of Albert King, Elmore James and other blues greats.Emerging from one wall, trompe l’oeil style, is the head of a Tyrannosaurus rex nicknamed Stanley — a homage to the Chelsea Hotel’s former manager Stanley Bard, who sometimes accepted paintings in lieu of rent checks from the building’s eccentric tenants.After the hotel was closed to guests in 2011, the 12-story Gilded Age era building was shrouded in scaffolding and netting for years, as a faction of its rent-stabilized tenants tried to thwart a top-to-bottom renovation. BD Hotels, a boutique hotel firm in New York that operates the Bowery and the Jane, ultimately prevailed, and its sleekly reimagined Hotel Chelsea opened in the summer. The more than 40 tenants who remain in the building can now order room service.The hotel’s well-scrubbed appearance might have startled the artists who lived there when drug dealers roamed the stairwells and cheap rooms provided sanctuary for Bob Dylan, Janis Joplin and Robert Mapplethorpe. Suites start at around $700 a night.The elegant Lobby Bar serves the Edie ’67, a cocktail mixed partly with mezcal and Lapsang tea named after the Andy Warhol “superstar” Edie Sedgwick. El Quijote, the Spanish restaurant that was once the hotel’s sleepy canteen, has been overhauled into a culinary hot spot. The Bard Room, named in honor of Mr. Bard, who died in 2017, has been the site of parties for The New Yorker and the British fashion company Mulberry.Mr. Courtenay walks through the newly renovated lobby.Lanna Apisukh for The New York TimesWhen two tourists from Poland, Irena Sierakowska and Przemyslaw Gulda, made a pilgrimage to the Chelsea on a recent day, they saw a doorman in a beanie cap and red gloves who greeted guests carrying shopping bags into the building. But they found the grit they were looking for when they walked into Chelsea Guitars.“When you live in Poland, your connection to New York is movies,” Mr. Gulda said. “But here, I walk in and feel like I’m in that movie. I think: This is it!”Ms. Sierakowska said she came to see the Chelsea Hotel because of a Leonard Cohen song, “Chelsea Hotel #2,” a 1974 ode to Janis Joplin written by Mr. Cohen, who lived for a time in Room 424.Behind the cluttered counter, a 68-year-old-man with long silvery hair and tinted glasses looked up from his bento box lunch. It was Dan Courtenay, the longtime owner of Chelsea Guitars. He told the couple that he once had a customer who recorded a famous cover of Mr. Cohen’s “Hallelujah.”“Jeff Buckley? Yeah, he used to come by here,” he said. “We’d do work on his guitars.”“Did you meet Marilyn?” he continued, referring to the kitsch statue out front. “I found her behind a trash can in Long Island. She’s pretty helpful, because I can tell anyone trying to find me, ‘Look for Marilyn.’”“People from all around the world, just like you guys, come to see the Chelsea Hotel, and then they end up in my shop,” he added. “To them, seeing the magical Chelsea Hotel, it’s like visiting what was once Oz — a downtrodden Oz.”As the couple, giddy from their contact high with a crustier New York, prepared to leave, Mr. Courtenay scribbled his number on a card and handed it to them.“If you get lost, or have any problems taking the subway,” he said, “call us.”If Chelsea Guitars has accrued cultural significance as an unkempt holdout in the newly pristine hotel, then Mr. Courtenay is its resident bard, eager to pass on the building’s mythology to anyone who enters his store, whether or not they buy a $6,000 1964 Epiphone Riviera or the other worship-worthy rare guitars on the walls. If you get him going, he’ll tell tales about what he says he has seen running the shop for more than three decades.Joan Baez once stopped by and gave him her Chinese takeout leftovers for lunch, he said. When the band Oasis was in town, Noel Gallagher came in and asked to see a rare Gibson acoustic stored away in the back of the shop. Mr. Courtenay was in a grumpy mood that day, so he told Mr. Gallagher to go fetch him a cup of coffee while he retrieved it.During Patti Smith’s brief residence in the hotel in the mid-1990s, her teenage son, Jackson, used to hang out in the shop playing Green Day riffs. And there was the time Billy Gibbons of ZZ Top dropped in before heading to El Quijote, where a confrontation ensued when the restaurant asked him to take off his signature tasseled cap.“They told him, ‘You’ve got to take off the hat,’” Mr. Courtenay recalled. “Billy said, ‘I don’t take this hat off when I’m sleeping.’”There was also the guitar busker named Vlad, who seemingly knew only a few chords and sang about his woes in a thick Eastern European accent at a nearby subway station, becoming known as the Polish Bluesman of Chelsea. There was also the mysterious woman who lived in the hotel, and who was rumored to come from wealth, whom Mr. Courtenay observed for years as she hailed invisible cabs outside the building. And there was the shop’s resident cat, a Russian blue named Boris.In addition to rare vintage guitars, Chelsea Guitars sells the small necessities.Lanna Apisukh for The New York Times“Boris had one tooth, no nails and one ear shot off,” Mr. Courtenay said. “He’d belonged to a troubled lady who lived upstairs. We kidnapped him to save his life.”“Boris despised dogs,” he continued. “He’d sit atop a Marshall amp and then leap onto any dog that came into the shop. He’d also take the elevator to visit people in the hotel. He’d go into El Quijote to say hello to customers. When I went to Paris, I discovered a postcard being sold to tourists, and to my shock, it was a picture of Boris at the Chelsea Hotel.”Rosanne Cash lives nearby with her husband, the musician and producer John Leventhal. In an email, she wrote: “We both appreciate the total anomaly Chelsea Guitars is in the current shiny, hip version of what Chelsea has become. We moved to Chelsea in ’96, and Dan’s blessed little hovel was a beacon and still connects us to the glorious grit.”Mr. Leventhal said: “Dan runs a freewheeling and almost improvisational kind of space. I often go there just to talk with him about life.”Mr. Courtenay grew up in Queens Village. His father was a police chief, and his mother worked as a secretary. He briefly lived in the hotel, in a terrace apartment just above his shop about two decades ago. “I used to go downstairs in my pajamas with a cup of coffee and I was still late for work,” he said. “I’ve been late my whole life.” He eventually moved to the nearby Penn South co-op houses, where he has lived ever since.He has no children and lives alone. He walks four blocks to work, rarely arriving before the princely hour of 2 p.m. And as far as he’s concerned, rock ’n’ roll died in 1971, when Duane Allman perished after a motorcycle crash — which explains why he had no clue who Nirvana were when the band walked into his shop at the height of their fame.But Mr. Courtenay’s Lebowski-like demeanor belies the determination that has allowed him to keep his shop in the hotel. He has survived two close calls so far.A smoker rests a hand on the old Marilyn Monroe statue outside his shop.Lanna Apisukh for The New York TimesA photo in Chelsea Guitars shows the proprietor’s father, Daniel J. Courtenay, who was a police chief with the New York Police Department.Lanna Apisukh for The New York TimesOriginally, Chelsea Guitars occupied a bigger space a few doors down from its current location. After the hotel’s board ousted Stanley Bard in 2007, however, many of the building’s artistic tenants felt that they had lost their protector. Then the families that had long owned the Victorian Gothic palace put it up for sale, resulting in the chaotic succession of ownership turnovers that transformed the hotel into an embattled construction site.In 2009, Mr. Courtenay learned that his lease wouldn’t be renewed. After the man who ran the building’s ground-floor Balabanis Tailor shop retired, he brokered a deal to move into the newly vacated space. El Quijote waiters helped carry his wares to the tiny new location.Four years ago, Chelsea Guitars was imperiled again. BD Hotels, the group that oversaw the renovation, reportedly planned to convert his shop into a building entranceway. This time, Mr. Courtenay took his plight to the press, and the resulting coverage in a neighborhood newspaper, Chelsea Now, created a groundswell of community support for his cause.BD Hotels offered him a five-year lease and didn’t raise his rent. Mr. Courtenay taped the newspaper’s follow-up article to his shop window. “Chelsea Guitars to Remain in Iconic Location” is the headline.Nevertheless, Mr. Courtenay — who stressed that he maintains amicable relations with his landlord — wonders what the fate of his shop will be in the chic haven that has risen around him, which is set to include a spa, a Japanese restaurant and a cafe.“I don’t know what will happen when my lease ends,” he said. “I like to think that they see we come with the hotel, but who knows. People have told me, ‘You could leave and start elsewhere.’ But to me, it’s all about the Chelsea Hotel or nothing. If I went elsewhere, I’d just be a guitar store.”Ira Drukier, the hotelier who owns the Hotel Chelsea with Sean MacPherson and Richard Born, said that Chelsea Guitars is a welcome holdout in his establishment.Stanley the T. Rex minds the store.Lanna Apisukh for The New York Times“The hotel has a long history, and he’s part of it in his own way,” Mr. Drukier said. “It just seems like the right thing to do is let him stay here and do what he’s been doing for so many years.” He added: “His spot is a tiny hole-in-the-wall. It’s not like I can fit some big restaurant in it.”One recent evening — not long after Michael Chaiken, who was the first curator of the Bob Dylan Archive, stopped by to drop off his Fender Telecaster — Mr. Courtenay needed to use the bathroom. Because his shop doesn’t have one, he stepped outside and went into the Hotel Chelsea.As he passed the grand double doors that lead to the Lobby Bar, a rowdy din emerged, so he decided to check out the scene. In the lounge, the host looked on as hotel guests had uni toasts and dirty martini oysters while telegenic 30-somethings waited for a seat at the bar.Mr. Courtenay’s customers have included Jeff Buckley, Rosanne Cash, Noel Gallagher, John Leventhal, Dee Dee Ramone and Patti Smith.Lanna Apisukh for The New York TimesAs people brushed past Mr. Courtenay’s shaggy and lumbering figure, he mused on how the city’s nostalgists liked to dwell on the ghosts of the Chelsea Hotel.“There are people who still want this place to be closed up and for it to be the 1950s again,” he said. “Do I wish Stanley Bard was here? And that it was still the zany 1950s and that I was talking to Jackson Pollock? Yeah, I do. But I look at it now, and it’s full of life and people again, and that’s a wonderful thing.”“I already wept for this hotel’s past a long time ago,” he said. “And you can’t bring back the past.” More

    • 125 Shares119 Views

      in Music

      Ray Edenton, ‘A-Team’ Studio Guitarist in Nashville, Dies at 95

      by

      In a career that spanned four decades, he played on thousands of sessions and accompanied many of the biggest names in country music.NASHVILLE — Ray Edenton, a versatile session guitarist who played on thousands of recordings by artists like the Everly Brothers, Charley Pride, Neil Young and Patsy Cline, died on Sept. 21 at the home of his son, Ray Q. Edenton, in Goodlettsville, Tenn. He was 95.His death was confirmed by his daughter, Ronda Hardcastle.A longtime member of Nashville’s so-called A-Team of first-call studio professionals, Mr. Edenton contributed discreet, empathetic rhythm guitar to myriad hits in a career that spanned four decades. His name was less known than his musicianship, but generations of listeners knew the records he helped make famous, a body of work estimated to exceed 10,000 sessions.Ms. Cline’s “Sweet Dreams,” Webb Pierce’s “There Stands the Glass,” Kenny Rogers’s “The Gambler,” Roger Miller’s “King of the Road” and Loretta Lynn’s “You Ain’t Woman Enough” were among the blockbuster country singles, many of them also pop crossover successes, that featured his guitar work.“I did 22 sessions in five days one week,” Mr. Edenton, who retired in 1991 at age 65, said in looking back on his years as a studio musician during an interview at an event held in his honor at the Country Music Hall of Fame and Museum in Nashville in 2007.“That’s four a day for three days and five a day for two days,” he went on. “You don’t go home on five-a-days, you sleep on the couch in the studio.”On the Everly Brothers’ “Wake Up Little Susie” and “Bye Bye Love,” both of which reached the pop, country and R&B Top 10 in 1957, Mr. Edenton played driving, syncopated acoustic guitar riffs alongside Don Everly.“I lived for quite a few years off those licks I stole from Don,” he said at the 2007 event.It was in fact the two men matching each other note for note that gave those big-beat Everly classics their distinctive stamp.Although primarily a rhythm guitarist, Mr. Edenton was occasionally featured on lead guitar, notably on Marty Robbins’s 1956 recording “Singing the Blues,” which was galvanized by his careening electric guitar solo. His lead work on 12-string acoustic guitar was heard on George Hamilton IV’s 1963 hit “Abilene” — a record that, like “Singing the Blues,” topped the country chart and also reached the pop Top 20.Mr. Edenton was also a songwriter. His chief credit was “You’re Running Wild,” a Top 10 country single for the Louvin Brothers, written with his brother-in-law at the time, Don Winters, in 1956. (He also played rhythm guitar on the recording.)Mr. Edenton in the studio with the singer Charlie Louvin. He co-wrote “You’re Running Wild,” a Top 10 country single for Mr. Louvin and his brother Ira, in 1956.Hubert Long Collection, Country Music Hall of Fame and MuseumMr. Edenton’s work as a session musician reached beyond country music, with singers like Julie Andrews, Rosemary Clooney, Sammy Davis Jr. as well as rock acts like Elvis Presley, Roy Orbison and the Sir Douglas Quintet. He played on Mr. Young’s acclaimed 1978 album, “Comes a Time.”He also took part in the Nashville sessions that produced the album “Tennessee Firebird,” a pioneering fusion of country and jazz released by the vibraphonist Gary Burton in 1967.“Everybody in the world came here, and we recorded with all of them,” Mr. Edenton said of Nashville’s studios in his Country Music Hall of Fame interview. “You might do a pop session in the morning and bluegrass in the afternoon and rock ’n’ roll at night.”In 2007, Mr. Edenton, who played mandolin, ukulele and banjo as well as guitar, was inducted with the rest of the A-Team into the Musicians Hall of Fame.Ray Quarles Edenton was born on Nov. 3, 1926, in Mineral, Va., a gold-mining town about 50 miles northwest of Richmond. He was the youngest of four children of Tom Edenton, a sawmill operator, and Laura (Quarles) Edenton, a homemaker.Young Ray taught himself to play ukulele and guitar at an early age and later provided music for square dances with his two older brothers, who played fiddle and guitar.In 1946, after serving in the Army, he joined a band called the Rodeo Rangers, which performed at dances and on the radio in Maryland and Virginia. Two years later he became the bassist for the Korn Krackers, an ensemble led by the guitarist Joe Maphis that appeared on the Richmond radio show “Old Dominion Barn Dance.” He began working at WNOX in Knoxville in 1949 before being treated for tuberculosis in a Veterans Administration hospital, where he spent 28 months.Mr. Edenton with the singer Jeanne Pruett and others. “Everybody in the world came here, and we recorded with all of them,” Mr. Edenton said. “You might do a pop session in the morning, and bluegrass in the afternoon, and rock ’n’ roll at night.”Hubert Long Collection, Country Music Hall of Fame and MuseumMr. Edenton moved to Nashville in 1952 and became a guitarist at the Grand Ole Opry while also working in the touring bands of, among other luminaries, Hank Williams and Ray Price. A notable early recording session was “One by One,” a honky-tonk weeper that was a No. 1 country hit for Red Foley and Kitty Wells in 1954.Most country acts of the era did not feature drummers in their lineups. Mr. Edenton’s nimble, unobtrusive guitar playing, inspired by the cadences of a snare drum, created a steady demand for his services among record companies, especially when he was tapped to fill the vacancy created on the A-Team when the guitarist Hank Garland suffered disabling injuries in a car accident in 1961.Besides his daughter and his son, Mr. Edenton is survived by his wife of almost 50 years, Polly Roper Edenton. His marriage to Rita Winters, a country singer who performed under the name Rita Robbins, ended in divorce.“People often ask me about session musicians and why, back in those days, only a few people made all the records,” Mr. Edenton said in 2007, reflecting on his heyday with Nashville’s A-Team.“It was several things. You had to learn real quick. You had to adapt real quick. And if you couldn’t do that, you couldn’t do sessions.” More

    • 75 Shares169 Views

      in Music

      The Pedal Steel Gets Its Resurrection

      by

      As the sound of country music has shifted, the emotive whir of its classic instrument has often been sidelined. The complicated antique has found new life in surprising forms.When DaShawn Hickman was 4 years old, living just 32 steps from the tiny granite House of God church in Mount Airy, N.C., he picked up a lap steel his uncle had built for his mother. Stretching the electric guitar across his tiny knees for the first time, using a D-cell battery as his slide, he traced the hymns his mother sang.Hickman soon graduated to the pedal steel, the lap steel’s byzantine successor, with as many as 24 strings controlled not only with two hands but also with both feet and knees. A quick study, Hickman was 13 when he began leading services at House of God with his steel/strings, the centerpiece of a century-old style of Black gospel called Sacred Steel.“This instrument is a ministry, a tool to help someone overcome,” Hickman, now 40, said by phone from Mount Airy. “Where the human voice can’t fully reach, the pedal steel can.”In June, Hickman released “Drums, Roots & Steel.” More restrained than many of its Sacred Steel predecessors, his solo debut is a showcase for the instrument’s emotional breadth, equally capable of prayers for the wounded and paeans for the joyous.It is one of several recent recordings that suggest that the pedal steel — familiar mostly for the lachrymal textures it has long lent to country music — is finding renewal in unexpected places. As the sound of slick modern country shifts from this large and esoteric accessory, ambient and experimental musicians have tapped it for much the same reason as Hickman’s Sacred Steel lineage: its ability to harness and even rival the expressiveness of the voice itself.“Since its existence, you had to learn how to play one way to get a backing role in some country band,” said Robert Randolph, the son of a New Jersey House of God deacon and minister who came to prominence more than two decades ago when he dared to take his 13-string purple behemoth out of the church. He was soon opening for the Dave Matthews Band at Madison Square Garden. “So it’s an instrument that’s never been fully explored.”With his boisterous Family Band, Randolph expanded Sacred Steel’s reach by turbocharging its sound, strings screaming for three hours over soulful marches and Allman-sized jams. His sound and style have since mellowed, and he has collaborated with Carlos Santana and Ozzy Osbourne. “Guitar, trumpet, piano, keyboard — they’ve all had nine million babies,” he continued. “But the pedal steel is so new to so many people they don’t even know what it is. There are so many ways to evolve this instrument.”Robert Randolph helped expand pedal steel’s reach, collaborating with musicians including Carlos Santana and Ozzy Osbourne.Michael Nagle for The New York TimesThat evolution is accelerating: The modern steel icon Greg Leisz played on half of Daft Punk’s final album, while the funk band Vulfpeck recently commissioned the Los Angeles whiz Rich Hinman to interpret a Bach chorale. The Texan Will Van Horn went viral in 2016 for covering Aphex Twin with pedal steel, while Dave Harrington, half of the haute electronic duo Darkside, used it as his compositional tool for Alanis Morissette’s recent meditation album. A new fleet of stirring steel players has emerged, and an 11th volume of the long-running guitar compilation “Imaginational Anthem,” out Friday, offers a snapshot of the evocative instrument’s intrigue.“One reason it has taken so long to grow out of the genre it’s been pigeonholed in is because it’s so technically complex, and that complexity has kept a lot of people in the country world,” said Luke Schneider, the Nashville player who curated the new collection, by phone. He detailed how the knees push levers that bend strings, how the feet trigger pedals that stretch them, how the hands work in constant harmony. “It might be the most difficult instrument in the Western world to learn,” he concluded.Schneider, 42, once thought he might have to stay in the country world, too. A longtime devotee of ambient music who knew of other Nashville players flirting with experimental sounds, he instead backed the singer-songwriter Margo Price in her early country years and later joined the masked musician Orville Peck’s band. Nashville sounds, Nashville paychecks.But he then encountered Susan Alcorn, one of the instrument’s rare iconoclasts alongside the tinkerer Chas Smith and the famed producer Daniel Lanois. Her 2006 album, “And I Await the Resurrection of the Pedal Steel Guitar,” felt like a pioneer’s sketchbook of exotic places a young player might take the antique. Schneider followed her lead, trying to use the pedal steel’s stature to his advantage.“You’re literally playing this instrument with your whole body. You have to conjure your feelings, then connect them to your toes, your knees, your fingers, your eyes, and your ears,” Schneider said. “All of that combined can express the voice of a musician in a way few other instruments can.”Schneider recorded his solo debut, “Altar of Harmony,” which arrived early in 2020 lockdown, using only pedal steel, shaping sighing strings into hypnotic drones. “By its very nature, the sound the instrument produces is ethereal, so it’s calming for the player and listener,” he said. “That still comes through at the edges of modern music.”Likewise, before he began collaborating with Morissette during the pandemic, Harrington discovered a postmodern poignancy inside the pedal steel’s mechanics. For years, he’d played a solo guitar rendition of “Pure Imagination” from “Willy Wonka & the Chocolate Factory,” often as a soundcheck warm-up. When he added steel, he spotted the song’s bittersweet heart and cut it as an album finale.“You’re literally playing this instrument with your whole body,” Luke Schneider said. “You have to conjure your feelings, then connect them to your toes, your knees, your fingers, your eyes, and your ears.”Morgan Hornsby for The New York Times“It unlocked a little trap door into the feeling of one of my favorite songs of all time, like the camera had been turned 45 degrees,” Harrington, 36, said via video chat. “It’s a happy song that’s just so sad.”Despite the pedal steel’s manual demands, this rush of applications and ideas is a result, in many ways, of digital accessibility. The Danish guitarist Maggie Björklund, 57, stowed her pedal steel in a closet for two years when she first tried to learn around 2000 because its mechanics proved too difficult and she knew maybe three men in Denmark who played it. She ultimately flew to Nashville to study with Jeff Newman, a beloved instructor who informed her she’d been doing it all wrong.“I thought I knew a little bit about pedal steel, but he said, ‘You sound like a German hausfrau,’” she recalled by phone from north of Copenhagen, laughing. “He ripped all that away from me and gave me the basis I still play.”Just five years later, the New York guitarist Jonny Lam decided to pursue pedal steel as a way to differentiate himself in a city with a glut of guitarists. He stumbled upon The Steel Guitar Forum, where amateurs building instruments in garages argued with the likes of Buddy Emmons, who had revolutionized the instrument’s design, tuning and sound.Those cranky older denizens (“No one ever knows how to post a picture,” Lam, 42, joked) became his gateway, offering a low-stakes way for a Chinese American neophyte to learn the lessons of Nashville. He devoured classic instructional texts and records, but the forums (and, now especially, YouTube) remain founts of inspiration for Lam and younger players, reducing barriers to entry for an expensive and isolating instrument.“Twenty years ago, I didn’t know what a pedal steel was. There was this monoculture of white males,” Lam said. “But now people are doing quirky things with it online, and different kinds of people are being exposed. That representation matters.”Still, for both Björklund and Lam, pushing past the pedal steel’s conventional territory took time. Lam played pristine honky-tonk fare with his band Honeyfingers and supplied old-school textures for Norah Jones and Miranda Lambert. Björklund cut two elegant folk-rock albums as a steel-wielding songwriter, then played in Jack White’s backing band.Their tracks on “Imaginational Anthem XI,” however, feel like coming-out parties. During “Rainbows Across the Valley,” Lam’s high and low tones slowly curl around chattering birds. Björklund’s “Lysglimt” backs a sinister Spaghetti Western theme with unsettling noise and electronic throbs, like a storm cloud commandeering the horizon. Lam has composed a modern Chinese opera for the pedal steel, and Björklund is now finishing a series of solo pedal-steel abstractions. These are new starts for their old instrument.“Traditional pedal steel is beautiful, but the notes have already been played. It would be such a shame for it to be a dusty instrument in country music,” Björklund said, sighing. “It is much more interesting to explore the outer edges, where it comes into contact with the modern world.” More

    • 75 Shares189 Views

      in Music

      Dan Smith Might Teach You Guitar

      by

      Teaching is a calling for New York’s king of the marketing flier, whose students include the former governor David Paterson. But he won’t take just anyone.For three decades, Dan Smith has been making a solemn promise to New Yorkers. He has posted his flier — “Dan Smith Will Teach You Guitar” — thousands of times in the city’s bodegas, coffee shops, pizza parlors, delis and laundromats. Parodied by Jon Stewart and the guitar god John Mayer, Mr. Smith has reached local legend status alongside the likes of Cellino & Barnes, Dr. Zizmor and Keano.There have been at least 60 versions of the sign, and most have included a photo of a seemingly ageless, sinewy and smiley Mr. Smith posing with his instrument. But spotting one in the urban wild may soon become a rarity, because New York’s go-to guitar teacher is doing less of his vintage style of promotion and embracing a more 2022 approach.Three months ago, Mr. Smith, 51, started a YouTube channel, where he has posted short instructional videos to help aspiring guitarists navigate “Should I Stay or Should I Go” (by the Clash), “I’ll Be Your Man” (the Black Keys) and more songs. Others have had success as YouTube guitar instructors: “Marty Music” has 3.3 million followers, and “Andy Guitar” has 2.2 million. Mr. Smith, a newcomer to the world of online tutorials, had 144 followers as of this week.While reporting this story, I took my old guitar from its case, where a family of cockroaches had taken up residence a few months before, and tried to play along with a couple of his videos, only to get frustrated. I quickly gave up, as I had many times before when trying to learn instruments.My can’t-do attitude makes me exactly the kind of person Dan Smith does not want to teach. In fact, when I asked him if he would give me lessons, he said no. In other words, Dan Smith will not teach me guitar. At one point, he even threatened to cancel an interview.After we had re-established the traditional journalist-subject relationship, I asked him why he had soured on me. “You didn’t really want to learn how to play guitar,” he said.Correct.“I understand why I’m perceived as just an amazing promoter,” he said. “Of course, that’s how people perceive me, because, in many ways, that’s all they’ve known of me so far.”To crack Dan Smith the man, I would need to look past Dan Smith the marketer.Mr. Smith, with his Gibson Hummingbird guitar, at his teaching studio in Manhattan.Sinna Nasseri for The New York TimesMr. Smith, who lives in Manhattan with his wife, Melissa, a photographer, charges $150 for a one-hour private session. He also offers group workshops and lessons in songwriting and solo performance. He said he has supported himself by teaching guitar since the mid-1990s.He started giving lessons at age 16 in his hometown, Newton, Mass. A few years later, after doing some experimental theater, busking outside Le Centre Pompidou in Paris and putting in some time at New York University, he decided to pursue a career in music and theater. He started teaching again to make money, and it soon became a calling.“I’m trying to help people connect to themselves,” he said.He has stipulations about whom he’ll teach and how, pedagogical rules he said he had come up with after thousands of lessons.Students must see him at least one hour a week, as a sign of their commitment. And they should not go to him with the idea that his lessons are all about learning to pick and strum or play solos like a guitar hero.“Music is a lot more than just putting your fingers on the strings,” he said. “It’s telling a story, it’s creating a mood, it’s evoking an emotion.”Mr. Smith does not teach his friends. “You need some distance,” he said. “You need some objectivity.”He does not take on students under 21. “Everybody pays as they go,” he said, “because I want everybody to think about it every time they have a guitar lesson: ‘I’m paying for this. What am I bringing to the table?’ The person who’s doing it needs to pay for it, because that’s what makes it real for them.”There are yet more stipulations: Mr. Smith does not offer gift certificates; he does not teach people who have signed up for lessons at someone else’s behest, like singers or actors whose managers want them to learn guitar; and he does not take notes for his students or permit them to take notes.“It doesn’t work,” he said. “I’ve tested everything that I know for a fact. That’s another thing that separates me from other teachers: I’ve done the research.”Mr. Smith plays his acoustic guitar in Central Park.Sinna Nasseri for The New York TimesFor those who meet the criteria, the experience can be transformative.“It’s not just about learning an instrument but expanding my feelings about myself, about what I’m about,” said David A. Paterson, the former governor of New York, who has been studying with Mr. Smith since 2020.Mr. Paterson, who takes a two-hour lesson each week, said that he and Mr. Smith frequently spend half a session just talking. “I think that’s his meditation technique,” he said. “That’s how he gets you in the mood to play.”Mr. Paterson, who is legally blind, added that he appreciated his teacher’s patience and an approach that goes beyond technique. “He’s a psychologist,” he said. “I’ve always been someone who thinks that, to make up the difference, that I have to hurry.”“When you do a song,” Mr. Paterson continued, “it’s almost like you’re shoveling snow: You just drive through. You have a lot of energy and you work hard, but it’s not an intellectual pursuit; it’s getting the feel of things. The great musicians call it ‘Make room for Jesus.’ In other words, you play — and then you just stop. That little space is as much a part as the music. I’m still struggling with just stopping.”Mr. Smith said that the time spent in conversation serves a purpose: “If a student arrives and they are tense or distracted — everybody needs time to, in my opinion, clear the runway for themselves before they can really make music.”In 2020, six months into his studies with Mr. Smith, Mr. Paterson and his teacher took the stage of Bar Nine in Manhattan, where they performed “Stand By Me” by Ben E. King and “I Heard It Through the Grapevine” by Marvin Gaye.The “Dan Smith Will Teach You Guitar” flier has had at least 60 incarnations over the last three decades.Sinna Nasseri for The New York TimesMr. Smith sometimes plays solo at Paddy Reilly’s Music Bar and other Manhattan clubs. His original songs include the city-centric “Sixth Avenue” and “New York Forever.” During our time together, he mentioned that he was about to perform in front of a large audience at an outdoor show in Battery Park. In the days leading up to the gig, he texted me to make sure I would be there. Mr. Smith’s wife echoed the gravity of the moment, telling me how excited they were for the occasion.It was billed as “a talent show” featuring the city’s “most notable and iconic characters.” The lineup was put together by Nicholas Heller, a filmmaker and social media personality known as New York Nico. It was timed to the Tribeca Film Festival premiere of Mr. Heller’s documentary film short, “Out of Order.”“There’s a BuzzFeed list of people who are super-famous in New York, and Dan Smith is on it,” Mr. Heller said. “To me, he’s more important than a worldwide celebrity.”With his trusty Gibson Hummingbird guitar, Mr. Smith took the stage at dusk. He looked serious, earnest. It was clear that, unlike some others on the bill, he did not view his performance as a stunt, but as a chance to show New York what he is made of.He started playing “New York Forever,” which he had written in the early part of the pandemic as a tribute to the city’s resilience. In the middle of the song, another New York character appeared onstage, on stilts. It was the one-name street performer Bobby, who regularly walks the city towering over crowds.As Bobby loomed over the stage, Mr. Smith seemed unfazed. He has, after all, had decades of practice in teaching others about what it means to take your time and seize the moment. And when his song was over, the crowd cheered not for the man from the flier but for the performer who was trying to realize a New York dream like the rest of us. More

    • 125 Shares109 Views

      in Music

      The Face of Solo Guitar Is Changing. It’s About Time.

      by

      Since the heyday of John Fahey, the genre has been seen as the province of white men. A new generation of diverse players is rapidly changing that.Before Yasmin Williams became a teenager, she found her perfect sport: “Guitar Hero,” the dizzying video game where aging rock staples enjoyed an unlikely second life through players wielding plastic controllers fashioned after vintage Gibsons.Williams’s parents purchased the game for her two older brothers, but the suburban D.C. family soon realized she was the household champion. “They would try to beat me,” Williams said on a recent afternoon in the sunroom of her grandmother Marsha’s home, near where she grew up. “But they couldn’t.”More than competition, “Guitar Hero” represented a revelation for Williams. Though she was often the only Black student in her public-school classes, she didn’t know the Beatles, let alone heavy metal, existed before the game. She cut her teeth on her father’s vintage go-go tapes and her brothers’ hip-hop CDs. Williams loved the clarinet, but she wondered if she could make more exciting music if she had an ax like her onscreen idols.“That guitar was the first thing I ever really begged for,” Williams said, and she received a red electric Epiphone SG. “Once I got it, I never played the game that much. The guitar took up all my time.”More than a decade later, Williams, 25, is one of the country’s most imaginative young solo guitarists. Released in January, her second album, “Urban Driftwood,” represents a clear break with the form’s stoic, folk-rooted mores. On her grandmother’s porch, she laid a gleaming acoustic guitar across her jean shorts and hammered out rhythms with her wrist while picking iridescent melodies with her fingers. Wearing a collared cotton shirt and matching bow tie so bright they conjured an exploded dashiki, she reached for a West African kora and beamed. The notes from its 21 strings floated like bird song.“Music should be enjoyable — at the end of the day, that’s what I really care about,” she said. “I want it to be something you can listen to, remember, hum.”Williams’s radiant sound and adventitious origins have made her a key figure in a diverse dawn for the solo guitar. Long dominated by much-mythologized white men like John Fahey, the form’s demographic is slowly broadening to include those who have often been omitted, including women, nonbinary instrumentalists and people of color. These musicians are paying little mind to the traditional godheads. They are, instead, expanding the fundamental influences within solo guitar, incorporating idioms sometimes deemed verboten in what was once a homogenized scene.These players are empowered by online access to fresh inspirations, compelled by current debates about equity and inclusivity and enabled by digital avenues of distribution that circumvent longtime gatekeepers. As this music moves beyond the realm of obscure collectors, its audience and attention have grown, prompted by the possibilities of players who sound as different as they look.“I always saw music as this democratic, horizontal realm, but 99.9 percent of the guitarists I saw were white dudes,” said Tashi Dorji.Clark Hodgin for The New York Times“It’s mostly young men who have been the market and the marketplace,” the Portland guitarist Marisa Anderson said recently. “But I am not going to spend my days focusing on masculinity and patriarchy. I am going to carry on, doing what I know how to do.”This enclave is teeming with new faces and novel ideas. In the Southern Appalachians, Sarah Louise uses her 12-string to shape mystical paeans to salamanders, floods and frogs. In Brooklyn, Kaki King — for two decades, one of the few popular solo guitarists who wasn’t a man — taps and slaps strings to make music as ornate as a healing crystal. In Madrid, Conrado Isasa embeds his acoustic hymns within romantic electronic hazes.Even avowed Fahey acolyte Gwenifer Raymond is compelled by the change. “My entire bloody career has been founded by dudes,” she said, guffawing in her apartment in England. “Representation matters — that’s just true. The music can only get more interesting.”SINCE THE START of Fahey’s record label, Takoma, in 1959, the history of solo guitar has been astonishingly pale.Fahey was the patriarch for a cadre of stylists — Robbie Basho, Leo Kottke, Sandy Bull — who assimilated the exotic-to-them styles of the Deep South, India and Africa into discursive instrumentals. Takoma released some albums by Black artists, and Fahey helped revive the careers of forgotten blues artists like Bukka White.But his career often mirrored that of Elvis in its unabashed exploitation of music that Black and rural people made as a way of life. A child of the suburbs, Fahey attributed portions of his first album to Blind Joe Death, as though from the Delta himself. He spun tall tales about learning the blues from a Black man he christened with a racial slur. And he brandished the marketing tag American Primitive, suggesting the folk styles he lifted were compelling if not sophisticated. It is the “noble savage” of acoustic guitar.Decades later, modern solo guitar labels often linger in such shadows. Since 2005, the label Tompkins Square has surveyed the landscape with an ongoing series of compilations titled “Imaginational Anthem”; released between 2005 and 2012, the first five volumes spotlighted less than 10 women or people of color despite featuring 60 players. (Recent editions have been decidedly more inclusive.) After almost three dozen titles, VDSQ has released just four titles not made by white men; the label’s owner Steve Lowenthal said that, after not receiving demos from women or people of color for half a decade, he’s finally getting them.“I’m so used to white men, it’s like wallpaper,” Raymond said. “When you do encounter another woman playing guitar like this, you want to hang out.”Before the modern music market existed, however, the guitar was far more inclusive. In 18th-century Europe, it was one of the few instruments deemed acceptable for women. In the United States near the end of the 19th century, the diminutive parlor guitar became a necessity for women entertaining guests. Born around then in North Carolina, Elizabeth Cotten — a Black woman who literally turned the guitar upside down — helped pioneer the slowly loping style that became Fahey’s calling card. A recent compendium in the globe-trotting series “The Secret Museum of Mankind” even juxtaposes century-old recordings from India, Italy, Greece and Ghana, reiterating how many traditions have shaped the guitar’s development.Tashi Dorji, however, knew nothing about this pan-cultural pedigree. Raised in Bhutan, the small Himalayan nation landlocked by China and India, he understood the instrument as the domain of “endless English and American men,” like Eric Clapton and Eddie Van Halen. Those were the licks he started to learn on the nylon-string guitar his mother purchased from a Swiss expatriate.After Dorji moved to North Carolina’s Blue Ridge Mountains in 2000 to attend college, he immersed himself in radical politics and bellicose metal. When he learned about free improvisation, he felt like he’d found an outlet for expressing these nascent ideals. He was stunned to discover, though, that an idiom rooted in rejecting conventions was dominated by people who resembled elected officials.“I always saw music as this democratic, horizontal realm, but 99.9 percent of the guitarists I saw were white dudes,” Dorji said from his home outside of Asheville, where he lives in a mountainside cluster of artists and activists.In his music, Dorji has found his rebellion; it grabs at melodic or rhythmic fragments only to grind them into dust. His 2020 debut for Drag City Records, “Stateless,” is a series of suites for improvised acoustic guitar that culminates with “Now,” a pair of frantic improvisations that steadily stabilize, as though Dorji has found his utopia. Released in September, it struck a clear chord during a season of upheaval, selling out of its first edition in less than a month.“I wanted to use the guitar to interrogate structures of oppression,” Dorji said. “I forced myself to think of it as an act of radical, anarchic expression.”“I don’t want my music to be limited by being the ‘Black guitarist,’ but somebody had to start doing something,” Williams said. “With all the horrible stuff in 2020, it seemed like it was time.”Amr Alfiky/The New York TimesRachika Nayar also found herself clutching a guitar while surrounded by a sea of whiteness. Raised by two Penn State professors who moved to the United States from India, Nayar was “pretty isolated, the only brown kid in a small town.” When she was 11, she picked up the guitar and spent hours in her bedroom every day, practice taking the place of solitary hobbies like whittling and rock collecting.She loved emo’s empathy and punk’s power, plus the “School of Rock” soundtrack. The imagination of jazz, though, spoke to her as a manifestation of oppressed individuality. She marveled at the way the self-taught guitarist Wes Montgomery used his thumb instead of a pick to create a distinct tone. “I realized how generative it is to lean into your idiosyncrasies,” Nayar said.Nayar released her first album, “Our Hands Against the Dusk,” in March. She wrote many of its eight instrumentals by finding a guitar phrase she liked, electronically mutating it and pitting the warped sound against the original. It feels as though the instrument is searching for its essence.When Nayar was a kid, the gadgetry to make such music might have been prohibitively expensive. Now, as a trans Indian American person, Nayar equates the ability to shape her music however she sees fit to her own self-discovery.“It’s a feeling of something rising up inside of me,” she said. “That’s a moment queer people can relate to, when you realize you don’t have to live a certain way.”For Anderson, the Portland musician, exploring the guitar mines a related sensation. She started learning classical guitar when she was 10, eventually gaining what she called an “athletic fluidity.” At 50, Anderson still loves practicing. But she didn’t release her solo debut until she was in her late 30s, so she’d abandoned any impulse to impress.“There is a flash of recognition, and then it is gone,” Anderson said, explaining how an emotionally resonant moment of music might spawn a piece. “It feels like something locking into place, like a cog in a wheel. I’ll obsessively try to get back to that place, where that sound made almost religious sense.”First reluctant to make records, Anderson realized that any label interested in her music would be small, with modest profits and demands. That would allow for “a healthy separation between my music and the marketplace,” she said, noting that her elliptical songs begin as private reflections.“I am not hiding from myself when I am playing alone at home,” Anderson said. “What comes, comes.”IN ENGLAND, RAYMOND does not shy from the impact Fahey had on her life.As a kid in Wales, she started writing blues instrumentals after Nirvana led her to Lead Belly. When her guitar teacher handed her a Fahey LP, she felt validated. Released on Tompkins Square, her 2020 album, “Strange Lights Over Garth Mountain,” is one of the most bracing recent bits of Fahey reappraisal, his grace supercharged by her punk-rock past. “He is almost, by definition, my mean uncle figure,” Raymond said.Raymond is also a video game programmer with a doctorate in astrophysics, so she is accustomed to fields dominated by men. But their historic grip on power is glacially loosening in all these realms, guitar included.“The fear of traditional roles is disappearing,” she said. “This is one effect.”Williams is beginning to accept her role in that deliberate revolution. At the start of her career, she ignored how different she looked from fellow artists and her audience. But she wrote and recorded much of “Urban Driftwood” amid Covid-19 lockdowns, while protests against racial violence roiled. After Williams marched in Washington last summer, she wrote the album’s finale, “After the Storm.” Darkness lingers at its edges, but the sun slinks through the center in the form of Williams’ chiming strings. The moment of respite recognizes how much work remains.“I don’t want my music to be limited by being the ‘Black guitarist,’ but somebody had to start doing something,” she said. “With all the horrible stuff in 2020, it seemed like it was time.”Since Williams released “Urban Driftwood,” nearly every interviewer has asked about Fahey’s formative influence. She proudly tells them she learned about him only recently and she has no guitar heroes. The guitarists she watched most as a kid played in the band of D.C. go-go god Chuck Brown, or maybe Jimi Hendrix.Williams picked up one of her 11 guitars — a harp guitar, where bass strings poke diagonally from the guitar’s small body. She put it on her lap and flew through a flurry of heavenly notes, each low throb lingering as her fingers licked the high strings. It wasn’t the proper technique, she explained, but it worked.“This is why I love the guitar,” she said, looking up to smile. “You can just do whatever you want.” More