Shana Tucker’s Chamber Soul

Most musicians bristle at the idea of having their music labeled into a particular genre. But Shana Tucker is no ordinary musician. In fact her music doesn’t lend itself to easy description, so she decided to help those new to her work: she came up with her own label: chamber soul. “A lot of people

What I’m Up to in Early 2019

Some quick dispatches regarding what’s brewing at Musoscribe World Headquarters… I recently signed with a literary agent, though for now I can’t reveal any details about the project in development. Suffice to say it explores one of my long-held favorite topics, and that it will be quite unlike my first book, Reinventing Pink Floyd. I

Hundred-word Reviews for February 2019

I’ve been doing these hundred-word reviews for many years now; they’re a handy way to communicate my enthusiasm for new and newly-reissued albums without taking the time for a deep-dive critical assessment. Here’s my second installment for 2019, featuring five new titles along with five reissue, compilation and/or archival releases. Divine Weeks – We’re All

It’s Just a Box of Wood: A Conversation with Leo Kottke (Part Three)

Continued from Part Two… When you’re playing a song that’s written by someone else, do you feel a responsibility to deliver it in a recognizable style, or do you take more of a jazz approach and view a tune as a canvas upon which you can paint your own picture? Well, I’ve tried with kind

It’s Just a Box of Wood: A Conversation with Leo Kottke (Part Two)

Continued from Part One… You were fairly early on in your professional career when you cut the “armadillo” album. I know you said you cut it in just a single session; when you finished making it, did you have a sense that you had created something special? I had no sense that it would do

It’s Just a Box of Wood: A Conversation with Leo Kottke (Part One)

An edited version of this transcript appeared in Rock and Roll Globe. Leo Kottke is a giant in the guitar world. While his work rarely veers into the rock idiom, even rock guitarists appreciate the creativity and fingerpicking dexterity Kottke applies to the acoustic six-string and 12-string guitar. His first album, 1969’s 6- and 12-string

Leo Kottke’s Lifelong Love/hate Relationship with the 12-string Guitar

One of the most celebrated and admired acoustic guitarists working in a fingerpicking style, Leo Kottke is an acknowledged master of the 6- and 12-string. With more than two dozen albums to his name (plus a pair of collaborative albums with Phish bassist Mike Gordon), Kottke continues to explore the potential of his chosen instruments.

21st Century Hieroglyphics: American Vinyl Company

Once Thomas Edison’s wax cylinder was rendered obsolete by the phonographic disc, the era of records began. The prevailing medium for the first half of the 20th century was the 78 r.p.m. record. The fragile shellac discs could only hold about three minutes’ worth of music per side; eventually some recording artists’ releases were put

Album Review: The J.&F. Band – From the Roots to the Sky

Though some fans focused on the good-timing jam-band characteristics of the Allman Brothers Band, the long-running celebrated group from the American South had its roots in jazz. Though fully embraced by rock audiences as a more melodic exponent of the musical aesthetic of the Grateful Dead, from the very beginning the Allmans were influenced as

He Comes From Planet Jarre, Part Three

Continued from Part Two … Because a great deal of your work is instrumental, I’m curious about the inspiration for the pieces. Do you start with a non-musical concept, such as an emotion or story idea that serves as a catalyst for the song? Or do you start instead with a melody or a melodic