Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist “deep listening” philosophies of Pauline Oliveros.
Although Alcorn is an influence, my own music had lashed together diverse sonic illuminations with the deep listening aesthetic of Pauline Oliveros before I encountered Alcorn’s music. (I’ll speak of Chas Smith in a later post.) Her 2006 record And I Await the Resurrection of the Pedal Steel Guitar is a gem. The Guardian UK called her 2011 date, Concentration, one of the 101 strangest records on Spotify, surely a kudo.
Here’s a dedication to Susan Alcorn, titled Sarte, from my 2011 recordinng, Poor City.