By Chris Cooper

In guitar circles, certain names are spoken in hushed, respectful tones. Players like Mike Stern, Allan Holdsworth and Scott Henderson — among others, of course — represent the best of the best in regards to the modern jazz/rock genre. These musicians absorbed the nuances of the jazz language and married these ideas to rock’s grittiness and attitude. The result is music that, when it’s not leaping over the head of most listeners, can at one moment inspire and the next make you want to take that six-string plank you noodle around on occasionally out back and burn it out of sheer intimidation.

By Chris Cooper

Last summer I wrote an article titled “I Played In A Classic Rock Cover Band And Lived To Tell About It.” It was a semi-humorous account of some friends getting together under the moniker of Alpine Taxi, banging out a batch of tunes in rehearsal, and performing them live at Mill & Main and Guadalupe Café. It was fun and sloppy, and noisy and exhilarating and ... it was a lot of things, some of which weren’t apparent to me until now.

By Chris Cooper

Ah, the joy of finding good stuff in the “undeservedly discarded disc” section of any music store. Here a few recent scores: pop melodrama from Bleu and a superb album from the most underappreciated — and one of the best, in my opinion — bands in the country.

The term “contemporary bluegrass” is open to a ridiculous amount of interpretation. For some it signifies anything that strays even a little beyond the template set by Ralph Stanley, Lester Flatt and Earl Scruggs — which means that damn near everything we hear nowadays that falls under the heading of bluegrass is “contemporary.”

By Michael Beadle

Watch out Broadway. Get Carnegie Hall ready.

Jim Lauderdale: The Bluegrass Diaries

If you recognize the name, little more needs to be said. Long one of the first-call songwriters in Nashville, Jim Lauderdale is probably the guy responsible for penning some of your favorite country tunes.

By Chris Cooper

A few years ago there was this gangly guy with a mop of shaggy blonde hair sitting on a bench reading Beneath The Wheel by Herman Hesse. I recognized the book because a friend of mine had recently acquired a copy, and I’d made a half-hearted attempt to work my way through it.

There was an interesting coincidence on July 11, 2006. Thom Yorke released Eraser to mixed reviews, and the same day a band that still desperately wants to be Radiohead (that would be Muse) dropped their newest, Black Holes And Revelations.

By Chris Cooper

Looking back on the albums and/or shows (be they local, regional or major label offerings) I’ve had the opportunity to write about over the last year, two things struck me: 1) that I was lucky enough to hear all this music in the first place, sometimes even for free, and 2) that I wouldn’t have heard any of it on the “radio.” I know, that’s a pretty easy target these days. The real challenge might be finding anybody that doesn’t hate mainstream radio.

By Chris Cooper

Before getting started, let me say that I completely missed Grace Potter’s performance at the Christmas Jam. Heard she was fantastic. Didn’t see Jackson Browne either — heard he was a little depressing. In fact, once I arrived at the Asheville Civic Center (and by the time we’d succumbed to defeat in finding anything resembling “convenient” parking, found a lot at street level and climbed that massive hill to the front entrance) my nose was frozen, my fingers were numb and Bruce Hornsby was finishing up “End Of The Innocence.”