Remembering Susan Alcorn: A Pedal Steel Innovator
Susan Alcorn, a highly respected pedal steel guitarist known for expanding the musical reach of her instrument beyond its conventional country roots, passed away on Friday, January 31. Her death was announced by the High Zero Foundation of Baltimore, which expressed its deep gratitude for the music she shared, stating, “We will never be the same and we are forever grateful to have shared so much music with YOU, Susan.” Her husband, David Lobato, reported to WRTI that she died of natural causes at the age of 71.
Alcorn’s journey with the pedal steel guitar began in country bands, but she soon embarked on a solo path that saw her mastering the instrument through a blend of free jazz, classical, Indian ragas, bluegrass, and elements from Indigenous music traditions. Her ability to weave these genres created a seamless, fluid sound that maintained its smoothness across various rhythmic and atonal frameworks.
Early Life and Musical Influences
Born in 1953, Susan Alcorn grew up in a household filled with music; her mother was a pianist and vocalist with the Cleveland Symphony Orchestra, and her father enjoyed impersonating famous singers. Their extensive collection of vinyl records provided a rich musical backdrop to her childhood, featuring legends like Igor Stravinsky, Duke Ellington, and Peggy Lee. As she grew, her musical tastes expanded to include folk, blues, and lesser-known psychedelic bands such as Mad River and the Freak Scene. By high school, Alcorn was deeply engaged with both bluegrass and 20th-century classical music, which significantly shaped her musical direction.
Her family’s move to central Florida introduced her to country blues and the distinctive sounds of fretless string instruments. It was during this time, particularly after watching older musicians play lap steel in a park, that her fascination grew. Her interest peaked in Chicago, where, after being captivated by Muddy Waters at Alice’s Revisited, she saw a pedal steel guitarist perform live. Mesmerized by the unique sound, she recalled in a 2010 interview with The Quietus, “The steel bar seemed to gently float on top of the strings, and it had this sort of round metallic sound that I had never before heard live.” This experience led her to purchase her first pedal steel guitar the next day and seek out anyone who could teach her to play it.
By 21, Alcorn had fully embraced the pedal steel guitar, performing in country and western swing bands around Houston, Texas. Here, she learned that improvisation was generally used sparingly within the local country scene. Undeterred by criticism, she studied with legends like Buddy Emmons and Lloyd Green while also exploring jazz improvisation and dissonant guitar techniques with Dr. Conrad Johnson in Houston’s Third Ward.
Artistic Development and Philosophies
A significant turn in Alcorn’s musical exploration occurred in 1990 when she met composer Pauline Oliveros, who introduced her to deep listening practices. This approach reshaped how Alcorn engaged with music, both as a listener and a creator. Her solo career began to gain traction with her debut album Uma in 2000, followed by acclaimed releases such as 2006’s And I Await the Resurrection of the Pedal Steel Guitar and 2010’s Touch This Moment.
On her website, Alcorn shared her view of the pedal steel guitar not just as an instrument to master but as a partner in creating meaningful, impactful musical experiences. She described her musical approach as multifaceted—composing original pieces, adapting significant works from other composers, engaging in free improvisation, and collaborating with innovative musicians on the fringes of music and society.
Alcorn later moved to Baltimore, Maryland, where she continued her career as a performer, educator, and writer. One of her essays, “The Road, the Radio, and the Full Moon,” was featured in The Best Music Writing of 2006. Renowned for her collaborations, she worked with a diverse array of artists, including Pauline Oliveros, Eugene Chadbourne, and Joe McPhee, always seeking to push the boundaries of her instrument within various musical settings.
Her contributions to music were recognized with the Baker Artist Award in 2017 and the Instant Award in Improvised Music, which she shared with saxophonist Joe McPhee in 2018. Alcorn remained active in her musical pursuits until her final days, with her last record, the In-Yu EP, set for release in 2024. She was also working on a trio album and had plans to perform at the upcoming Big Ears Festival in Knoxville, Tennessee.
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Naomi lives and breathes music. From underground indie artists to global pop icons, she’s always got her ear to the streets.