In some ways, D. James Goodwin, owner of The Isokon studio in Woodstock, is a perfectly illogical place to begin an exploration of recording in the Hudson Valley. The self-described contrarian Goodwin is a conundrum: from local stock, his work with many national acts speaks more to a Brooklyn experimental sensibility, the antithesis of the fundamentalist Americana for which the region is most known. And yet he poses a far more subtle and complex problem than that. In his work with Blitzen Trapper, Kevin Morby, Rhett Miller and many more, Goodwin’s imprimatur is all over the re-imagined . . .
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