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Post by monasterymonochrome on Jan 31, 2023 14:46:22 GMT -6
At least two of us are going this year, and possibly three or more - so I figured I'd start a thread to talk everything about my new favorite festival: Big Ears in Knoxville, TN. First off, this year's lineup (note: there have been more additions since this originally came out)  |
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Post by monasterymonochrome on Jan 31, 2023 14:51:31 GMT -6
Second - I'm going to spend most of February/March listening to the acts on the bill, which features loads of old and new favorites. My hope is to do some kind of "Better Know The Lineup" series where I regularly write about the acts I've been listening to / am most excited to see. Right now I'll just start by listing some of my "Must Sees" by day"
Thursday:
Terry Allen
Kali Malone
Bill Orcutt Quartet
The Mountain Goats
Friday:
Los Lobos
Grouper
Bonny Light Horseman
Peter One
Saturday:
Bela Fleck
Ichiko Aoba
Charles Lloyd
William Parker's Mayan Space Station
Bassekou Kouyate
James "Blood" Ulmer
Sunday:
John Zorn's Painkiller
Oneohtrix Point Never
Caroline
Morton Subotnik
And a shout-out to recently additions Wadada Leo Smith, Liturgy, and the Imaginations Trio feat. Reggie Workman (!) whop don't have dates listed yet.
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Post by rango420 on Jan 31, 2023 14:53:28 GMT -6
im still a maybe to this but if someone needs a hotel or airbnb buddy would make the decision easier.
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Post by zircona1 on Jan 31, 2023 15:22:37 GMT -6
Been listening to Lonnie Holley recently, going to try to catch him on Thursday.
I don't have a day-by-day list of who I want to see just yet. I'm still going through who I'm not familiar with.
I know I had listened to Liturgy when their first record came out, but when I listened to them again, I thought they were irritating.
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Post by nanatod on Jan 31, 2023 16:39:03 GMT -6
terry allen wrote the best song that joe ely covers live, "gimme a ride to heaven, boy" so make sure to stay until terry does it. [Joe really sells and makes the story believable]
am not sure yet of the difference in sound between sierra hull and sierra ferrell, but the country / bluegrass blogs favor the former a little more.
last (only?) time laswell played in chicago it was $60 / ticket, so I took a pass, but I might pay that today.
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Post by Tweet on Jan 31, 2023 23:17:59 GMT -6
Definitely going to this fest next year if everything remains equal
This is one of those lineups that looks A LOT better when other fests come out
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Post by Tweet on Jan 31, 2023 23:19:16 GMT -6
Been listening to Lonnie Holley recently, going to try to catch him on Thursday. I don't have a day-by-day list of who I want to see just yet. I'm still going through who I'm not familiar with. I know I had listened to Liturgy when their first record came out, but when I listened to them again, I thought they were irritating. My man I hope you're going to the Steve Gunn set I feel you'd sincerely dig him if he's not on your radar for this fest |
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Post by zircona1 on Feb 1, 2023 8:25:02 GMT -6
Been listening to Lonnie Holley recently, going to try to catch him on Thursday. I don't have a day-by-day list of who I want to see just yet. I'm still going through who I'm not familiar with. I know I had listened to Liturgy when their first record came out, but when I listened to them again, I thought they were irritating. My man I hope you're going to the Steve Gunn set I feel you'd sincerely dig him if he's not on your radar for this fest I know nothing by him, I'll give his stuff a spin. |
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Post by monasterymonochrome on Feb 1, 2023 11:02:39 GMT -6
im still a maybe to this but if someone needs a hotel or airbnb buddy would make the decision easier. Unfortunately already booked my Airbnb room, but I will have a car if anyone needs shuttled home at the end of the night. Prices for places within walking distance are insane. |
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Post by monasterymonochrome on Feb 1, 2023 11:12:45 GMT -6
Better Know Big Ears, Artist #1: Caroline
Starting here in the wake of their short tour announcement this morning!
Who are they: upstart British art-punks, but instead of mainlining Stiff Little Fingers or something they spent their evenings listening to like Codeine.
What do they sound like: Slowcore / post-rock mixed with some genuinely beautiful and fascinating arrangements. The record sounds impeccable, honestly coming off more like contemporary classical at times. It's laden with strings, structure-less drumming, and unexpected swells that make it one of 2022's most emotionally arresting albums. I hesitate to lump then in with the other New British Acts, but they're definitely the most sonically daring, IMO.
How interested am I in seeing them: Very. I'm hoping the schedule drops soon because I'm gonna grab a ticket to see them in Brooklyn on April 7th if they have a bad conflict at the fest.
What to hear: They only have one LP out so do that. My favorite tracks are "Good Morning (red)" and "Engine (eavesdropping)"
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Post by monasterymonochrome on Feb 1, 2023 12:32:16 GMT -6
Better Know Big Ears #2: Calexico
Who are they: Southwestern genre-blending group that's been kicking since the late 1990s. Lately they've been collaborating with Iron & Wine, with an EP in 2005, an LP in 2019, and backing vocals in 2022 for their tenth album.
What do they sound like: There's some desert-esque rock here, some mariachi, some Tejano, and loads of other influences melted into their sound. I started with their 1998 album The Black Light, it was interesting but it wasn't really my speed. I enjoyed 2003's Feast of Wire a lot more. This one is more streamlined, with some really well written and out-right cool sounding tracks (Sunken Waltz, Black Heart, Not Even Stevie Nicks..."). I sampled a bit of their latest album and it was fine, they seem to have polished up their sound over the years in a vaguely Southwestern indie-folk direction.
To See or Not To See: I'd like to check them out, if the schedule permits. But they're not gonna be a super high priority, unless something changes. I like them plenty, but I don't have a deep attachment to their music. My guess is they'll play an evening / late afternoon slot at the Tennessee Theatre or Mill & Mine, the two biggest venues. I'll say I'm like 6.5/10 interested.
What to hear: Their top Spotify song is an awesome cover of Love's "Alone Again Or," so check that out. Otherwise I'll drop the link for my favorite album of theirs, start with "Sunken Waltz" for sure. Anyone a fan here with other recommendations? Are they a killer live band that I shouldn't ignore?
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Post by alady on Feb 1, 2023 14:08:23 GMT -6
They are a good live band and I feel old
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Post by monasterymonochrome on Feb 1, 2023 18:30:53 GMT -6
Been listening to Lonnie Holley recently, going to try to catch him on Thursday. I don't have a day-by-day list of who I want to see just yet. I'm still going through who I'm not familiar with. I know I had listened to Liturgy when their first record came out, but when I listened to them again, I thought they were irritating. Listening MITH tonight and this shit rules - big shoutout to whoever recommended this one elsewhere, maybe that was teekoh? |
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Post by clouddead on Feb 1, 2023 18:36:40 GMT -6
It was. I know because that dude has good taste.
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Post by teekoh on Feb 1, 2023 19:40:16 GMT -6
Aw, it was me! Yr both scholars/gentlemen/etc.
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Post by monasterymonochrome on Feb 2, 2023 11:16:44 GMT -6
Better Know Big Ears #3: Ichiko Aoba
Who are they: Ichiko Aoba is one of the most exciting, interesting artists on the lineup, IMO. She is a Japanese singer-songwriter who released her first album in 2010 at the age of 19. Her first five albums, through 2018's qp largely highlight her hushed vocals and almost classical guitar playing. 2020's Windswept Adan is lushly composed and was designed to be the soundtrack to an imaginary film. It was also the first of her albums to see international release. At some point around 2018 her music began to gain scores of fans on the Internet. I've been seeing her name here and there on reddit for a few years. But since 2020 or so her popularity has relatively skyrocketed in certain niches of music nerds. Basically, her entire back catalogue rank among the highest scored albums on Rate Your Music, with 2013's 0 being the highest rated album of its year. She hasn't done many US tours (maybe only one, last year?) - but hopefully she finds herself on more lineups in 2023 and beyond.
What do they sound like: I mentioned it earlier, but her early records are usually just vocals and guitar. She plays intricate classical-flavored runs and flourishes and sings gorgeous, enigmatically arranged melodies. Her compositions can run very long, sometimes breaking the 10-minute mark. 2020's Windswept Adan was a relative change of pace. The songs were shorter and accompanied by piano, strings, and other delicate arrangements. It's a fantastic album, akin to Joanna Newsom or, say, Vashti Bunyan. I'm not sure what she'll be doing at Big Ears? I'm hoping for something like this video - but it may be more stripped back.
To See Or Not To See: Obviously, she is a must-see for me. Probably my #2 priority for the whole fest, only behind Bela Fleck's Bluegrass Heart. I'ma be crushed if they overlap.
What to Hear: "Bouquet" is a lovely song that first got me hooked. Check out Windswept Adan too tho, or the live version that's on Spotify.
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Post by monasterymonochrome on Feb 2, 2023 14:05:24 GMT -6
Better Know Big Ears #4: Andrew Bird
Who are they: You're all here on the Lolla Board in 2023, so I assume you know you Andrew Bird is. Here's something I learned about him today tho - he was in the Squirrel Nut Zippers! Huh!
What do they sound like: Violin loops, clever lyrics, a generally polished, baroque leaning take on indie-pop - you know the drill. I listened to Andrew Bird a good amount back in the day, circa 2012-13. Especially his Mysterious Production of Eggs album. At some point in college I stopped listening to him. Idk, maybe I thought I was too cool for him? Or I was just shifting away from indie-pop writ large? Anyways, I've checked back in with him this week and it turns out he's still really good! The format hasn't really changed, maybe just a bit less ~quirky~ or twee, but his last two albums have tons of great tracks on them.
To See or Not To See: At first I wasn't too psyched that he was taking up a major slot on this lineup, but now I'm back onboard. Gonna try and make it happen! He'll def be at one of the big rooms, here's hoping it's not against Los Lobos or something.
What to listen to: For my own reference, I made a quick and dirty playlist of the songs I liked from his last two records. You can listen to it too right here!
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Post by monasterymonochrome on Feb 3, 2023 12:08:17 GMT -6
Better Know Big Ears #5: Sierra Ferrell
Who are they: A rising country singer-songwriter from Charleston, West Virginia. She apparently made a name for herself busking in New Orleans and Nashville, and put out her debut LP on Rounder Records in 2021. It features Billy Strings and dobro playing from Jerry Douglas (Alison Kraus & Union Station).
What do they sound like: I love love love this album. I didn't come to it until 2022, but it's one of my favorite country records of the new decade. Ferrell eschews faster outlaw styles that are popular (and great) with her contemporaries in favor of a bluegrass-tinged honky tonk / swing sound. This lets her voice and songwriting shine through, while bringing to mind everyone from Loretta Lynn to Ernest Tubb - and even Jim Reeves a bit in her vocal phrasing. The highlights for me are the album's two waltzes, the latter of which (Whispering Waltz) is so clever and emotionally pulling it seriously feels like the best of the 60s or something. An extremely great and fresh sounding album.
To See or Not To See: Obvs I'm gonna try and catch her set. Saturday is absurdly stacked though, so I'm nervously awaiting the schedule release.
What to listen to: She only has one LP so try that! Fave songs were Bells of Every Chapel, West Virginia Waltz, In Dreams, and the aforementioned Whispering Waltz.
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Post by monasterymonochrome on Feb 3, 2023 13:10:38 GMT -6
Better Know Big Ears #6: The Staples Jr. Singers
Who are they: Not those Staples Singers, the Staples Juniors are a trio of siblings from 1970s Mississippi who named themselves after their idols. The group hit the MS gospel circuit hard when they were just teenagers, and recorded their sole LP When Do We Get Paid in Tupelo in 1975. They eventually disbanded, formed other gospel combos, and still regularly perform. Their record never got much distribution outside of the gospel circuit until 2019, when they placed a single on a reissue compilation that got a P4k BNM nod. Their LP was reissued to critical acclaim in 2022 and now they're back together taking it on tour.
What do they sound like: Do you like the Staples Singers? Then chances are you'll like the Staples Jr Singers too! But seriously, this is some of the finest gospel music you'll ever hear. It has a hard, funk edge and sounds like it came straight out of Muscle Shoals studios. Honestly, it also set the sonic template for everything The Alabama Shakes would do 40 years later. The Staples are charged up, with rousing, raspy vocals, and whoever is on the bass here deserves some type of award. Dude is channeling some serious David Hood energy here. It's awesome.
To See or Not To See: Another one I really want to see. Their date isn't listed yet, but it would be nice if it was Sunday (both cuz - gospel - but also bc that's the lightest day so far IMO).
What to listen to: Test drive their record out with "Get On Board" and the title track. If you like it, the whole thing is only 35 minutes long.
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Post by monasterymonochrome on Feb 5, 2023 12:40:36 GMT -6
Better Know Big Ears #7: Vijay Iyer
Who are they: One of the preeminent pianists of the 21st century. Iyer has put out more than 20 albums, won Downbeat's Musician of the Year four times, and is a MacArthur Genius Grant recipient. This write-up is more of a Post Your Reviews Here crosspost, since I saw his trio play at show at Columbia's Miller Theatre last night.
What do they sound like: Straight-up, that was one of my favorite jazz shows I've ever been to. Vijay's trio is insane (Linda May Han Oh on bass and Tyshawn Sorey on drums) and they dazzled for a 90 minutes straight. Each of them is among the world's best at their instrument - it's such a treat to see them working together. The music itself was gorgeous. Some stuff was deeply beautiful, sometimes it broke into a funk akin to a Dilla beat, sometimes it was so quiet it held you on a knife's edge. I've been to a lot of improvisational concerts in the last few years, but I've never seen musicians listening to each other so intensely and responsively than last night. You can practically see the ideas pinging off of each musician as each theme built, transformed, and dissipated only to rise again. It was honestly thrilling. Idk if this will convince anyone, but it felt like being at a jam band concert sometimes.
To See or Not To See: I'd obviously wholeheartedly recommend them. I partly went to this show so I could avoid a potential Big Ears conflict (plus it was $10 b/c I got a Columbia staff discount). But I'll happily see them again if my schedule's open.
What to Listen to: Tbh tho - I'm not very familiar with his discography! It's really hard to catch up on prolific 20-year runs of good to great jazz albums. I'm a big fan of 2021's Uneasy tho, which features this band. So maybe start there!
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Post by monasterymonochrome on Feb 6, 2023 9:30:28 GMT -6
Better Know Big Ears #8: James Brandon Lewis
Who are they: One of the most exciting saxophonists on the scene right now, and one of the most intriguing rising figures in jazz, period. James Brandon Lewis has been kicking around for a decade now, but really broke through on 2021's Jesup Wagon feat. William Parker and Chad Taylor, among others. It was one of my favorite jazz records of that year and even won the Jazz Critics year-end poll.
What do they sound like: JBL plays tenor sax, so the immediate reference point is gonna be Coltrane. But, like, he earns it? Dude works perfectly in that pocket teetering between compositional structure and free improvisation - and his trio follows suit with some seriously creative playing. His latest album came out last week - Eye of I - and is easily the best thing I've heard this year. Shit gets really wild (check out the cellist distorting to sound like a downtuned guitar!) and occasionally very free, but always comes back to a gorgeous, bombastic conclusion. The final track is a collab with Messthetics (Feat. Canty and Lally of Fugazi) and fucking rips. So, yeah, this record is bad-ass and I urge anyone interested in jazz to give it a shot.
To See or Not To See: Def gonna be at this set. It's on Sunday and may honestly be my most anticipated of that day.
What to listen to: Try out his new record! "The Blues Still Blossoms" is a lovely starting point, I think. But if you want to hear the really cool shit, start with the closing track "Fear Not" w/ the Messthetics.
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Post by monasterymonochrome on Feb 6, 2023 10:53:36 GMT -6
Better Know Big Ears #9: Peter One
Who are they: Peter One is a now 66-67 year-old country musician from Cote d'Ivoire. He grew up there in the 70s, then moved to the capital (Abidjan) where he linked up with Jess Sah Bi to form a duo performing their take on the American country music they heard on the radio (Don Williams was apparently a big favorite). Their 1985 album Our Garden Needs Its Flowers was a massive regional hit and the duo toured all around West Africa. In 1995 One temporarily moved to America, but political and economic turmoil in Cote d'Ivoire prevented his return. His family came over in the early 2000s and he became a US citizen in 2008. He's been working as a nurse in Nashville for more than 20 years now. He and Sah Bi's 1985 record was reissued in 2017 to great acclaim and One has since returned to regular gigging and music-making. He was even on tour with Jason Isbell earlier this year!
What do they sound like: The tagline is basically "Country music filtered through a West African lens" and that more or less holds up. One and Sah Bi sing in tight, gorgeous harmony. Their songs are accompanied by gentle, fingerpicked guitars and the occasional high, lonesome harmonica or steel guitar flourish. The melodies feel steeped closer to West African tradition, but maybe that's because One largely sings in Gouro, a tribal language of Cote d'Ivoire. It's a beautiful album. One of my favorites from the region and one of the most unique records you'll find.
To See or Not To See: One is a high priority set for me. Luckily, he's playing both Friday and Saturday so the odds are looking good. I missed seeing One's name on the original lineup, but I since stumbled on his record by other means and was happily surprised to notice him here!
What to listen to: Our Garden Needs Its Flowers is the winner. "Minmanle?" is my favorite track, but they're all great. One has a solo album on Spotify from 2009 that is also pretty good, but the production is a little more synthetic for better or worse. The title track reminds me of Beverly Glenn Copeland, so if that's your bag then check it out.
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Post by monasterymonochrome on Feb 7, 2023 11:19:34 GMT -6
Better Know Big Ears #10: Lucius
Who are they: Technically a four-piece, but let's be real - the spotlight here is deservedly on vocal duo Jess Wolfe and Holly Laessig. They put out their first record, Wildewoman, in 2013 and a follow-up in 2016. 2022 saw their first release of all-new material in 6 years, Second Nature. I like to think of them as "The Best Hangs in Indie Rock," because, seriously, their feature list is astounding. They've collaborated with The War on Drugs, Kurt Vile, Dawes, Jonathan Wilson, Sheryl Crow, Harry Styles, and San Fermin (included here b/c Lucius did all the female vocals on their first album). They were even in Roger Waters's touring band for three years. Finally, Brandi Carlisle produced their latest LP and they all performed together at the Grammys last weekend.
What do they sound like: Close, soaring harmonies define Lucius's sound. At the beginning they had something of a folk-rock bent. I hadn't really checked in on them since 2016's Good Grief. I'd always sorta liked them, but not really thought about them much, ya know? Turns out their latest is another vaunted Pivot To SynthsTM album, molding them into an indie-pop/disco act. It's fine. Not really my thing, I found most of the instrumentals kinda flat and the vocal performances didn't do enough to win me over. A little like Indie Aspiration Rock.
To See or Not To See: Probably my first skip of this series. (I figured I've been very positive lately, so I listened to a group I was on the fence about). I checked their setlists and they don't play my two favorites from their debut (the title track and "Go Home"), so I won't feel that bad about it. But if you're a fan - they'll probably be at the Mill & Mine / TN Theatre for a night-time Saturday show.
What to listen to: This track from their debut presages their current sound - it's pretty fun, all things considered:
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Post by monasterymonochrome on Feb 7, 2023 13:25:02 GMT -6
Better Know Big Ears #11: William Parker
Who are they: William Parker is perhaps the best jazz bassist alive. He has recorded with some of the vanguards of the post-70s avant-garde (Cecil Taylor, David S. Ware, Matthew Shipp) and himself is probably the creative center of the NYC jazz scene. Dude is everywhere. I've seen him twice doing solo shows: once opening for a Yonatan Gat ensemble, and again at a benefit by 75 Dollar Bill's Che Chen. Since the 90s he's been a whirlwind of recording activity. He has a number of solo records, small band records, large ensemble records, collaborations - you name it. And if free jazz if your thing, chances are you'll find something of Parker's to love.
What do they sound like: As mentioned above, William Parker specializes in free jazz. He's doing two sets at Big Ears. The first is Friday's performance of 1995's In Order To Survive. This was the name of Parker's ensemble of loft jazz veterans like pianist Cooper-Moore and saxophonist Rob Brown. The 1995 self-titled record is very free-form. The first track is 40 minutes of intense soloing with nary a melody to grab ahold of. His second performance is of 2021's Mayan Space Station. Now, I love this record. One of the best jazz records of the decade so far, IMO. Strikes a great balance between free sections, rich textures, and deep, locked-in grooves. Parker's bass sounds triumphant and the album's MVP is guitarist Ava Mendoza whose electric guitar howls and sears all over the record. And a bonus ! Mendoza is also performing a solo set at Big Ears.
To See or Not To See: I hope to catch at least one of these sets. Parker is a giant in certain corners of post-70s jazz, and both these records are great. I'd recommend Mayan Space Station wholeheartedly, but would only recommend In Order To Survive if you think you'll find enjoyment in ~60 minutes of amelodic improv. That said, since I've seen him twice before, I may miss him completely here if there's conflicts.
What to listen to: Try the opener of Mayan Space Station, "Tabasco," for a taste of what that set may sound like. It rules.
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Post by zircona1 on Feb 7, 2023 14:19:01 GMT -6
What to listen to: Try the opener of Mayan Space Station, "Tabasco," for a taste of what that set may sound like. It rules. This was cool. Will try to catch this at the festival. |
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Post by monasterymonochrome on Feb 7, 2023 15:12:49 GMT -6
Better Know Big Ears #12: Pino Palladino + Blake Mills
Who are they: Pino Palladino is probably one of the few who could challenge William Parker for the "Best Bassist Alive" title. He has a unique style in his jazz/funk work - fretless, thickly plucked, rich sounding in rhythmic half-step. You can hear him most famously on D'Angelo's records or Erykah Badu's Mama's Gun. He's also a wizard bassist-for-hire, touring with The Who, recording with Adele, etc. etc. Blake Mills is an LA-based indie-adjacent multi-instrumentalist. His latest album Mutable Set was pretty good and had some fans here, IIRC. In 2021, the pair teamed up for a series of instrumental studio jams, released as Notes With Attachments. The album was pretty damn successful for a jazz record in the 2020s, even boasting a few tracks with more than a million streams.
What do they sound like: Pino is in his bag here. Dude's bass sounds gorgeous and is the big attraction, IMO. Blake Mills' sax work is pretty nice too, very laid-back. This whole thing is an exercise in finding the pocket in between the thick groove of Pino's bass. It works exceptionally well as a ~vibe~ as the kids say. Unsurprisingly, the modern King of Vibey Jazz, Sam Gendel, will perform with Pino/Mills at Big Ears. This record isn't as ambient as Gendel's usual fare, but it certainly prioritizes mood over tunes. Which, mind you, isn't a bad thing! I like this record, but I don't think I love it just yet.
To See or Not To See:. I think I will try and make this set happen, but Friday is gonna be a busy day. I'd love to hear Pino's bass out of a live, loud-ass speaker system at the very least. There's also a good chance this record massively grows on me in the next month.
What to listen to: I think the track "Soundwalk" most embodies the sound I tried to describe above. You could always throw on Voodoo too, like I did this afternoon.
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Post by monasterymonochrome on Feb 7, 2023 15:15:25 GMT -6
What to listen to: Try the opener of Mayan Space Station, "Tabasco," for a taste of what that set may sound like. It rules. This was cool. Will try to catch this at the festival. Ayyy awesome! |
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Post by nanatod on Feb 7, 2023 20:57:48 GMT -6
pino played with john mayer at the 3rd tinley park farm aid, so I'd hold that against him, because mayer was terrible as usual.
william parker played the small stage at pitchfork festival back when the bookings were more eclectic and interesting, and I remember liking all four jazz sets that weekend more or less equally.
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Post by monasterymonochrome on Feb 8, 2023 14:31:31 GMT -6
Better Know Big Ears #13: James 'Blood' Ulmer
Who are they: One of the most interesting and (to my ears) influential guitarists in jazz since the 70s. James came up in the 70s playing alongside folks like Rashied Ali and Larry Young. Notably, he was the first electric guitarist in Ornette Coleman's band. He signed to Columbia in 1980 and released a string of remarkable, forward-thinking, hard to classify albums. He's been fairly active since then, with several dozen albums - including some collabs with Big Ears artist David Murray - and is now 82.
What do they sound like: Blood is all over the place. Ostensibly, he's a jazz player. But his albums have a bracingly hard funk edge to them and can veer into the blues too. Listen to the first three track on 1980's Are You Glad To Be In America - this shit is all over the place! Basslines are going nuts, it sounds practically post-punk / no wave a la 23 Skidoo, the Contortions, or A Certain Ratio. But then Blood's guitar slices through like a switchblade and bends the track to his will. He can play incisive rhythmic funk then in a flash he's darting around like a blur. The closest thing I can compare it to is Julian Lage's playing in John Zorn's New Masada Quartet. 1981's Free Lancing is similar but more funk-forward and features vocals on half the tracks. Then 1983's Odyssey is something else entirely. Gone is the funk, replaced by a violin and some of the most soaring avant-garde music I've ever heard. It's very rock based but fucking gorgeous. I'll steal this quote from wiki to elaborate: The trio was called "avant-gutbucket" by music critic Bill Milkowski who described the music as "conjuring images of Skip James and Albert Ayler jamming on the Mississippi Delta." It rules.
To See or Not To See: This is another must-see set for me, a very unique billing and an octogenarian legend.
What to listen to: Idk what his set will sound like, I need to check out some more recent recordings, but given the speed of his earlier stuff, I'll go with some off the more majestic Odyssey.
And also check out the first three tracks here, especially "Interview."
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Post by monasterymonochrome on Feb 8, 2023 15:12:44 GMT -6
Better Know Big Ears #14: Tarbaby ft. David Murray
Who are they: Tarbaby is a trio led by Orrin Evans, formerly of The Bad Plus. They put out a record last year with Oliver Lake on sax, a veteran of the NYC 80s loft scene. At Big Ears, however, they'll be joined by David Murray, one of the most important saxophonists of the 80s-90s. Murray got his start in 1976 as a firebrand on the fringes of the NYC lofts. Appropriately, his first album, Flowers for Albert, was a tribute to a major influence, Albert Ayler. By the 80s he channeled his writing into big-band efforts, starting the David Murray Octet. Ming is a great record from this era - it's like if Sun Ra was focused on the city rather than the stars. His records since have softened a bit, he sounds more like Coleman Hawkins these days, rich but breathy and beautiful sound. His (great) 2022 trio record Seriana Promethea is a good example of this.
Grateful Dead Corner: Pardon me for a moment. Murray's also the only person on the lineup (I think) to play with Jerry Garcia! [Edit: I was very wrong about this, see: Lobos, Los] You can hear him below crushing his solo on "Estimated Prophet" during his set-long sit-in with the Dead on 9/22/93 at Madison Square Garden. After Jerry's passing, Murray also put out a really cool tribute album The Music of the Grateful Dead with the Octet in 1996. It's not super revelatory or anything, but it's a cool listen for any Heads in the audience.
What does they sound like: Well, I already kinda covered this for Murray didn't I? Think one part Albert Ayler (fiery! free!) and another part Coleman Hawkins / Lester Young (patient, rich). I saw him last year with his Quartet and it was great. Now, for Tarbaby? I don't really know. Their 2022 album with Oliver Lake didn't really do much for me. It's nice - relaxed on the surface but with some tension underneath - but it mostly washed over me, except the title track was pretty cool. Idk what exactly the collab with Murray will be, but probably something closer to Tarbaby's sound, since they have the main billing and all.
To See or Not To See: I've seen Murray before, and I'm not entirely sold yet on Tarbaby, so this won't be a top priority for me. That said, if I hadn't already seen him, I would be mad excited to catch Murray here. And if I'm free I'll be happy to see him again.
What to listen to: Here's the Tarbaby track I liked - again, it's Oliver Lake on sax, not Murray. For him, there's the Dead cut above, but also check out some tracks from his Seriana Promethea album to hear what he sounds like these days. Or check the epic title track to Flowers for Albert for my favorite thing he's done (it's the first song on the video).
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