|
|
Post by monasterymonochrome on Feb 17, 2023 16:07:49 GMT -6
Better Know Big Ears #30: Grouper
Who are they: I'm assuming most folks on the Board are familiar with Grouper (Liz Harris), right? She been putting out music since the mid-2000s, breaking out with 2008's Dragging A Dead Deer Up A Hill. She doesn't release super often, maybe every 3-4 years or so, but each record arrives like a beacon from outer space (A I A: Alien Observer) or the depths of the ocean (The Man Who Died In His Boat). Most recently, she released Shade in 2021.
What do they sound like: At first glance, Grouper's music appears to be gray-scaled. It's notably shrouded, oftentimes just snippets of guitar strums and hushed melodies bubble up over tape hisses and staticky ambience. Repeated listening, however, unfolds the colors hidden in the music's depths. This is exceptionally emotional music. As in, it may not always offer the clearest view into Harris herself, but it evokes the life, the beauty, the energy hidden underneath the haze and inertia of the 21st century. Personally, I don't turn to Grouper that often. It's music that suits a certain mood or frame of mind. But when I'm in that mood (like last night when I listened to three straight Grouper records on the bus back to NYC), it hits like a ton of bricks.
To See or Not To See: Never seen her before, so Grouper is def one of my top priorities for this fest.
What to listen to: Hard to go wrong, eh? My favorite record is Alien Observer, but I also loved Shade, which is unusual in her catalogue for its relative sonic clarity (see: "The Way Her Hair Falls" or "Kelso (Blue Sky)"). That said, she doesn't play a lot of my favorite songs live (justice for "Come Softly"!), so I'll drop the still excellent title track to my fave Grouper record:
|
|
|
|
Post by teekoh on Feb 20, 2023 23:07:51 GMT -6
I’m hoping to see the Orcutt/Corsano duo here next week. I will either be there or Margo price kinda leaving it gametime Well this sold out before I got a ticket so I will not be there. |
|
|
|
Post by monasterymonochrome on Feb 21, 2023 10:51:39 GMT -6
Better Know Big Ears #31: Rickie Lee Jones
Who are they: Isn't it amazing the blindspots you discover in music? I'd somehow never heard of RLJ before last month, and now her records have been in constant rotation for weeks. She came up in Los Angeles in the late-70s, palling around with the bums and beatnik poets of the city's scene (including dating Tom Waits for a bit). Her debut self-titled record came out in 1979 and the single "Chuck E's In Love" was a major hit, reaching the Top 5 on Billboard. The album was a big success and established Jones as one of the leading songwriters of her generation. She was even named the Grammys "Best New Artist" in 1980. Her follow-up Pirates came out to acclaim in 1981 (named by NPR as one of the 50 all-time greatest albums by women), followed by 1984's The Magazine. She took a five year hiatus from the industry before releasing her excellent 1989 record Flying Cowboys. She's released a steady stream of material since then, often leaning on jazz and traditional pop influences.
What do they sound like: Rickie Lee Jones excels at melding her influences into unique sounds. There are bits of her first couple records that draw obvious comparisons to folks like Joni Mitchell (those double-tracked harmonies!), Laura Nyro (those complicated vocal phrasings!), or Bob Dylan and Patti Smith (the poet-cum-singer delivery!). Put that all together and you get a supremely talented and idiosyncratic singer. Further, I especially love her arrangements. There's some of that scuzzy lounge-rat feel of the era Waits records, but it's channeled through sparkling, clean 80s production that gives her characters and vocals the space to breathe. I find a lot of early 80s records to feel a bit lifeless and cluttered, but RLJ here allows for so much silence and space, it draws you in in a very intimate way. Kind like Lyle Lovett's early 80s records? It's great.
To See or Not To See: Another high priority for me on Saturday. That day now has three of my five-or-so most anticipated sets (Bela Fleck, Ichiko Aoba, RLJ), so I pray they don't conflict.
What to listen to: I mean, her debut record is gold from front-to-back. I'll drop the opening track to 1981's Pirates here instead, because I love the way the song opens up halfway through. Don't sleep on Flying Cowboys too - produced by Walter Becker!
|
|
|
|
Post by nanatod on Feb 21, 2023 11:25:47 GMT -6
"Rickie Lee Jones excels at melding her influences into unique sounds. There are bits of her first couple records that draw obvious comparisons to folks like Joni Mitchell (those double-tracked harmonies!),...or Bob Dylan and..."
RLJ was at the champaign farm aid concert, sandwiched in between Bonnie Raitt and Lou Reed. Bob and Joni played (separately) later on in the day.
|
|
|
|
Post by monasterymonochrome on Feb 21, 2023 12:36:19 GMT -6
Better Know Big Ears #32: Lonnie Holley
Who are they: Lonnie Holley is a renowned artist, beginning his work in the late 70s and becoming known primarily for his found-object assemblages. In 2012, Holley expanded his artistic practice to the field of music - and released his debut album at the age of 62. He has since put out about a half dozen releases, including 2018's excellent MITH and 2020's National Freedom. He's got a new record coming out on March 10, titled Oh Me, Oh My. The title track features Michael Stipe and is incredible. Moor Mother features on the record's second single.
What do they sound like: Holley's music is apparently largely improvised - his soulful, spiritual jazz / new age compositions are accompanied by stream-of-consciousness lyrics that shed a blinding light on the external and internal struggles of existing in this world. His voice is wonderful. Dude just draws you in - he can croon, he can make a humming drone, he can rumble and shake the rafters. I was struck listening to him again today how much his atypical vocal style reminds me of Arthur Russell, especially his World of Echo or Calling Out of Context tracks. Holley's music is sprawling and his voice is not always conventionally palatable, but it always circles back to beauty. In short, I find his music deeply moving.
To See or Not To See: I'll be making his Thursday set a big priority for me, maybe only Terry Allen is more anticipated that day.
What to listen to: I really recommend his "Oh Me, Oh My" single, but I'm gonna drop "I Woke Up in a Fucked Up America" from 2018's MITH here, for its massive sound and vision.
|
|
|
|
Post by monasterymonochrome on Feb 21, 2023 15:38:07 GMT -6
Better Know Big Ears #33: SUSS
Who are they: SUSS are a group of 60-something NYC musicians who banded together in 2018 in pursuit of a genre they dubbed "ambient country." Each had a long and varied music career beforehand (one member, Pat Irwin was a member of the B-52s for a while and composed music for Rocko's Modern Life). They've made waves on the outskirts of the ambient scene / heads scene since then, and are usually listed amongst the artists stretching the bounds of traditional country instrumentation (see also: Luke Schneider, on this lineup). The quartet released two full-lengths before founding member Gary Leib's passing in 2021. They've carried on as a trio and back in January released their third LP, a self-titled record that compiled four EPs they've put out in the last two years.
What do they sound like: Ambient country! It's a pretty apt and descriptive genre for them. SUSS push and pull at their evocative soundscapes, especially with their work on pedal steel guitars or the extensive use of ebow. Melodies occasionally filter in and crest like the dew shining off a rainbow. This is doubly so when they're paired with acoustic instrumentation (i.e. the acoustic guitar strumming on "Grace" or the gentle piano of "Across the Horizon"). They essentially make sunset music. Desert music. Stuff that would sound equally great soundtracking a movie (the group cite Paris, Texas as a major influence) or a late night drive.
To See or Not To See: I'm leaning towards prioritizing them, but it will really depend on what else is going on. I'm a big fan of their records and music, but I'm not sure how captivating it will be in a live setting. As a late-night set in a small venue where I could sit down? I'd be all for it.
What to listen to: I think "Across the Horizon" is the standout track on their new record, a microcosm of everything they do great.
|
|
|
|
Post by monasterymonochrome on Feb 22, 2023 14:32:44 GMT -6
Better Know Big Ears #34: The Mountain Goats
Who are they: This is another group I'm assuming we're all somewhat familiar with. Led by John Darnielle, and started in the early 90s as a vehicle for his lo-fi solo acoustic tracks, the Mountain Goats went hi-fi in 2002 with Tallahassee and have released probably like a dozen albums in the 20 years since then, with Peter Hughes on bass and Jon Wurster on drums. John Darnielle is one of the best songwriters in the world (I'd personally slot him in with the all-time greats), and there are few who can construct characters and emotional arcs as vivid as he can within 4-minute folk-pop songs.
What do they sound like: I don't really know how to describe their sound. They sound like The Mountain Goats, ya know? John does his talk-singing in his near trademark stop/start cadence, occasionally breaking out into desperate yelps. The arrangements are typically clean and snappy. Sometimes kinda like loungy? The band kind of settled into a comfortable nice around 2015's Beat the Champ but still push themselves when they want to (I loved the more electric, energetic jamminess of 2022's Bleed Out). Their earlier music is generally rawer, especially their pre-2002 stuff. John usually plays a few rarities every night during the solo section halfway thru the set.
To See or Not To See: The Mountain Goats are one of my favorite bands, they meant a lot to me when I was in high school and college. Lately, I haven't listened as religiously as I used to, but I still dabble in their discography a couple times a year. That said, I've seen them 5 times already (tho not since 2019), and they tour fairly regularly, so if they have a nasty conflict at Big Ears, I'll feel okay passing on them.
What to listen to: Here's a playlist I just threw together of my favorite Goats tracks from their recent run of albums from Beat the Champ to now. It does not include the excellent Songs for Pierre Chauvin, as that was a throwback acoustic solo record put out during quarantine.
|
|
|
|
Post by zircona1 on Feb 22, 2023 14:55:10 GMT -6
That said, I've seen them 5 times already (tho not since 2019), and they tour fairly regularly, so if they have a nasty conflict at Big Ears, I'll feel okay passing on them. This is how I feel too, though it's 6 times for me. Last time was just last year. |
|
|
|
Post by monasterymonochrome on Feb 22, 2023 14:56:47 GMT -6
That said, I've seen them 5 times already (tho not since 2019), and they tour fairly regularly, so if they have a nasty conflict at Big Ears, I'll feel okay passing on them. This is how I feel too, though it's 6 times for me. Yeah, it's like - I would never turn down an easily accessible Mountain Goats show, but I'd be genuinely surprised if there's not a conflict I prioritize more on Thursday night. |
|
|
|
Post by obmit on Feb 22, 2023 22:33:51 GMT -6
Better Know Big Ears #30: GrouperWho are they: I'm assuming most folks on the Board are familiar with Grouper (Liz Harris), right? She been putting out music since the mid-2000s, breaking out with 2008's Dragging A Dead Deer Up A Hill. She doesn't release super often, maybe every 3-4 years or so, but each record arrives like a beacon from outer space ( A I A: Alien Observer) or the depths of the ocean ( The Man Who Died In His Boat). Most recently, she released Shade in 2021. What do they sound like: At first glance, Grouper's music appears to be gray-scaled. It's notably shrouded, oftentimes just snippets of guitar strums and hushed melodies bubble up over tape hisses and staticky ambience. Repeated listening, however, unfolds the colors hidden in the music's depths. This is exceptionally emotional music. As in, it may not always offer the clearest view into Harris herself, but it evokes the life, the beauty, the energy hidden underneath the haze and inertia of the 21st century. Personally, I don't turn to Grouper that often. It's music that suits a certain mood or frame of mind. But when I'm in that mood (like last night when I listened to three straight Grouper records on the bus back to NYC), it hits like a ton of bricks. To See or Not To See: Never seen her before, so Grouper is def one of my top priorities for this fest. What to listen to: Hard to go wrong, eh? My favorite record is Alien Observer, but I also loved Shade, which is unusual in her catalogue for its relative sonic clarity (see: "The Way Her Hair Falls" or "Kelso (Blue Sky)"). That said, she doesn't play a lot of my favorite songs live (justice for "Come Softly"!), so I'll drop the still excellent title track to my fave Grouper record: You should absolutely see Grouper, though I'd presume it'll be an evening set bc she doesn't like to be "seen." Caught her last year and it was merely an hour long set of her with loops, piano, and ambience. She was wonderful. |
|
|
|
Post by monasterymonochrome on Feb 23, 2023 11:58:49 GMT -6
Better Know Big Ears #35: Kali Malone
Who are they: Kali Malone is a composer and drone musician based out of Sweden. She came to prominence with 2019's The Sacrificial Code, recorded with a pipe organ - and individually mic'ing each pipe. Last year she put out the Board-approved Living Torch, it features synths alongside trombone and bass clarinet. Early this year Malone dropped the 3-hour opus Does Spring Hide Its Joy?, a collaboration with Stephen O'Malley of Sunn O))) and Lucy Railton on cello.
What do they sound like: I don't normally listen to much drone or ambient music, but something about Kali's work is so easily engaging. Her layering of tones and chords is just so *perfect* - it's like watching a flower unfold petal by petal. Which may be a weird analogy considering how unsettled and sometimes foreboding this music sounds. I hear that, but I find it more rich than that. It's like a full symphony that you're waiting for, hearing it gradually develop, peak, fall apart, and fade away. But never move any faster than the elongated tones allow for. It's really wondrous how completely this music - at its best - suspends time. The more time you spend with these compositions the more their beauty works its way to the surface.
To See or Not To See: I'll be prioritizing at least one of her sets. She's scheduled for Thursday and Saturday.
What to listen to: I love love love "Living Torch I," but I'm not sure how representative it will be of her Big Ears sets. I've spent this morning with Does Spring Hide Its Joy and was really moved by the second version of the track. It played a lot with subtle dynamics and discordance. So check that one out, maybe? It's an hour long tho, so I'll drop in the first segment:
|
|
|
|
Post by monasterymonochrome on Feb 23, 2023 13:16:16 GMT -6
Better Know Big Ears #36: Brandee Younger
Who are they: Possible the pre-eminent harpist in the game? It's honestly a tougher call than you'd think; we live in something of a golden age of great harpists, between Nala Sinephro, Mary Lattimore, or even Joanna Newsom (if she ever returns) - it's a loaded field. Younger holds the crown in the jazz field tho, a modern day Dorothy Ashby of sorts. If you're a fan of the contemporary jazz scene, you've almost certainly heard her. She's on records with Makaya McCraven (and heavily featured on breakthrough Universal Beings), Kassa Overall, Robert Glasper, and Badbadnotgood. She even played on Moses Sumney's LPs and Donda, of all things. Her work as a bandleader is similarly revelatory. I first heard her in duets with her husband, bassist Dezron Douglas, on Force Majeure. Then came 2021's magnificent Somewhere Different, her debut for Impulse - the onetime home of perhaps the ultimate jazz harpist: Alice Coltrane. She has a new album out in April, titled Brand New Life.
What do they sound like: Younger's harp is unquestionably the lead instrument on her LPs, but it's wonderfully divorced from its classical accompaniment form. She plays delicate melodies, momentum building rhythmic bridges (check out the segues "Beautiful Is Black"), and fiercely jagged shards of improvisation. I think it's the absence of horns on most of Somewhere Different that really make it feel like a showstopper. There's nothing to distract you from Younger's mastery of the instrument inside and outside and bending throughout its context. The title track is the standout for sure. Check out how the live drummers cut out halfway through to be replaced by jittery, Dilla-esque programmed beat. Younger doesn't miss a step.
To See or Not To See: I'm torn here. I think it'll be one of the coolest jazz sets of the weekend, but I've already seen her twice (each time performing with Makaya McCraven), so idk if I'll prioritize her on Saturday, already a super crowded day.
What to listen to: That title track is insanely cool - definitely check that one out:
|
|
|
|
Post by zircona1 on Feb 23, 2023 13:41:37 GMT -6
Schedule next week, per FB.
|
|
|
|
Post by monasterymonochrome on Feb 24, 2023 10:27:43 GMT -6
Better Know Big Ears #37: Algiers
Who are they: A genre-pushing quartet from Atlanta, Algiers burst onto the scene with their 2015 self-titled debut. Frontman Franklin James Fisher's deep howling voice garnered the group accolades and saw them often described as "gospel punk." That term was quickly proved reductive as the group got even harder, scuzzier, and up-front for 2017's The Underside of Power (the title track of which was one of the best songs of the decade). Since then they've been perhaps the country's most adept punk band, pulling all musical universes into their own (see: 2019's jazz atomic bomb "Can the Sub_Bass Speak?"). This morning they dropped their fourth LP, Shook, which features Zack de la Rocha, Samuel T. Herring, billy woods, Backxwash, Patrick Shiroishi, and Lee Bains III - among others. It's awesome.
What do they sound like: They sound like their own thing. Shook has so much going on it's almost dizzying. There's P-funk, there's Prince interpolations, there's noise rock, there's solos that sound like a Mdou Moctar record, there's dark Protomartyr-esque punk, there's rap vocals, there's hardcore punk vocals, there's rave-up vocals. And that's just in the first three songs. I told you, shit is crazy.
To See or Not To See: I'm still in the "blown away by this new record" phase today, so I'm gonna call them my #1 priority for Sunday.
What to listen to: Here's one of my favorites from the back half of the record, probably the most straightforward punk track on the record - still leagues better than anyone else is making rn:
|
|
|
|
Post by zircona1 on Feb 24, 2023 10:51:43 GMT -6
Algiers is a big MAYBE for me. They played here in town years ago, with 2 openers, on a weeknight, and they didn't come on until after 11. They didn't make staying up late worth it, and I bailed a few songs in.
|
|
|
|
Post by rango420 on Feb 24, 2023 10:55:38 GMT -6
Plane ticket just dropped back to the reasonable zone
|
|
|
|
Post by monasterymonochrome on Feb 24, 2023 11:03:29 GMT -6
Plane ticket just dropped back to the reasonable zone  |
|
|
|
Post by monasterymonochrome on Feb 24, 2023 11:40:31 GMT -6
Better Know Big Ears #38: Trio Imagination
Who are they: Arguably the biggest jazz royalty on the lineup? Charles Lloyd might take that crown, but damn it's hard to compete with a resume like Trio Imagination's Reggie Workman. Dude was part of the John Coltrane Quartet. That's him on double bass leading off "Africa," on the first Village Vanguard record, on Olé Coltrane. Here's a partial list of the other folks he's recorded with: Art Blakey, Donald Byrd, Alice Coltrane (World Galaxy), Art Farmer, Grant Green, Freddie Hubbard, Booker Little, Lee Morgan, Pharoah Sanders (Karma!), Archie Shepp, Wayne Shorter, Mal Waldron... and that's not even half of his credits list! Joining him on drums is Andrew Cyrille, himself no slouch. Cyrille recorded with Cecil Taylor then David Murray for years, played with a ton of AACM folks (Muhal Richard Abrams, Leroy Jenkins), and has a ton of solo records. Dude's been drumming so long he has an album with fuckin' Coleman Hawkins. Workman and Cyrille played together with Oliver Lake for the last 15 years or so as Trio 3, but after Lake's retirement in 2020 they recruited 30-something year old pianist David Virelles and formed their current trio.
What do they sound like: Idk, there's no recordings I can find of them, but Trio 3 has several albums. I sampled around some and it was pretty interesting, mostly free, jazz. Workman and Cyrille may be in their 80s, but they have no settled into playing rote standards. Idk how Virelles will complement them, but they've recorded recently with Jason Moran and Vijay Iyer, so I don't doubt the piano won't slot nicely into their sound.
To See or Not To See: I'm torn here. Obviously, I want to see Workman live. He's a living legend, and there's not many folks left who can say they played with John Coltrane. Unfortunately, with Pharoah Sanders' passing, I think Workman is the only person left who played a major role in one of Coltrane's bands (Archie Shepp and Roy Haynes both recorded briefly with Trane). I've seen Cyrille before and he's great too. That said, idk if this will be the most thrilling of sets. But maybe I'll be surprised? Idk, it's a toss-up, but I hope to make it happen.
What to listen to: Here's Reggie Workman on one of the best jazz recordings of all time - working the double bass part alongside Jimmy Garrison.
|
|
|
|
Post by monasterymonochrome on Feb 24, 2023 13:48:01 GMT -6
Better Know Big Ears #39: Oneohtrix Point Never
Who are they: One of the bigger names on the bill, OPN (Daniel Lopatin) is a composer / experimental electronic musician whose been at the cutting edge for the last 15 or so years now. R Plus Seven was a huge deal among certain college radio friends and when Garden of Delete came out in 2015 that always dominated our weekly charts. I was honestly never a fan. His style was courageous and unique, but it didn't strike a chord with me. He's put out two acclaimed records in the years since (Age Of and Magic OPN) and has done a pair of highly lauded film scores (Good Time and Uncut Gems). He's also a highly in demand producer, working with The Weeknd for Dawn FM and co-producing Soccer Mommy's latest album.
What do they sound like: This really isn't my genre forté so idk if I really have the language to describe what he's doing here. It's very inventive, often frenetic, and pulls in sounds from so many threads it can sound like a collage. I listened to Age Of then R Plus Seven this afternoon, and am checking out his latest LP while I write this. It can be dark sounding at times, this is definitely nighttime music. And it's just as likely to strike you with its beauty (the outro of "Chrome Country" or the swells of "We'll Take It"), as it is to disorient you. I'm personally not in love with his sound, but I highly respect what he's doing and have found some moments here that I think are spectacular.
To See or Not To See: This is a real "would only see at a festival" act for me. I'm inclined to check out his set, or at least a piece of it, just to see how it comes off in a live setting. My guess is he closes Sunday night at Mill & Mine, and hopefully I can stop by for a bit.
What to listen to: Mentioned it earlier, but this one is sooo good:
|
|
|
|
Post by monasterymonochrome on Feb 24, 2023 13:52:00 GMT -6
What's crazy is that I've almost done 40 of these writeups, and there's still like another 40 intriguing artists on the lineup that I haven't got to yet.
|
|
|
|
Post by monasterymonochrome on Feb 24, 2023 16:21:06 GMT -6
Better Know Big Ears #40: LiturgyWho are they: An ambitious, almost operatic black metal outfit from Brooklyn. Liturgy got their start in the late aughts and broke out with 2011's Aesthethica. Their music (according to the internet, I've only heard their latest LP) was highly precise and theoretical. Frontwoman Ravenna Hunt-Hendrix penned a credo for the band's brand of "transcendent black metal" around this time and their latest releases, 2019's HAQQ and 2020's Origin of the Alimonies are steeped in her metaphysical philosophy. They have a new record due out later this year. What do they sound like: Fucking. Awesome. I'm trying to quickly check out some groups on the lineup I've not listened to before, so I put on Origin of the Alimonies an hour ago and this thing rips. Wikipedia says Hendrix cites Glenn Branca amongst her influences and god damn is that apparent. The walls of soaring guitar here are awesome, in all definitions of the word. There's also carefully constructed quiet moments, with trumpets, harps, and strings cast throughout the record. From these interstitial moments, chaos can erupt at any second - and tho this album is, at its peaks, aggressively intense - it achieves that transcendence that Hendrix is vying for. It's honestly the first extreme metal album I've heard that I've found myself turning my "free jazz brain" on during. I'm a fan. To See or Not To See: Definitely want to catch them now. Man, the schedule release next week is gonna be heartbreaking. What to listen to: "Lonely OIOION" was the first track on this record to make me go "holy shit," but the whole thing is pretty great. What should I listen to next?
Edit: spoiler tagging the album art for when I inevitably write out another one of these posts at work |
|
|
|
Post by rango420 on Feb 25, 2023 9:42:11 GMT -6
Plane ticket just dropped back to the reasonable zone j just did a 7-day fare lock on a very reasonable plane ticket so ill know by the end of the week |
|
|
|
Post by monasterymonochrome on Feb 26, 2023 12:05:47 GMT -6
Better Know Big Ears #41: Bassekou KouyateWho are they: Bassekou Kouyate was born into a griot family (of traditional musicians) in Mali. He started playing the ngoni in his teens, and today is probably the most well-known ngoni player in the world ( he's literally the photo on the instrument's wikipedia page). Sidebar: The ngoni is a wooden, stringed instrument that was invented more than 700 years ago in West Africa. It is high pitched, can be played rapidly, and is believed to have evolved into the banjo. In fact, Bassekou toured with banjo-master Bela Fleck in 2010. But he got his first big break recording with Ali Farke Toure, the singular giant of Malian guitar, in 2006. Bassekou struck out on his own the next year and recorded his debut LP with his band Ngoni Ba. They've put out five records, including 2015's Ba Power, which came on my radar in college and introduced me to Bassekou's music, and Malian blues in general. What do they sound like: Bassekou's ngoni is the star of the groups compositions, his solos are almost always electrifying and dazzling, with rapid-fire bursts accompanying his band's loose, cyclical grooves. Check out the title track to 2019's Miri for a prime example of his playing. I'm partial to 2015's Ba Power, where the band plugs in and plays an almost acid-rock inflected version of the Malian sound. His wife Amy Sacko is on vocals for the majority of his tracks, providing a similarly energetic counterpoint to the band's sound. Their sound is a little more acoustic and traditional than the toureg bands like Mdou Moctar or Tinariwen, but it is every bit as thrilling. To See or Not To See: Obviously I'm gonna try and make this one happen. What to listen to: Try this track from Ba Power, it even mixes in a little trumpet for flavor at the end: |
|
|
|
Post by monasterymonochrome on Feb 26, 2023 16:46:23 GMT -6
Better Know Big Ears #42: Steve Gunn
Who are they: Steve Gunn is one of the most versatile, prominent guitarists of the last 10-15 years. His first solo record was in 2007, and he did a couple free-form collaborations with John Truscinski in 2011 and 2012, but it was 2013's Time Off when he really hit upon his trademark sound. 2014 saw the release of Way Out Weather (my favorite Gunn album), and he's put out 3 LPs in the years since (most recently 2021's Other You). Steve's one of the most consistently good to great under-the-radar singer-songwriters of his generation - a real musician's musician, IMO. I first saw him open for Dinosaur Jr back in 2016, and I've seen him on three other occasions since then. Last time I saw him do a co-headlining / duo set with William Tyler. Garcia Peoples jammed with them and then Ira and Georgia Yo La Tengo came out and encored with a set of The Clean covers. It rocked.
What do they sound like: Steve's electric guitar playing is fairly distinctive, IMO. His tone is usually pretty clean at first and his leads can sound chimey, leading into very bright solos. He was one of the first contemporary guitarists I really obsessed over ("Milly's Garden" was probably one of my most played songs from 2014-18). His singing is more laid-back, definitely more in service of the song than a highlight in-itself. Tho his solo projects are more in the heady songwriter, jam-adjacent vein, he often collabs in radically different modes (finger-style guitar, free improvisation, ambient). His Big Ears set will be a duet with David Moore (of Bing & Ruth). So I'd expect a little more experimental, ambient than a usual Gunn show.
To See or Not To See: I love Steve, but I'll probably skip this one. Only because I've seen him four times and there's gonna be so much going on. But if I was free / I hadn't seen him before, I'd be psyched for his set.
What to listen to: I revisited his albums this afternoon for the first time in a while and pulled together a little Greatest Hits playlist for future reference. I'll drop that here:
|
|
|
|
Post by monasterymonochrome on Feb 27, 2023 12:10:53 GMT -6
Better Know Big Ears #43: Charles Lloyd
Who are they: Charles Lloyd is for sure one of the bigger legacy jazz names on this lineup. His career as a bandleader stretches back to the mid-1960s, during which he led his most famous quartet, featuring Keith Jarret, Cecil McBee, and Jack DeJohnette. An absolute murderer's row. That group put out a handful of records, most notably Dream Weaver and the live at Monterey record, Forest Flower. This latter record was a crossover hit, appealing to younger audiences more than nearly any other jazz record of the era. This may explain Lloyd's turn to more sunshine-psych drenched aesthetics in the second half of the decade. Lloyd then fell in with the Beach Boys, of all people, and was a frequent player in their live shows. He recorded with Brian Wilson & Co, and even formed a band - Celebration - featuring Al Jardine, Mike Love, and the other members of the touring Beach Boys ensemble. Lloyd then took most of the 70s off from the music industry, focusing his energies on transcendental meditation. He made a comeback in the early 80s and eventually put out a string of acclaimed records on ECM starting at the end of the decade. Lloyd has put out a steady stream of music since then, including loads of collaborative albums. He's made records in recent years with jazz folks like Jason Moran, Julian Lage, and even Lucinda Williams. Most recently, he put out A Trio of Trios, a three-album set. He will be performing at Big Ears with the third of these, The Chapel Trio, which also features Bill Frisell and bassist Thomas Morgan.
What do they sound like: I love Lloyd's classic quartet period. It's sort of an artifact of the post-bop era, as he never pushes deep into the maelstroms of free jazz, nor does he anticipate the coming funk of jazz fusion (despite featuring players who would be hallmarks of both scenes). At its best, the Lloyd Quartet is purely blissed-out jazz. Lloyd himself plays a breathy, lyrical sax and often switches over to flute for entire songs. Check out "Forest Flower: Sunset" for the best of this sound. Especially if you're a Keith Jarrett fan. I listened to his Chapel Trio record and it's solid, but much more understated and subtle. His playing is still impressively lyrical and pretty, but he doesn't swirl with as much energy as in his youth (whom amongst us does?). So yeah, it's a nice jazz album, but it's not the most exciting thing I've ever heard.
To See or Not To See: Ahh this one is tough. I have him near the top of my Saturday priorities, but it's a long list that day, and I don't know if I'm super sold on this trio's sound (personally, I'd prefer his trio with Julian Lage, but maybe there'll be a sit-in). That said, he's in his 80s and is a legend. I gotta find my preferred balance between seeing Big Names and seeing Exciting Performances, I guess.
What to listen to: I'd recommend starting with "Forest Flower: Sunset" from the album of the same name. Or like "Bird Flight" from Dream Weaver. But I'll drop one of the Chapel Trio tracks here, since it's more emblematic of what his set will actually sound like:
|
|
|
|
Post by llamaoftime on Feb 27, 2023 12:34:21 GMT -6
My one time seeing Charles Lloyd was as part of the Atomic Bomb Band at Bonnaroo 2015, which played the music of William Onyeabor and also featured Sinkane, Pat Mahoney, Jamie Lidell, Luke Jenner, Money Mark, and some others. It was an absolute blast and one of my favorite fest sets ever. Honestly if they ever did it again, that'd be a cool Big Ears booking
|
|
|
|
Post by monasterymonochrome on Feb 27, 2023 14:41:10 GMT -6
My one time seeing Charles Lloyd was as part of the Atomic Bomb Band at Bonnaroo 2015, which played the music of William Onyeabor and also featured Sinkane, Pat Mahoney, Jamie Lidell, Luke Jenner, Money Mark, and some others. It was an absolute blast and one of my favorite fest sets ever. Honestly if they ever did it again, that'd be a cool Big Ears booking Daaamn that sounds like an awesome show. Wish I had known about William Onyeabor back then. |
|
|
|
Post by monasterymonochrome on Feb 27, 2023 15:02:49 GMT -6
Better Know Big Ears #44: Sam Gendel
Who are they: One of the saxophonists at the forefront of jazz's new minimalist / hip-hop fusion / ambient wave. Sam is based out of LA and seems to always be releasing music. He came up as part of the group Inga, and did a bunch of session / live work for major indie names like Vampire Weekend and Moses Sumney. His first solo LP, 4444, was released in 2017. Since then, Sam has released (as per Spotify) a dizzying 16 additional records. Now, these records are in a multitude of forms. A few of them are conceptual (see: 2023's Cookup, a covers album of 90s-00s RnB tracks, or 2020's Satin Doll, covers of jazz standards). Many are collaborations, such as the pair of Saxophone & Bass duet records with Sam Wilkes, or Live A Little, which features vocals from his partner's 11-year old little sister. And the last two years he's released 50+ track dumps of unreleased music / demos / works in progress. Sam Gendel does not linger long on any project. He's also playing three shows at this year's Big Ears. Once with Pino Palladino & Blake Mills, once as a duet with Sam Wilkes, and once with his "Concert Group," the band with whom he recorded his just-released Cookup LP.
What do they sound like: Sam Gendel's sax sound is very warm, hushed, and seems to sing out in ways similar to Board Darling / 2022 Big Ears MVP Alabaster dePlume. He applies that to accompaniments that usually sound more like a beat tape than a jazz combo. Check out Satin Doll, for example. Here he's playing stuff like "Afro Blue" or "Goodbye Pork Pie Hat," but his sax track is awash in effects and any trace of swing is replaced by spasmodic drum machines. Obviously, his sound varies over his numerous records. But there's a consistent ~vibe~ to his work. Downtempo, chill, never over-loud or harsh. Honestly, maybe the way to approach his records is to see them as modern jazz beat tapes? I'm still trying to wrap my head around it.
To See or Not To See: Hmmmmm honestly I don't know. I like what I've heard, but I don't love it. Sometimes it comes off a bit too "Lo-fi beats to study/relax to" for me to really connect with. That said, I'd actually never heard of him before this lineup came out, and I was surprised to see him billed so high. Guess the LA scene was just not something I ever noticed? He def seems like an interesting and influential figure at the moment tho, so if I'm free I wouldn't mind popping into one of his (many) sets. Preferably the bass/sax duo set.
What to listen to: Here's the opening track to COOKUP, released last week. It's a take on Ginuwine's "Differences":
|
|
|
|
Post by Tweet on Feb 27, 2023 21:07:14 GMT -6
j just did a 7-day fare lock on a very reasonable plane ticket so ill know by the end of the week |
|
|
|
Post by monasterymonochrome on Feb 28, 2023 9:19:49 GMT -6
Doubt I'll go to this since it's just a talk, but this is a cool get
|
|
