To support musicians during the Covid-19 pandemic, Bandcamp is waiving their revenue share on all sales Friday, March 20, from midnight to midnight PST.
Though certainly not exhaustive, I have assembled a list of some of my favorite recent and forthcoming releases on some of the greatest labels in the world available via Bandcamp. Just click on the label to see all their offerings on Bandcamp and/or click on the album title to see that specific release. You can use the players on this page to listen.
Musicians are some of the hardest-hit by our new reality, so please consider supporting these and other artists now by loading up if you are able AND by spreading the word about this opportunity.
Don’t forget, you can pay in excess of the asking prices of releases on Bandcamp, making this an optimal way to enact your generosity for all that our favorite musicians do for us.
While you’re at it, ease into the habit of frequenting Bandcamp along with other great music retailers on the regular if you haven’t already!
Music matters friends, so let’s do our best to propagate it in any way we can.
When you perform with a group of musicians for three decades certain modes of non-verbal communication tend to develop so that picking things up where you left off is quite simple. Such is the case with saxophonists Andrew D’Angelo and Chris Speed, guitarist Kurt Rosenwinkel, and drummer Jim Black, who as Human Feel released their previous album twelve years ago and sound more vital than ever.
No bass, no problem…this quartet has talent to burn, and burn it does! The amount of ground covered by HF is staggering, from serene, minimal meditations to hyper, maximal catharsis, seemingly exhausting all sensible musical permutations. While Gold is certainly a group effort, with original tunes penned by all members, I can’t help but hear Black as the fire of the recording, perhaps because in nearly all cases, he is perpetually MVP, impressing with both refined simplicity and awe-inspiring complexity. This is no easy task given his esteemed company in HF.
Black has stated, “We believe more than ever that the four of us making music together is a necessity, and we intend to keep doing it wherever and whenever we can”… This is golden news for us all.
Eric Dolphy – Musical Prophet: The Expanded 1963 New York Studio Sessions (Resonance Records)
Eric Dolphy is among three soloists – joining Thelonious Monk and Tony Williams in this grand distinction – who galvanized what I continue to love about the greatest improvisatory playing. His level of performance and communication on a musical instrument has yet to be surpassed and his preventable death at the way-too young age of 35 is among the worst tragedies in music history.
When I worked at record stores in my 20s I bought every single disc I could order involving Dolphy and listened to them all… a lot. Although I have yet to grow tired of his musical output, both as a composer/leader and as the single greatest sideman in the business, it was with a childlike sense of jubilation that I audibly shrieked when I heard at the end of last year that unreleased Dolphy was coming to us soon via Resonance Records. Musical Prophet: The Expanded 1963 New York Studio Sessions is exciting not only because it collects his 1963 studio albums The Conversations and Iron Man, two of the great achievements in music making in the 20th century, but also adds, as I mentioned, UNHEARD DOLPHY MATERIAL…ALMOST 85 MINUTES OF IT!
Look, the world doesn’t need me to say even one more word about his previously issued releases mentioned above – many have written extensively about how singular those records are and why. What I will say is, if you don’t already own The Conversations and Iron Man, just buy this now and your life will almost certainly move in a more positive direction. If you already own those two records, buy this now because the radical 15-minute 12-tone/ Schoenberg-influenced opus “A Personal Statement” (somewhat of a remake of “Jim Crow” from Dolphy’s 1962 LP Other Aspects) alone is worth the price of admission.
Also, the set comes with an almost 100 page book full of interviews, commentary, photographs, recording notes, etc, etc that will make any Dolphy fan drool like a fiend. Just do it.
Layale Chaker & Sarafand – Inner Rhyme (In A Circle Records)
The work of Lebanese violinist and composer Layale Chaker just recently arrived on my radar with the release of her debut recording, Inner Rhyme, and I couldn’t be happier that it did. Merely seeing on paper the lineup of violin, cello (Jake Charkey), bass (Nick Dunston), piano (Phillip Golub), and percussion (Adam Maalouf) and I knew that I was in.
Taking inspiration from a number of diverse musical traditions including Arabic Maqam, Chaker has hit upon a gorgeous blend of sounds both familiar and less familiar to the typical western ear. With a passion for poetry, she translated twelve classical Arabic poetic meters into rhythmical meters in which to write the material included on this record. Discussing her inspiration for IR from an existentialist perspective, Chaker stated, “From the cradle to the grave, in nuptial festivals as in funerals, the very same rhythms and melodies trace and mark every stage of life for Assyrians, Syriacs, Kurds, Arabs and Gypsies. What could possibly transcend geopolitical deals and whirlwinds more than that thought?”
Finding common ground in the face of deeply polarized and deadly conflict is a sensible and natural response and one of which our leaders continue to prove they are incapable. Even so, hopeful young artists such as Chaker will continue to bring art into the world not only for art’s sake, but also to shine a light on our commonalities. Mission accomplished with grace and agility, and on a debut, too!
Jamie Saft, Steve Swallow & Bobby Previte – You Don’t Know The Life (Rarenoise Records)
From the same label and trio that brought us 2014’s The New Standard and 2017’s Loneliness Road with Iggy Pop, comes You Don’t Know the Life, the new collection of originals and improvisations, as well as standards by Bacharach, Bill Evans, and Roswell Rudd performed by veterans Jamie Saft, Steve Swallow, and Bobby Previte. On first glance at the space-age art-deco cover, the listener realizes something wicked this way comes…in the form of Hammond B3 deliciousness and magical Baldwin electric harpsichord vibes.
Surprisingly, Saft, himself a gifted recordist/producer, did not commit this material to tape. Engineered by Christian Castagno at Sear Sound in NYC, YDKTL is not a tentatively documented batch of music: an attractively compressed, bass heavy mix in which even the subtle resonances of the drums envelope you plays perfect foil to this invigorating material. At times the music hints at the cinematic approaches of Francis Lai, pop group Air, ambient 70s Miles, or dreamy Badalamenti / Lynch concoctions, but it’s something other than all of those, though no less curiously moody or undeniable. This record would belong in the “swinging, psyched out jet set jams” section of your favorite record store, if your favorite record store were sufficiently hip.
The Rarenoise / Jamie Saft partnership continues to pay dividends to listeners with yet another terrific set of tunes, and if last year is any indication, might yield one or two more releases this year.
Greg Ward – Stomping Off From Greenwood (Greenleaf Music)
Everyone already knows that Greg Ward is one of the premier musicians working in 2019 and his 2016 record Touch My Beloved’s Thought is a stone cold masterpiece. Well, he and his group of Chicago’s finest, Rogue Parade, are back at it and in a big way.
For Stomping Off From Greenwood, Ward joins the dual guitar frontline of Matt Gold and Dave Miller, supported by the fantastic young rhythm section of Matt Ulery and Quin Kirchner on bass and drums, respectively. It’s interesting and impressive to hear his writing for guitars rather than the horns of his previous outing, showcasing not only his already-known impeccable skills as an arranger, but also his versatility and creative drive. This impulse groups him with the some of the most compelling composers / performers of our time who also have no use for genre. SOFG contains super-catchy tunes, conveys a wide breadth of moods, and it is just a total blast to listen to. Did I mention that Rogue Parade can flat out play? They can and do throughout the record.
I don’t see any way for a guy as talented as Ward to keep making music and not be looked back at as one of the great musical minds of the early 21st century. He already is by many, including yours truly.