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.
Música de Selvagem – Volume Único (ShhPuma / Selo Risco)
While living in France, São Paulo-born bassist Arthur Decloedt was faced with the insult música de selvagem, meaning “music of savages”, to describe music from his beloved Brazil. This xenophobic remark became fuel for Decloedt and saxophonist Filipe Nader as they decided to use the songs of contemporary Brazilian songwriters as the springboard for their next project. Adding drummer Guilherme Marques, trumpeter Amilcar Rodrigues, and saxophonist Cuca Ferreira to the mix, they formed Música de Selvagem and recorded said songs with the singers who penned them.
The result is Volume Único, the terrific new record joint released by Shhpuma and Selo Risco. There is an immediacy and strength conveyed through the minimalism of the tunes and brevity of the just four songs on Volume Único that is both undeniable and quite satisfying. The four songwriters/singers (Sessa, Tim Bernardes, Luiza Lian, and Pedro Pastoriz) bring contrasting material to the group, resulting in a balanced collection that runs the spectrum from aggressively dynamic to soulfully moody to dramatically dirgy to peacefully placating.
This is yet another example of how love wins out over hate, how something terrible like racism is again drown out by the beauty of art. Hopeful stories like this one make it easier to wake up anew in 2018, and I’m already looking forward to Volume Dois!
The lure of electronic music and its devices is a landmine for the composer/performer. Many have fallen by treating it as an ingredient to spice up their compositions, and in the process, came across as pandering or novel. That is decidedly not the case for Trio Heinz Herbert, particularly on their new release, Yes.
Brothers Dominic and Ramon Landolt (guitar and keys, respectively) and drummer Mario Hänni have a way of seamlessly integrating electronic processing into their more or less traditional instrumental playing, resulting in an exciting artistic expression. Some of the projects of Christian Fennesz and Supersilent and even This Heat come to mind as sonic references here, but THH’s compositional approach is something different. Utilizing piano/keyboards, guitar, and drums, they are something of a modern day bass-less piano trio, dub-mixed, perhaps even musique concrete-d, in real time, by themselves!
The ubiquity of sound processing software and hardware makes it easier than ever to attempt what THH do, but the work has to be put in to learn the gear and to actually have compelling ideas before the knob-turning commences. You also have to execute, effectively maniacally multitasking. Fortunately, these Swiss bosses have done so proficiently on all fronts and continue to grow in strength with each successive release.
This time of year in the Midwestern United States jibes most perfectly with the ECM aesthetic: spatial, remote, impeccable, suggestive, and impressionistic all come to mind. This list of adjectives is appropriate in describing a glowing oceanic panorama, Lucent Waters as it were, which is coincidentally inspiration for and the title of the new Florian Weber record on ECM.
For LW, his second ECM release, German pianist Weber has assembled one of the strongest groups on record in 2018 with trumpeter Ralph Alessi, bassist Linda May Han Oh, and drummer Nasheet Waits. The result is everything described earlier, and in stunning fashion. In the liner notes, when asked about Weber and LW, Lee Konitz said of his protégé, “His music is totally free. He has got the texture, the feeling, just beautiful…it feels divine to me.” I couldn’t agree more.
There is a programmatic approach to the music, about which Weber describes the “twilight atmosphere of the touring musician’s world”. It’s no secret to any musician who has spent time on the road that this can be a lonesome place, for sure, and this quartet has encapsulated that mood purely here. It’s not all dark though as the jubilance of the perfect gig is reflected in tracks such as “Time Horizon” and “Fragile Cocoon”. Come on in, the waters are just fine.
John Coltrane – 1963: New Directions (Impulse! Records)
First off, what more can be or needs to be said of the legacy of absolute excellence of John Coltrane? He and his core crew of Jones, Tyner, and Garrison climbed the pinnacle of what music is capable in a way that nearly no one else ever did or ever will.
As the title of this set suggests, 1963 was a time of transition for Coltrane wherein he moved from the tradition of jazz that he had already altered forever with his extended solo-flights of spontaneous and limitless imagination, to a new place entirely the following year with the release of the genre defying A Love Supreme. This 3-CD or 5-LP set culled from his 1963 recordings Both Directions at Once: The Lost Album,John Coltrane and Johnny Hartman, Dear Old Stockholm, Newport ‘63 and Live at Birdland is a fascinating document of a genius becoming even greater.
Look, you don’t need me to tell you that this is a brilliant collection, and though I’m not a proponent of the old “repackage and sell at Christmas” game, 1963: New Directions makes perfect sense for the uninitiated and for those to whom certain younger musicians, and I’m not naming names here, are considered masters. This is the genuine article.
FrançoisHoule, Alexander Hawkins, & Harris Eisenstadt – You Have Options (Songlines Recordings)
A Brit, a Canadian, and an American walk into a recording studio…except this is no joke… far from it, it’s the setup for the new album, You Have Options, from clarinetist François Houle, pianist Alexander Hawkins, and drummer Harris Eisenstadt. To say this is some serious chemistry and seriously impressive music is an understatement.
The range of material on display on YHO is staggering. Included are compositions penned by each of the three musicians involved, as well as pieces by Steve Lacy, Andrew Hill, and Charles Ives. In the hands of lesser players/improvisers, the challenge would result in butchery, but these three brought their A-games and nailed it. I surprised myself by deeply enjoying the space afforded in no small part by the absence of bass on the recording, an omission that I typically lament: not a problem here given the superhuman sensitivity and exemplary musicianship of Eisenstadt, in particular.
Although it’s more undeniable now than ever that You Have Options, I submit the present release as one of the stronger options. Go get it!
Myra Melford’s Snowy Egret – The Other Side of Air (Firehouse 12)
One thing is for sure: you’d be hard pressed to gather a more impressive group of players/improvisers than Bay-area pianist/composer Myra Melford has done with her Snowy Egret project. As she has said, “I really feel like it’s the vehicle that expresses where I am as a composer, performer, and bandleader right now”. It is only with such a remarkable vehicle that a group of artist can so seemingly effortlessly navigate the improvisational and compositional terrain that SE explores on The Other Side of Air.
For their second release together, Melford and company have run the gamut through what a quintet is capable, covering territories from the sublime to the revved-up to the ridiculous. These five are so locked in to these compositions and to each other that it is beyond clairvoyance at times.
I love how on a number of these pieces, Melford has created divisions or movements in which one or two soloists are featured: micro concertos, almost! It is in these moments, as on “Attic” (greatest bass solo of 2018?) and “Living Music” (Ellman and Sorey tear it up), that a very rare transcendence takes place. Some very inspired work here, for sure.
Relentless, aggressive, cathartic, concerted, guitar-less, and odd meters are apt descriptors of The Fall of the Damned, the new album by Rotterdam-based Albatre. And this is just what the doctor ordered to fight the chaotic dumpster fire that is 2018.
There are more than a few comparisons that can be made between Albatre and Kevin Martin’s battering “God” project from the ’90s. For starters, harshly effected drums, bass, and saxophone intent on relaying the paramount importance of rhythm take center stage on both. Philipp Ernsting, Gonçalo Almeida, and Hugo Costa convincingly bring the noise on said trio of instruments, respectively, but not respectfully. Compared to their terrific 2015 release, Nagual, there is an even more deliberate middle-finger-to-the-state-of-the-world vibe at play here, and it’s one that I can get behind.
Although these sounds are not necessarily for the faint of heart, they are a mollifying space to occupy as you plan your daily acts of resistance. Coincidently, albâtre is French for “alabaster”, the stone material artists have diligently chipped away at for millennia to immortalize greatness through sculpture. Viva L’Albatre!
Wayne Horvitz – The Snowghost Sessions (Songlines Recordings)
As a key member of Naked City, Pigpen, Zony Mash, and The President – bands who illustrated to me early on just how out music can be taken – Wayne Horvitz will always hold a special place in my consciousness. Since relocating from New York to Seattle in the late 80s, Horvitz has covered an absurd amount of musical territory from popular and experimental band-work, theater and dance pieces, chamber and orchestral writing, sound design, TV and soundtrack work and so on. It has been a full ride, indeed…and the ride continues.
SnowGhost is the relaxed, top-shelf recording studio in Whitefish, Montana where the sounds of Horvitz’s beautiful piano playing and electronically augmented keys, along with exceptional accompaniment from bassist Geoff Harper and drummer Eric Eagle were immaculately committed to tape (or disc). There is a filmic quality to The Snowghost Sessions, not because it requires an image to complete an artistic statement, but because it reveals imagery upon listening: a profile of a man falling down and getting back up again, a snapshot of the jarring yet taciturn winter that inevitably descends on the Midwest year after year, or a family gathered in silence, in mourning.
Like all the best art, The Snowghost Sessions improves with each listen, vying hard for the top spot on year-end lists that will be rampant before we know it. Kudos to Horvitz, Harper, and Eagle, and to Songlines Recordings for this gift.
Adam Hopkins – Crickets (Out Of Your Head Records)
Evidently, Adam Hopkins learned a great deal about how to play the bass (and likely much more) from luminary Michael Formanek and how to effectively lead a group (and likely much more) from heavy-hitters Henry Threadgill and John Hollenbeck, both in whose groups he has served time. Crickets is Hopkins’ first release under his own name, and what a fine and feisty romp it is.
The groundwork for much of the record is the mighty riff, delivered with potency by Hopkins and guitarist Jonathan Goldberger, and reflective of the influence of 80s and 90s punk/indie rock. Onto this framework Hopkins has grafted the triple-sax threat of Anna Webber, Ed Rosenberg, and Josh Sinton, deftly delivering glorious wails of charted lines and spirited solos over said riffage. Drummer Devin Gray completes the group with both agility and judicial backbeat, serving the music well at every step.
It’s heartening to see the DIY spirit of yesteryear alive and well as we do on Crickets – Out of Your Head Records is run by Hopkins and his friends – particularly at a time when the artist’s slice of the pie continues to shrink. PSA: remind a musician, especially with your wallet, that you are still listening and that what they do matters and they won’t go away.
For the better part of the past decade, pianist Casey Golden has been active in Australia, releasing well-received trio records with Bill Williams and drummer Ed Rodrigues, and more recently has begun to make a splash in London with his quartet with guitarist Alex Munk, bassist Henrik Jensen, and drummer Will Glaser.
The sensitivity that Golden and his UK quartet demonstrate in their interplay on their first release Atlas is undoubtedly impressive and is a considerable step forward for Golden. The tunes are just so agreeable and the playing is refreshingly in service of the music rather than the ego of the player. This is not to say that these four don’t have chops; quite to the contrary, these four can play.
Whatever Golden is up to in England agrees with him, and I look forward to more of the fruits of this creative activity in the future.