Bart – Blind Faith – “Can’t Find My Way Home” – London, Hyde Park 1969. Bart just likes this song, and I do too. Winwood’s voice sounds raw and edgy and is so young here. This live version feels fresh and Winwood introduces the song as being a new one, so perhaps that lends an edge to the performance. Bart plays this at the right time for my ears. I’ve been reviewing a lot of historic music with my daughter as she investigates my music collection and learns guitar. This song fits right in with that play list. Hmmmm, also Bart’s been on a Classic Rock kick for a bit.
Nawi – María Luisa Anido – “Lejanía”, Preludio I de la serie de Preludios Nostálgicos – Beautiful guitar work, something I have been pretty immersed in listening to the last few days and even have a few guitar focused tracks cued in my backups playlist. We will see where the evening takes us, but I could compliment this with a reaction guitar piece. The composition unfolds/unfurls slowly like morning flowers and I found myself re-listening to it as I gathered her details.
Matt – Labi Siffre – “Bless the Telephone” – Lovely song, perfectly phrasing. Apparently this is a viral sensation that I never heard of and everyone else on the Sesh just heard recently. The amount of ways that people come up with to describe telling someone you love them, in a song, may be infinite. This one does it in a sweet and simple way.
Dan – Marilyn Crispell & Louis Moholo – “Moment of Truth” – An intense piano and drums duet. Free but thriving with strong themes and melodies. I haven’t really listened to much new, fully improvised music that makes me want to re-listen to it, but this recording does. Very fertile, very exciting and memorable. And I have echoes of the feeling of the performance in my head after I listen to it, little fragments that startle and frazzle. Also! Moholo’s cymbal crashes are otherworldly.
Travis – Adam Maness Trio – “Everybody Wants to Rule the World” – But a spacey piano version, with a tricky little odd metered bridge that seems to harken back to our meter discussion from the beginning of the Sesh. The recording sounds intentionally aged with the drums and bass dropped way in the back, but the rhythmic patterns on the bridge would never have happened in the past. Somehow the sound design is fresh, but draws from the 80’s palate of the original song in such a way as to seem like kin. Every now and then there is a touch of a Guaraldi sound to the piano, which is probably intentional. Sometimes this rendition reminds me of how Robert Glasper reimagines tunes, bringing a production lens to how it is arranged.
Found Sounds 