#windham hill

Joseph Campbell put the zap on a lot of heads in the late 1980s. Visionary guitarist-composer Michael Hedges, spiritually switched-on by Campbell, took his recommendation to “write your own mythology” to considerable lengths, composing an unpublished autobiographical mythology with an accompanying score, 1990’s Taproot. 

The backstory is unnecessary to enjoy Taproot but it adds rings and tendrils to know Hedges is Taproot, the central protagonist, family members & friends appear as stalks and cuttings, and “The Rootwitch” is his chiropractor. 

The pleasant snap, crackle and pop of the instrumental suggesting deep tissue work and bold adjustments, the piece showcases Hedges’ vibrant, frequently flashy style as he knocks the wood percussively whilst making the strings dance in a manner seemingly impossible for only two hands. While John Fahey and Oregon’s Ralph Towner pioneered many elements Hedges was celebrated for, his bold individuality is evident on “The Rootwitch.”

This aggressive exuberance gives way to a nicely underplayed, consciously simple musical setting for e.e. cummings’ poem “i carry your heart with me (i carry it in).” Hedges’ sweet, earnest voice takes lead with pals David Crosby and Graham Nash chipping in backing vocals. Longtime Hedges collaborator fretless bass wonder Michael Manring further boosts the skipping warmth of Taproot’s closer.

This 1976 debut by Shadowfax is a forgotten progressive gem, packed with complex composition and intricate playing.

Daily Listening, Day #218 - August 5th, 2020

Album: Visions Of The Country (Windham Hill, 1978)

Artist: Robbie Basho

Genre: American Primitive Guitar

Track Listing: 

“Green River Suite”

“Rodeo”

“Rocky Mountain Raga”

“Variations On Easter”

“Blue Crystal Fire”

“Orphan’s Lament”

“Leaf In The Wind”

“Night Way”

“Elk Dreamer’s Lament”

“Call On The Wind”

4/25/20.

I’m going to immediately give credit to Mariana Timony (Bandcamp) for highlighting this in their “Weekly Essential Releases” on 4/24.  I really don’t know what to say about Brendan Eder.  He is classical, pop, new-age (there are parts of this release that could belong on a Windham Hill release), and indie all at the same time.  And I know I’m prone to hyperbole and comparison, but I challenge anyone to see another release like this in our bandcampsnoop history (use hashtags).  I had a short email interview with him and he said that, “I went to a small liberal arts school called Santa Fe University of Art & Design.  There I was able to stuy recording, basic composition and orchestration and play in a math rock group called Emergency Room.”   

Brendan Eder could somehow make William Tell’s Overture sound like pop.  He can also out chamber-pop Sufjan Stevens.  He makes David Byrne sound like an amateur composer (and this is coming from someone who adores David Byrne and will always tout his “Music for the Knee Plays”).  This is really that good.  Honestly, I can’t imagine that someone as talented as Neil Hannon (the Divine Comedy, The Duckworth-Lewis Method) wouldn’t look at this and say, “Wow...I wish I had made this album”.  In our email interview Brendan said this of his influences:  “The music is inspired by early 20th century classical music, Miles Davis, Aphex Twin, [Antonio Carlos] Jobim, Fugazi, Dave Brubeck, Les Baxter, and hip hop.

Brendan Eder’s career is just starting.  He is a Los Angeles, California based musician who has corralled the likes of Colleen Green (”The Spirit of”).