Bass saxophonist extraordinaire Colin Stetson’s New History Warfare Vol. 2: Judges was IC’s 2011 Album of the Year. When I informed Colin’s camp about this, they sent back an e-mail with the following list and no other explanation. (I added the links and album art.) Colin Stetson, everybody:
Never in my knowledge has there been a lasting example of a single piece of music framing the entirety of one’s life and career so completely as these recordings. They are perfect snapshots of a man and his vision, heart, and mind, both at the beginning and end of his all too short life and have always been precious to me.
When I was growing up, my father had only a few records in the house and most of them were Jimi Hendrix. It was no mystery that I found myself years later learning his solos, attempting to mimic them in every way, but on the saxophone. The translation of sound and technique across instruments is something that has always been exciting to me and in this case was absolutely formative to almost every aspect of my sound and musical approach.
Goodbye Babylon is a six cd set of american pre-war gospel music, transferred from the original vinyl, and it is a priceless archive of a singular time in history. The music captured in these recordings embodies all of the suffering and hope that has defined humanity for all our history and I feel is essential listening for understanding who we are,where we come from, and what we could do to make a better world for eachother.
This record absolutely destroyed me. On first listen, it was simultaneously a thrilling surprise and a familiar comfort, feeling like some sort of inevitable epiphany. Liturgy’s is the most exciting music I’ve heard in recent years and you can hear it’s influence already in my last EP, Those Who Didn’t Run.
Tom Waits’ music came over me like a conquering army, populating every inch of my mind. From first hearing Bone Machine I was in a fever for everything he had made and I didn’t come up for air until I had experienced it all.
Not just a scene from 8 Mile, hanging out in Detroit, driving a long, brown oldsmobile and listening to this record was how I used to roll back in the mid-90′s. There was something limitless to that town back then, like some vast old ruins. Like this record, It was hard and unapologetic and is forever etched in my memory.
When I first heard the song Icefall I was about 19 and had just started to scratch the surface of what the saxophone was capable of. Immediately, the sounds that comprise this song translated effortlessly onto the saxophone. The cd skipping clicks turning into key noise in my head, the frenetic post minimalist cascade of melody and repetition fell idiomatically perfect onto the instrument. It is perhaps still the single track that has had the most influence on my music.
This is a rare and patient beauty that has no equal in my mind. It is music that stops the machinations of the world and inhabits you so fully that if there is such a thing as “what it means to be human”, your understanding of it is deepened.
In my earlier days I had strong mullet and I listened to a lot of metal. I’ve since lost the backflap but kept the metal and this album has always stayed in heavy rotation throughout the years.
Nusrat throws the best parties out there. He’s put out what seems like hundreds of records, but this one was my first and maybe for that reason or maybe just because it’s awesome, it has always been my favorite.—Colin Stetson