On side B, the band’s core members play a bit looser, allowing their sound to breathe more easily. The middle section of “East (Part 3)” is a highlight, nixing the low end to let each saxophonist thread continuous streams of improvisation into a harmonic DNA helix. On the A-side, guest star Tamar Osborn lends a second sax to the session, jousting with Idris Rahman to form a rippling, sometimes turbulent, soundscape.
TIM AND ERIC MIDI JAM FREE
While best described as free jazz, the work here intersects with post-hardcore on occasion, pairing distorted, angular basslines with echoing saxophone.
TIM AND ERIC MIDI JAM FULL
As its title implies, the ninth full length outing by London’s ILL CONSIDERED consists of two marathon jams recorded on the east and west sides of their city. ILL CONSIDEREDĮast / West may be an intimidating listen at a hefty 107 minutes long, but it goes down easier than you may expect.
TIM AND ERIC MIDI JAM DOWNLOAD
Those who’d like to dig deeper into their live material can browse the BBsitters Club spreadsheet, which includes a link to download any show they’ve played in the past. Collecting the best moments of their 2019 gigs, the compilation dabbles in Southern rock (“Crazy Horse”), third-wave ska (“Beef Pizza”), and math-y prog (“Told Ya”), but never leans so hard into its gimmicks that it feels unfocused. 1, proves that their appreciation for Phish and the Dead runs just as deep.
Founding members Doug Kaplan and Max Allison are better known for championing avant-garde electronica as co-owners of Hausu Mountain Records, but listening to their BBsitters Club debut record, Joel’s Picks Vol. Blending screwball Tim and Eric-inspired humor with an unabashedly dad rock sound, the Chicago quartet lovingly parody jam band tropes while exploring whatever tangentially-related genre they’re digging at the moment. Pre-order buy pre-order buy you own this wishlist in wishlist go to album go to track go to album go to trackīBsitters Club may put on a satirical front, but their chops are serious. Whether you’re in the mood for transcendentalist jazz, avant-garde noise rock, or post-punk grooves, there’s something for even the most discerning palate. If you’re looking for an entry point into the current state of the scene, here’s a primer on the diverse array of influences it has to offer. No longer limited to home-dubbed cassette tapes, torrenting, and the occasional authorized release a la Dick’s Picks, fans can easily access tons of high quality live music-often accompanied by makeshift commentary and liner notes-straight from the source on Bandcamp. Though a global pandemic may make catching live jams next to impossible right now, it’s easier than ever to study a band’s archival recordings in the meantime. Melbourne’s King Gizzard & The Lizard Wizard have even revived the practice of semi-official bootlegging, offering fans and labels the chance to press their own live albums (as long as the band can also sell a few on their own website.) In the UK, post-punk groups like Black Midi have adopted a free-flowing, spontaneous live sound that sometimes ventures into jam territory.
Streetwear brand Online Ceramics’ blend of Deadhead iconography and retro horror film aesthetics has brought tie-dye back into the mainstream, while those who caught Vampire Weekend’s 2019 tour may have noticed Ezra Koenig’s newfound appreciation for jazz-inspired riffage and Phish-y improvisation. Beneath the scene’s patchouli-scented exterior lies a boundary-pushing spirit that feels as relevant as ever. Because the genre is often synonymous with its archetypal fan-the perpetually stoned slacker with a hacky sack stuffed in their cargo pants-the uninitiated tend to be skeptical of any artist that dares to rep jamming with pride. Admitting a love for jam bands can unfortunately put the aficionado on the defensive.