Jay Bennett new album

[jakobnicholas]

Over the weekend, Jay Bennett's new album became available for free download...with a recommended donation to the Jay Bennett Foundation.

 

Only listened once so far and like it a lot. Mostly it's quite spare, but there are also some classic Jay hooks and textures. Sucks he'll make no more records.

 

Here's a note posted on the website by Edward Burch, along with the website link:

 

Most people are familiar with Jay Bennett for his tenure in Wilco—from that very first show in the basement of Cicero’s in St. Louis (under the moniker Black Shampoo) to his dismissal from the band in August 2001. What not as many are aware of are his musical accomplishments before and after. Prior to being asked to join Wilco, Jay had been on a major label with Titanic Love Affair, was a member of the criminally underrated country combo Steve Pride & His Blood Kin (who had shared bills with the likes of Uncle Tupelo and The Jayhawks), and had toured with and/or played on records of countless artists, including Tommy Keene, Billy Joe Shaver, Allison Moorer, and Jellyfish.

 

To fans, Jay Bennett was a master melodicist, artful arranger, exceptional engineer, and mesmerizing multi-instrumentalist. To me, Jay was all of those things, but he was also just Jay. He was the guy who would replace the brakes on my car because it was cheaper than taking it to the mechanic. And he was the friend who began making an album with me in 1994 because it seemed like something to do—and, for me, it was cheaper than therapy. The fruits of those labors would see the light of day in 2002, when Jay and I released The Palace at 4 am (Part 1) with Undertow Records. The tours for that album at times played like a foul-mouthed Smothers Brothers for the new millennium, and when we’d finally grown weary of the sound of our own banter, we would eventually get around to what drew us together in the first place: playing songs we wanted to sing. Specific tales of those tours will eventually be shared, but the best part was that it introduced us to many new friends.

 

Jay followed Palace with two more releases for Undertow in 2004: Bigger Than Blue and The Beloved Enemy, far more sparse and intimate efforts than our all-bells-and-whistles-on-deck debut. These albums were primarily recorded at Jay’s Chicago studio: Pieholden Suite Sound. As his collaborations with David Vandervelde intensified, Jay began the work on what would become his 2006 release for Ryko, The Magnificent Defeat. Prior to the mixing and mastering stages of that album, Jay returned to his de facto home of Urbana, Illinois, bringing his Pieholden Suite Sound with him. With the help of friends and hired guns, Jay turned a gutted storefront into the studio of his dreams (O, what I wouldn’t have given to have the meticulously organized patch bay he included in his new studio back when we were making our recordings).

 

It was in the new Pieholden studio that Jay produced Whatever Happened I Apologize (2007) for Rock Proper. Eschewing the usual channels of music distribution, Jay decided to put this album out for free as a high-quality download. Sadly, and unexpectedly, it would be the final album Jay would release during his lifetime. At the time of his death in May 2009, Jay was in the final stages of completing Kicking at the Perfumed Air. It is a Herculean task to attempt to “finish” an album in someone’s absence. The album as it stands is indeed a collaborative effort of monumental proportion, brought together by folks whom Jay would trust to do the job. Between Jay’s notes, emails, and conversations as recalled by his friends (which, as you might imagine, contained equal measure of complement and contradiction), Kicking at the Perfumed Air represents, if not the album Jay had intended to share, most certainly an album of which he would be proud.

 

Hopefully, in the weeks and months that follow, we will uncover even more of Jay’s musical legacy to share. For now, we hope you will enjoy Kicking at the Perfumed Air.

 

Edward Burch

 

Austin, Texas

 

March 2010

 

 

http://rockproper.com/JayBennettFoundation/kicking-at-the-perfumed-air/

[KevinG]

Just got it, and giving the first listen.

[jakobnicholas]

Been listening to this album most of the day. I'm really impressed by it.

 

Curious what other long-time Wilco/Jay Bennett fans think.

 

I found much of Bennett's solo work to be pretty good, but usually it was a bit spotty. "Kicking At the Perfumed Air" sounds more restrained and mature. I'll need more time with it, but I don't think it's too bold to say it's his finest effort.

[TCP]

About to listen now....

Pat and Glenn play on this?? Was that an older recording that Jay recycled?

[Shakespeare In The Alley]

Is this coming out on CD? I remember reading something like that, But I don't remember the date, and I can't find anything on that site.

 

I liked Whatever Happened. But Jay's solo work hasn't really grabbed me too much. I'll be giving this a listen tomorrow, though.

[HungryHippo]

I was fortunate enough to befriend Jay at the time he was working on this album and Whatever Happened I Apologize and he mentioned that he did tend to over-produce at times. from the impression I got from him, he wasn't very happy with The Magnificent Defeat but we both agreed on how amazing The Beloved Enemy is. its amazing to see/ hear how much talent this guy had and every time I think about him, I get bummed out that he'll never be able to share his new creations, be it tunes or art, with us again. Jay had so much left in him and this album is a testament to that.

[Smokestack Joe]

ever since Palace at 4am and seeing him perform live with Ed, ive loved his solo work

[jakobnicholas]

About to listen now....

Pat and Glenn play on this?? Was that an older recording that Jay recycled?

 

The liner notes reveal that "Mirror Ball" was the lone "recycled" song. It was recorded in Wilco's loft in 1999, with little assistance from Pat and Glenn.

 

 

Diamond Smiles

Second Last Call

Twice a Year

Mirror Ball

Footprints

Hotel Song

Invitation

When Heaven Held the World

M Plates

Cartoon Physics

Beer

 

Liner Notes:

All instruments played by Jay Walter Bennett, except were noted.

All songs © & ℗ 2010 Jay Bennett, You Want a Piece of This Music Administered by Bug Music, except were noted.

 

“Diamond Smiles”

(Bob Geldof)

© 1979 Bob Geldof

 

“Second- Last Call”

(Bennett/Burch)

David Vandervelde: Backing vocals

© & ℗ 2010 You Want a Piece of This Music and Eyewitness Cat Music, both administered by Bug Music

 

“Twice a Year”

(Bennett/Burch)

Edward Burch: Acoustic guitar and backing vocals

© & ℗ 2010 You Want a Piece of This Music and Eyewitness Cat Music,

both administered by Bug Music

 

“Mirror Ball”

(Bennett/Rich)

Alex Moore: Drums

Rick Plant: Bass and slide guitars

Sherry Rich: Acoustic guitars, background and harmony vocals

Pat Sansone: Harmony vocal

Glenn Kotchke: Tambourine

© & ℗ 2010 You Want a Piece of This Music, administered by Bug Music, BMG/Pandomik Music/SESAC/APRA

 

“Hotel Song”

(Bennett/Rich)

David Vandervelde: Drums

Jason Sipe: Electric rhythm guitar

© & ℗ 2010 You Want a Piece of This Music, administered by Bug Music, BMG/Pandomik Music/SESAC/APRA

 

 

 

All songs written, arranged, performed, recorded, mixed, and produced by Jay Walter Bennett at Pieholden Suite Sound, Chicago, Illinois.

Mastered by Jonathan Pines with Jay Bennett at Private Studios, Urbana, Ilinois in 2007 and 2009

Except “Mirror Ball” which was recorded in Wilco’s Chicago loft 1999. Produced and engineered by Jay Bennett.

Additional recording by Rick Plant at Little Black Studio, Nashville TN

Additional mixing by Jay Walter Bennett of “M Plates” and “Twice a Year” at Pieholden Suite Sound, Rantoul, IL.

Additional recording and mixing by Jonathan Pines and David Vandervelde of “Diamond Smiles,” “Cartoon Physics,” and “Second- Last Call” at Private Studios, Urbana Illinois.

Executive Production by the Jay Bennett Foundation, Ben Clarke, and Matt DeWine.

Artwork direction and design by Johnny Caluya and the Jay Bennett Foundation.

Digital release distribution by rockproper.com

Publicity by Jenny Pfafflin Little Priest PR and Lee Williams.

Management by Jeff Macklin.

jaybennett.org created by the Jay Bennett Foundation, Casey Meehan,

Paul Grachan, and Jason Grey.

Guidance by Jan, John, and Jeff Bennett and Kate Stanton.

Please go to jaybennett.org for more info.

[KevinG]

I am have listened to this a couple of times and while it is good, it is not my favorite Jay Bennett. It just seems a bit too restrained to me. I always liked when Jay threw in the kitchen sink. Sure some of the songs were complete disasters, but you could always find some gems. This album is missing any true gem. I can't seem to find one song stick out to me.

 

Maybe after a couple more listens.

[jakobnicholas]

I am have listened to this a couple of times and while it is good, it is not my favorite Jay Bennett. It just seems a bit too restrained to me. I always liked when Jay threw in the kitchen sink. Sure some of the songs were complete disasters, but you could always find some gems. This album is missing any true gem. I can't seem to find one song stick out to me.

 

 

While I don't agree, I can understand that. I, too, liked many of Jay's "kitchen sink" songs.

 

But there's something really strong and powerful about this new album. I wonder what Jay's final version of "Footprints" or "When Heaven Held The World" might sound like. Otherwise, I think the arrangements are perfect as is. Maybe "Kicking At The Perfumed Air" is the YHF Demos version of a YHF that we'll never get to hear, which is OK, 'cause I always liked the YHF Demos better anyway.

 

I can only find one review of Jay's new disc, and it's a good one.:

 

 

“I’m never, ever going to have a record review that doesn’t at least start off with some mention of my participation in Wilco, you know – and a comparison of my music now to the contributions I made to Wilco’s music – or what Wilco was then to what Wilco is now. That’s just reality – I’m never going to be taken just completely on my own; it’s always going to get set up in that context. Of course, a certain amount of that is appropriate, because you need your lead-in paragraph. Well … I kinda come with a built-in lead-in paragraph.”

From a conversation with Jay Bennett – August, 2008

So there’s that. No one could’ve said it better, Jay.

Now let’s move on to the matter at hand.

The first act of the newly-formed Jay Bennett Foundation (a family-spearheaded organization supporting music and education) is the release of the album Bennett completed prior to his death in May of 2009. Kicking at the Perfumed Air (a phrase taken from the opener “Diamond Smiles” – you just wait) is classic Jay Bennett: a buffet of sound gumbos and stripped-to-the-heart-of-the-matter sonic flatbread, seasoned with sprinklings of humor, pathos, and irony.

Upon first listen, Kicking at the Perfumed Air recalls Todd Rundgren’s 1972 pop masterpiece Something/Anything, three-quarters of which was all Rundgren. (Percentage-wise, Bennett may have the Runt beat: except for a couple of cameos from buddies Edward Burch and David Vandervelde, the album is pretty much Jay backing Jay and Jay with additional help from Jay.) The cuts on Kicking are raw, leaving count-ins and verbal sticky notes in place here and there as we go from the hold-your-breath-and-hang-on lurch of “Hotel Song” to guitar-on-the-back lonesome troubadour tales (“When Heaven Held The World” and “Footprints”).

Oh, the vibe: here we have what sounds like Ziggy-era David Bowie with George Harrison on guitar (“Mirror Ball”); over here we have a bouncy cousin to Mike Gordon’s “Andelmans’ Yard” (“Invitation”); and the deceptively sing-alongable hooks of “Cartoon Physics” and “Twice A Year” will break your heart when you’re not looking. Prefer your drinking songs to be equal parts cerebral and goofy? Belly up and savor “Second Last Call” (featuring a brilliant wild-ass slide guitar solo) and the barstool honesty of “Beer”.

You have to wonder how many people would suspect that “Diamond Smiles” (the only cover on Kicking) was first recorded by The Boomtown Rats in 1979? Not many, I don’t believe: Bennett takes ownership, canning the Rats’ prancing carnival swirl and infusing the song with a Tom Waits-ish vibe, weird and chilling. There’s a whole movie in the tune’s 4 minutes and 12 seconds.

Jay Bennett’s family and friends did it right when they gathered up the tracks for Kicking at the Perfumed Air: they knew not to try to pretty or slick or polish anything up. What you have is what the man laid down with his own hands, head, and heart.

This music has nothing to do with being an ex- anything. It’s simply about being human.

You done good, Jay.

 

 

Brian Robbins

jambands.com

[Smokestack Joe]

great review

[KevinG]

 

 

I can only find one review of Jay's new disc, and it's a good one.:

 

 

“I’m never, ever going to have a record review that doesn’t at least start off with some mention of my participation in Wilco, you know – and a comparison of my music now to the contributions I made to Wilco’s music – or what Wilco was then to what Wilco is now. That’s just reality – I’m never going to be taken just completely on my own; it’s always going to get set up in that context. Of course, a certain amount of that is appropriate, because you need your lead-in paragraph. Well … I kinda come with a built-in lead-in paragraph.”

From a conversation with Jay Bennett – August, 2008

So there’s that. No one could’ve said it better, Jay.

Now let’s move on to the matter at hand.

The first act of the newly-formed Jay Bennett Foundation (a family-spearheaded organization supporting music and education) is the release of the album Bennett completed prior to his death in May of 2009. Kicking at the Perfumed Air (a phrase taken from the opener “Diamond Smiles” – you just wait) is classic Jay Bennett: a buffet of sound gumbos and stripped-to-the-heart-of-the-matter sonic flatbread, seasoned with sprinklings of humor, pathos, and irony.

Upon first listen, Kicking at the Perfumed Air recalls Todd Rundgren’s 1972 pop masterpiece Something/Anything, three-quarters of which was all Rundgren. (Percentage-wise, Bennett may have the Runt beat: except for a couple of cameos from buddies Edward Burch and David Vandervelde, the album is pretty much Jay backing Jay and Jay with additional help from Jay.) The cuts on Kicking are raw, leaving count-ins and verbal sticky notes in place here and there as we go from the hold-your-breath-and-hang-on lurch of “Hotel Song” to guitar-on-the-back lonesome troubadour tales (“When Heaven Held The World” and “Footprints”).

Oh, the vibe: here we have what sounds like Ziggy-era David Bowie with George Harrison on guitar (“Mirror Ball”); over here we have a bouncy cousin to Mike Gordon’s “Andelmans’ Yard” (“Invitation”); and the deceptively sing-alongable hooks of “Cartoon Physics” and “Twice A Year” will break your heart when you’re not looking. Prefer your drinking songs to be equal parts cerebral and goofy? Belly up and savor “Second Last Call” (featuring a brilliant wild-ass slide guitar solo) and the barstool honesty of “Beer”.

You have to wonder how many people would suspect that “Diamond Smiles” (the only cover on Kicking) was first recorded by The Boomtown Rats in 1979? Not many, I don’t believe: Bennett takes ownership, canning the Rats’ prancing carnival swirl and infusing the song with a Tom Waits-ish vibe, weird and chilling. There’s a whole movie in the tune’s 4 minutes and 12 seconds.

Jay Bennett’s family and friends did it right when they gathered up the tracks for Kicking at the Perfumed Air: they knew not to try to pretty or slick or polish anything up. What you have is what the man laid down with his own hands, head, and heart.

This music has nothing to do with being an ex- anything. It’s simply about being human.

You done good, Jay.

 

 

Brian Robbins

jambands.com

 

It is nice to see a review of the new album and a positive review at that. But man that was horribly written. It starts off with a quote from Jay about how is music is compared to Wilco and the the author goes and compares the album to:

 

Todd Rundgren

Ziggy-era David Bowie

George Harrison

Mike Gordon

Tom Waits

 

Jay could never get reviewed on his own ideas. My hope is that some more reputable source gives Jay a proper review.

[bigideas]

no Nothing Up My Sleeves?

 

does any recording besides the YHF demo of that exist?

[Smokestack Joe]

Jay's new record makes me sad for a few reasons. one, because he is gone and two, i miss his collaboration with Jeff. This record really shows jay's great writing as well as his other solo efforts. Wilco to me, and will always be, special from the era with jeff and jay-being there-summerteeth-mermaid ave-yankee hotel foxtrot. jay brought great writing, layering of sound, production to the band back then. with all due respect to everyone in the band now, i love 'em, but on a personal level, jeff + jay= great wilco

[jakobnicholas]

Jay's new record makes me sad for a few reasons. one, because he is gone and two, i miss his collaboration with Jeff. This record really shows jay's great writing as well as his other solo efforts. Wilco to me, and will always be, special from the era with jeff and jay-being there-summerteeth-mermaid ave-yankee hotel foxtrot. jay brought great writing, layering of sound, production to the band back then. with all due respect to everyone in the band now, i love 'em, but on a personal level, jeff + jay= great wilco

 

 

 

Couldn't agree more.

 

There was a vibe to Wilco from Being There to YHF. I can't explain it, but their music was almost magical. They could seemingly do no wrong. The 3 Wilco albums were classics, Mermaid 1 & 2 didn't have a mis-step on the songs they contributed. The YHF Demos, arguably, was even better than the album...in great part 'cause of Jay's contributuons.

 

Jay's solo efforts have overall been hit-and-miss for me. But "Kicking at the Perfumed Air" reminds me of the magic I felt listening to the Jeff/Jay Wilco. Almost gives me goosebumps.

 

To me, it's the best Wilco-esque album since YHF.

[choo-choo-charlie]

I was wondering if Pitchfork could review the album without making a Wilco reference, alas, it appears in the first paragraph.

 

"He is, even now, best known for getting kicked out of Wilco for being too conservative; that's the same Wilco that would go on to make Sky Blue Sky and Wilco (The Album), mind."

 

Was it really because he was too conservative? I'm not sure about that...

 

http://pitchfork.com/reviews/albums/14468-kicking-at-the-perfumed-air/

[bleedorange]

I was wondering if Pitchfork could review the album without making a Wilco reference, alas, it appears in the first paragraph.

 

"He is, even now, best known for getting kicked out of Wilco for being too conservative; that's the same Wilco that would go on to make Sky Blue Sky and Wilco (The Album), mind."

 

Was it really because he was too conservative? I'm not sure about that...

 

http://pitchfork.com/reviews/albums/14468-kicking-at-the-perfumed-air/

 

I was wondering if that was a code word for too country-ish. But I was pretty confused by that statement, too. And I can't say I really blame any publication for mentioning Wilco in any review of Jay Bennett's. For one, that is who he is best associated with, and two, a Wilco reference might grab readers who may otherwise not know anything about him.

[KevinG]

I was wondering if Pitchfork could review the album without making a Wilco reference, alas, it appears in the first paragraph.

 

"He is, even now, best known for getting kicked out of Wilco for being too conservative; that's the same Wilco that would go on to make Sky Blue Sky and Wilco (The Album), mind."

 

Was it really because he was too conservative? I'm not sure about that...

 

http://pitchfork.com...e-perfumed-air/

 

best not to consider Pitchfork for any reliable information, unless you are hipster douche bag.

[choo-choo-charlie]

I was wondering if that was a code word for too country-ish. But I was pretty confused by that statement, too. And I can't say I really blame any publication for mentioning Wilco in any review of Jay Bennett's. For one, that is who he is best associated with, and two, a Wilco reference might grab readers who may otherwise not know anything about him.

 

Yes and no. I think he deserves to be judged on his own merit, too.

 

best not to consider Pitchfork for any reliable information, unless you are hipster douche bag.

 

I am a reader of Pitchfork material and do not consider myself part of this crowd, thank you very much.

[theashtraysays]

So, back to the topic of the album itself...

 

I haven't gotten it yet, but I tried to go back and listen to "Whatever Happened I Apologize" again. I still don't like it. Is this one better / different? Thoughts?

[choo-choo-charlie]

So, back to the topic of the album itself...

 

I haven't gotten it yet, but I tried to go back and listen to "Whatever Happened I Apologize" again. I still don't like it. Is this one better / different? Thoughts?

 

Different. The thing that I grapple with above all on JB solo albums is his voice. If I recall correctly, "Whatever" was a solo guitar/voice record, which made it even harder for me to get through. At least here you've got classic JB full-studio work. As a backup/harmony vocalist, I think he was terrific. As a lead vocalist, I think his chops were over-matched by his instrumental and production skills - but he was a tremendous artist nonetheless. Give it a try!

[Guest Speed Racer]

Yes and no. I think he deserves to be judged on his own merit, too.

 

Biography isn't a judgment, unless you're applying for a Cabinet or Supreme Court seat. Most people don't know who Jay is, and the ultimate question asked by readers of these sites is "Why should I care?" It's the reviewer's job to answer that.

[Guest Speed Racer]

best not to consider Pitchfork for any reliable information, unless you are hipster douche bag.

 

They're good for breaking news, and some reviews. They replace any sort of news analysis with revisionist history. Trying too hard to avoid Rolling Stone they ended up writing like Oliver Stone.

[jakobnicholas]

So, back to the topic of the album itself...

 

I haven't gotten it yet, but I tried to go back and listen to "Whatever Happened I Apologize" again. I still don't like it. Is this one better / different? Thoughts?

 

 

"Whatever Happened I Apologize" is darker and much less layered. I like it and think it has some very solid stuff on it (Engines Are Idle, Hank) but frankly, it's not a fun record.

 

"Perfumed Air" is a bit lighter sounding overall, even if the lyrics are mostly in the dark vein. Musically, it's more typical Jay, but is still reserved overall. 2 songs on it I'd like to have heard more fleshed out sounds and layers (on these songs it sounds like just Jay and an acoustc), but otherwise I think it's perfect...gravelly voice and all.

[howdjadoo]

http://leisureblogs.chicagotribune.com/turn_it_up/2010/09/remembering-jay-bennett-in-benefit-concert.html#more