Pino's first ever album as a artist

[corinpills]

I'm quite surprised this hasn't been a topic of much discussion, but I have been absolutely loving the album "Notes With Attachments" by Pino Palladino and Blake Mills. Notably, it's the first album Pino has ever released under his own name.

Blake Mills is pretty successful young producer, session giutarist and singer/ songwriter (Fiona Apple, The Killers, John Legend, Pheobe Bridgers) whose writing I quite enjoy. He is running Sound City studios along with a fellow named Tony Berg (who produced Michael Penn's early records and has worked with Aimee Mann, Pheobe Bridgers, Bruce Hornsby, etc).

Anyway, point is, this is very much a departure from Blake Mills' usual songwriter material and is much more experimental (and instrumental). It's not a thing where Pino shows off his chops at all, so know that going in. It's got these really cool woodwind clusters throughout and some interesting guitar synth stuff. Pino plays fretless throughout, but it doesn't sound anything like his well- known 80s fretless sound. It's very angular, experimental music, but I have been finding it very compelling on repeated listens.

Here's a clip:

 

[Bob_Ross]

Wouldn't the PSP album be considered under his own name? He's the "P"

 

[jerry]

We talked about it in another Pino thread, great stuff!

 

[two fingers]

A little too experimental for me. It's nothing I would just sit and listen to. Might be cool live though.

But I do dig me some Pino.

 

[jerry]

To me anyway, the album represents what a lot of us did with the covid gig cancellations, do some music without much commercial consideration.

 

[NoiseNinja]

I like this.

All music ought to be made for the love of music it self and nothing else, instead of the mockery of the most advanced form of communication we humans are capable of that is the Billboard Top 40 and similar.

The only kind of music I listen to at least.

The track that starts around the 3:18 time mark reminds me of Tortoise, but with horns (set just before it starts):

 

[corinpills]

I'm usually very much a song- oriented guy, although I do listen a lot of ambient music at night when I'm in bed- Harold Budd, Max Richter, Daniel Lanois' dreamy pedal steel stuff- so I'm a little surprised by how much I have been enjoying this album. Pino's playing is so sensitive and nuanced (and his tone, fuggedabout it), but the thing that really stands out is the weird little woodwind voicings throughout. I think it's just layered saxes, but in very odd intervals and rhythmic bursts.

 

[renejaime]

O wow, so little discussion on this... I've been really digging this album and pino's sound the recording treatment sounds great. The clips i've seen he's using his fretless MM Stingray which just speaks to how versatile that bass can be in certain hands. The bass sound is so wonderfully thuddy

 

[MixBass]

Whenever this disc ends up in the car (haha)it gets played several times in a row. I'm not surprised at all that it gets little discussion though, I find it quite cerebral. For starters there are few moments where it's obvious who has the melody, the ensemble is the melody. It hits me like some of the early weather report stuff at times where the interplay is the piece and not so much a head or solos. There are moments where it seems like Chris Dave chose to be as funky as possible with the least notes played. I love the distortion used throughout and especially on the horns. And then there's Pino…his melodic and harmonic concept shine bright throughout. The restraint and complexity shown by all simultaneously is a rare treat.