BAHAMAS FEELS THE FUNK, SUBTLY
Toronto singer-songwriter Afie Jurvanen draws out the grooves that have always been in his music on his fourth album, with some high-powered studio help
Afie Jurvanen is already the sort of singer/songwriter of whom other singer/songwriters “in the know” speak in reverent tones and Canada’s most understated guitar god, to boot, but it’s his appreciation for and command of pure groove that comes to the fore on Bahamas’ exceptional fourth album, Earthtones.
While a subtle form of funk has often crept into Bahamas tunes past (see, for example, “All the Time” or “Caught Me Thinkin’ ”) Jurvanen sets about getting butts wigglin’ a little more explicitly than he’s done previously on Earthtones, out on Friday.
It’s done with customary subtlety, of course — everything about Bahamas is subtle, hence the fallback descriptors such as “easygoing” that have been following Jurvanen around since he went from Feist sideman to acclaimed solo auteur with the Polaris Music Prizenominated Pink Strat back in 2009.
His investment in rhythm this time around, however, is such that he sought the services of bassist Pino Palladino and drummer James Gadson.
The esteemed Los Angeles session players have collectively played with everyone from Herb Alpert to the Who to Bill Withers to Beck over the years and have, in recent years, both served as members of soulmeister D’Angelo’s band.
Much to Jurvanen’s delight, Palladino and Gadson said “yes,” so the lion’s share of Earthtones was knocked out in a brisk three-day session earlier this year employing, as Jurvanen put it on Facebook, “no rehearsals, no charts and no rules,” with the regular Bahamas band — guitarist Christine Bougie, bassist Darcy Yates, drummer Jason Tait and backup singer Felicity Williams — coming in afterwards to flesh out the record.
The result is a record as smoothly tuneful as it is wryly confessional in a lyric sheet full of relatable personal observations about depression, the thankless life of the opening act and being a father to two young kids.
It’s easily Bahamas’ most accomplished album to date and could very well be the mainstream breakthrough of which the industry has long suspected Jurvanen is capable.
The Star caught up with Jurvanen via email while he was in pre-production for a lengthy Earthtones tour that, for now, will only glance off Toronto with a sold-out, 200-capacity date at Massey Hall on Thursday, Jan. 18 — where lucky patrons will sit onstage with the Bahamas band for the gig — and a free skating-party show at the Harbourfront Centre rink on Saturday, Jan. 20, from 6-8.
First up, as an avid skater and newish father of a wee little girl, may I applaud your decision to host a family-friendly skating party for the release. What a great idea. How did you come up with that one?
I’m contractually prohibited from doing my own (paid) show in Toronto, so I just wanted to find a way to play around the album release. Something fun and different. It seemed like a good idea at the time. I just hope the weather is co-operative. I can deal with -10. When it’s -20 my hands start to seize up. Could be pretty interesting.
Four albums in and I’m thrilled that I really don’t know what I’m getting from a Bahamas record. Obviously this one shows a different side of what you do, so how much of that was shaped by the news that you’d be working with Pino Palladino and James Gadson? That seems to have happened very quickly. Was it a case of “Holy sh--, I’d better come up with some new material” or were the songs already heading in that direction?
Both in my writing and in the studio, I always try and work the songs until they don’t sound like anyone else. When you can’t place it, either to a specific genre or era, then that’s usually a sign that it’s going in the right direction.
Working with James and Pino was a thrill and a pleasure. Those guys are so free of any references. They literally just play music, any music, at the highest level. (They were) just listening and reacting to me and each other in real time.
D’Angelo, the Who, Nine Inch Nails, Marvin Gaye, John Mayer, Keith Urban, Lady Gaga — they’ve played with such a diversity of artists and you realize that it’s really just about the music.
In a cliché way, it’s always about the music. I really can’t say enough good things about them. It was so inspiring to be around them. We’re gonna play a bit together in a few weeks and I’m really looking forward to hanging with them again.
What kind of prep goes into a whirlwind session like that? Did you feel right away that it was working?
My preparation was essentially just getting the melodies and lyrics as tight as possible and going into the studio with no expectations. I didn’t really give too much direction. That’s how I like to work with pretty much all musicians — just let them go and see where their instincts take them. If it’s not working, it’s usually pretty obvious to everyone.
With those guys it was too easy. But yes, I was pretty curious as to how it was gonna work out. It was either gonna be an incredible album or a very expensive jam session. I’m confident it was the former.
How did you get those guys, anyway? I feel like they’re pretty busy and don’t . . . y’know . . . work with just anyone.
Robbie (Lackritz, manager/producer/ friend) just called them. They’re working musicians and are still very much working. We sent some music and they seemed very receptive and excited. The scheduling was the toughest part because everyone was so busy. We did three days in Los Angeles with them and I flew from there to start a five-week European tour. It was a crazy time! But, of course, I’m so glad we made it happen.
Was your regular (awesome) band offended? How are they adapting to the funk?
No, they were all pretty excited when I told them and even more so once I showed them the bed tracks. I was so fired up after that session that I booked a studio in Prague on a day off and we cut a few more tracks. They sit quite nicely alongside the L.A. stuff. In fact, it’s hard to tell the difference. That’s a testament to them as musicians. They really understood the tone and feel of what I was after and worked hard to get it. I have such an amazing band and am eternally grateful.
I love the extra emphasis on female backing vocals this time around. I remember talking to Joel Plaskett around the making of Three and he said he got totally obsessed with adding harmony parts for the ladies (Rose Cousins and Ana Egge) once he started writing them onto the record and I’m getting that kinda vibe here. Really adds a lot of texture, eh?
I’ve always had a lot of vocals on my albums and this one is just more extreme. I feel like the voice is the original “earthtone.” It’s really the amazing Felicity Williams. She has a voice that’s so pure and really I can’t get enough.
She’s always laughing at me ’cause we’ll be in the studio and there will be 12 tracks of vocals on a song and I’ll just be asking for one more. But take a listen to “No Wrong” or “So Free” and tell me I’m wrong. The proof is in the pudding, as they say.
At the risk of cliché, I get the sense that there’s a lot more of you coming through in the lyric sheet on this record. Was that a conscious thing or is it just the way the words came out?
I have two young kids and zero time to work. My writing had to get more elemental for this record. I’d have 10 minutes to write a song, so if it didn’t feel good I’d just move on to the next idea. I think these are some of the most immediate and direct songs I’ve written and the album really captures that. There’s no reverb or effects. The song is just jumping out of the speaker and there’s a real clarity to it. It was liberating because for so long my process was so different and drawn out.
Now I can write a song anywhere. I wrote “Bad Boys” sitting in traffic. Music is with me wherever I go.
Hey, McGrath (Stephen, Bahamas’ publicist) just texted me that Barchords has gone gold. Congrats. I like the slow burn. I kinda feel like that works as a metaphor for how your career has gone, too: not forcing yourself on anyone, just toiling away relentlessly and being too good to ignore and letting it happen slowly and naturally. Agree? Disagree?
That was pretty cool. I’ve always played the long game — just keep my head down, keep working, try to say “yes” more than “no.” Not to take anything away from the gold record, but it’s not what it used to be.
It’s not like I’m buying a Tesla and moving to Rosedale. That being said, if all goes well with this new album I’m buying a Prius and moving to High Park. A man’s gotta dream . . .
Finally, how sick are you of seeing the words “easygoing” and “laid back” applied to your music? I’ve probably used them myself in the past, but now I get irritated on your behalf whenever I see them.
I agree. If I read an article about a musician who was described as “easygoing” and “laid back” I’d immediately think “boring” and “lazy.” I’m not naming names, but there’s already plenty of guys out there who are happy to fill that spot. I hope I’m not one of them.
How about “mildly successful” and “happy”? That’s a better description for where I’m at these days.
If there’s anything else you’d like to talk about, do let me know. I’m all ears.
Just make sure you make me look cool. My mom has been a Star subscriber for 35 years. Don’t make her walk down the driveway for nothing. It’s a long driveway.