{"product_id":"bill-orcutt-jump-on-it-lp","title":"Bill Orcutt - Jump On It LP","description":"\u003cp\u003e\u003cspan\u003eLP version. \"It's been ten years since \u003c\/span\u003e\u003cb\u003eBill Orcutt\u003c\/b\u003e\u003cspan\u003e released \u003c\/span\u003e\u003ci\u003eA History of Every One\u003c\/i\u003e\u003cspan\u003e (EMEGO 173CD, 2013), a compendium of hacksaw renditions of American standards on acoustic guitar -- and since ten years is a blink of an eye, you are forgiven for not immediately realizing that we've gone an entire decade waiting for \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e, the next Orcutt solo acoustic record. As those of us of 'a certain age' will tell you (ad nauseam), a decade is a blink of an eye containing an infinity of experiential moments, and if this record is any gauge, the weight of those experiences have squashed Orcutt's rough edges, feathered his stop-motion timing into a languid lyrical flow, and snapped the shackles tethering his instant compositional skills to the imperative to deconstruct guitar history. In short, \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e is a collection of canonical, mature acoustic guitar soli to contrast against the fractured downtown conceits of previous acoustic releases. For those paying attention to the arc of Orcutt's electric records, which chart a course from \u003c\/span\u003e\u003cb\u003eQuine\u003c\/b\u003e\u003cspan\u003e's choppiness to \u003c\/span\u003e\u003cb\u003eThompson\u003c\/b\u003e\u003cspan\u003eian\/\u003c\/span\u003e\u003cb\u003eVerlaine\u003c\/b\u003e\u003cspan\u003e-ian flow, it should be no surprise that the ten-year gap between acoustic records should expose a similar underlying journey. But what's maybe more surprising is that \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e, with its living-room aesthetics and big reverb, packs a disarming intimacy absent from the formal starkness of Orcutt's earlier acoustic outings. Although you might sense the looming human in the audible breath whispering intermittently between chords (a physical flourish reminiscent of the late Jack Rose), such documentarian signposts are the exception rather than the rule. Not quite refuting (yet not quite embracing) the polish of revered watershed records by \u003c\/span\u003e\u003cb\u003eBert Jansch\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eJohn Renbourn\u003c\/b\u003e\u003cspan\u003e, or \u003c\/span\u003e\u003cb\u003eBola Sete\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e treads a path between the raw and the refined, exemplified in tracks such as 'The Life of Jesus' and 'In a Column of Air' that alternate swaying chords with Orcutt's trademark angular quicksilver runs (cut brickwall short). While you won't mistake \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e for incidental music, at least not if taken at full strength, stray passages radiate a conversational beauty that would please the most dissonance-adverse listener. Strangely, some of the melted lockstep grooves found in \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e evoke nothing other than \u003c\/span\u003e\u003ci\u003eMusic for Four Guitars\u003c\/i\u003e\u003cspan\u003e (PAL 068CD\/LP). While many of the linear runs are clearly improvised, and the phrasing distinctly slurred, intuitive and non-mechanical, the strummed chords hint at a cellular construction similar to \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e's electric predecessor. (Orcutt states that he prefers to keep his strategies obscure -- but that implies there is in fact a strategy). Whatever the case, I also hear \u003c\/span\u003e\u003cb\u003eSatie\u003c\/b\u003e\u003cspan\u003e in \u003c\/span\u003e\u003ci\u003eMusic for Four Guitars\u003c\/i\u003e\u003cspan\u003e, and I hear him here too, hidden within \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e's lilting repetition, which I easily imagine stretching to an infinitely-distant horizon. Like each of Satie's three \u003c\/span\u003e\u003ci\u003eGymnopedies\u003c\/i\u003e\u003cspan\u003e, each facet of \u003c\/span\u003e\u003ci\u003eJump On It\u003c\/i\u003e\u003cspan\u003e is a tiny miniature bound in a slim volume, an earworm you might savor again and again upon awakening or before drifting off. Each track is a key to a memory, a building block in a shining anamnesis leading to the recollection that hey, we're all humans in a shared cosmos, and music is one way we might make that universe go down easy. And who wouldn't jump on that?\" --\u003c\/span\u003e\u003cb\u003eTom Carter\u003c\/b\u003e\u003cspan\u003e Recorded Spring\/Summer 2022 at the Living Room, San Francisco. Mixed and mastered by \u003c\/span\u003e\u003cb\u003eChuck Johnson\u003c\/b\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4088718165\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=146509534\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003c\/iframe\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Palilalia Records","offers":[{"title":"Default Title","offer_id":68090621657176,"sku":"owl1793808317552","price":15.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0728\/7734\/2808\/files\/bill-orcutt---jump-on-it-lp_1.jpg?v=1793808324","url":"https:\/\/foglampkit.shop\/products\/bill-orcutt-jump-on-it-lp","provider":"My Store","version":"1.0","type":"link"}