{"id":3309,"date":"2021-10-04T20:56:40","date_gmt":"2021-10-05T01:56:40","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=3309"},"modified":"2021-11-02T08:32:31","modified_gmt":"2021-11-02T13:32:31","slug":"talk-memory-leland-whitty","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/talk-memory-leland-whitty\/","title":{"rendered":"Talk Memory: A Conversation with BADBADNOTGOOD\u2019s Leland Whitty"},"content":{"rendered":"\n

Over the past decade, Canadian ensemble BADBADNOTGOOD has established itself as a powerful force in creative music. The group initially emerged from the shared love of hip hop by three students – Matthew Tavares, Alexander Sowinski, and Chester Hansen – at Humber College’s jazz program. Jump forward a few years and the addition of saxophonist Leland Whitty, and the group has performed at such impressive venues as the Newport Jazz Festival, Coachella, and the Austin City Limits Music Festival. Much of the band’s success comes from its refusal to abide by strict definitions of genre or limitations on sound. Their influences range widely, encompassing Miles Davis, Albert Ayler, Sun Ra, J Dilla, Wu-Tang Clan, Kurt Cobain, and Arthur Verocai. These diverse sonic interests translate directly into their music with albums under the band’s name often blurring traditional conceptual lines. It’s also led to BADBADNOTGOOD producing albums with some of the best in hip hop including Kendrick Lamar, Snoop Dogg, Kaytranda, Ghostface Killah, and MF Doom. With Talk Memory<\/em> (XL Recordings, 2021), the band releases the first album under its own name in five years. <\/p>\n\n\n\n

The recording is both a return to the past and the carving of a new way forward. While the broad interests in music remain apparent, the ensemble itself has changed with it being the first time out without founding member Tavares. It also boasts a significant list of collaborators. We sat down with BBNG’s saxophonist, Leland Whitty, to discuss the new album, the band’s upcoming tour, his duet recordings with Tavares, and the group’s production work. <\/p>\n\n\n\n

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PostGenre: The Talk Memory <\/em>tour will be the first time you have toured since the pandemic, correct?<\/strong> <\/p>\n\n\n\n

Leland Whitty: Yup. <\/p><\/blockquote>\n\n\n\n

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PG: Do you think performing live will be different in light of everything over the past year or so?<\/strong> <\/p>\n\n\n\n

LW: I mean, for sure. I am kind of optimistic that any difference will be for the better. In Toronto, where we are based, there haven\u2019t been that many shows since the pandemic hit. However, all the shows that have happened seem to have audiences that are extra excited and passionate about the experience. I am looking forward to that element as we tour  <\/p>

This tour also allows us to elevate some visual elements of the show. We are finally at the point where we can tour with a front-of-house guy full time. I think those things are just super important and we\u2019ve kind of neglected them in the past because of financial reasons. But I think having those things will help us feel more comfortable and be more confident in what we are trying to do. Of course, it is also exciting to have new music to play.  <\/p><\/blockquote>\n\n\n\n

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PG: Speaking of the new music, Talk Memory<\/em> has several tracks with Arthur Verocai. How did that collaboration come about?<\/strong> <\/p>\n\n\n\n

LW: One of the last tours that we did in 2019 started in South America. On that tour, we played a show in Sao Paolo where we opened for him. For his set, Verocai brought his orchestra and we played the last four songs with him. His music is extremely important to each of us in the band and playing with him is one of the most important performance experiences that we\u2019ve had. It also established a relationship with him.  <\/p>

We finished recording Talk Memory <\/em>just before things getting kind of serious with COVID in North America. At the time we knew we wanted to add some string arrangements to the album. And conversations about those arrangements led to us wanting to see if he would be receptive to the music and get involved. It was interesting to work with him because he\u2019s done so much. He\u2019s such a prolific arranger but, except for his own music, the majority of his work has been vocal-based. He was excited to work with us because it allowed him to take on some creative liberties.   <\/p><\/blockquote>\n\n\n

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