The two musicians pursued other projects. (Older people may remember, fondly or not, how difficult it is to skip around on a cassette tape.) The tapes sold out, followed by a second pressing, then a third, and then a vinyl edition. A hip-hop-producer friend of his was enthusiastic, and McQueen posted the album on streaming services and issued a limited edition of three hundred cassette tapes, a format he likes because it encourages continuous listening. It’s not a pop-jazz record, but there’s other stuff going on.” He said that “BOA,” with its relaxed pace and leisurely playing, reminded him of “easy listening” music. “But it’s got this other quality to it that makes it more accessible. When McQueen first heard “Music for Saxofone & Bass Guitar,” he didn’t know it would become one of his label’s most popular releases, but he had a feeling it could draw in a wide range of listeners. performances was Matthew McQueen, the proprietor of a free-form local label called Leaving Records (its slogan is “All genre”), who encouraged the duo to put together an album. One of the few people to attend those L.A. Instead of building toward a climax, they use pedals to loop their favorite sounds, and to supply moving clouds of reverb, which accompany them on their journeys. Gendel and Wilkes’s version is softer and more unassuming than the original, because the duo’s music tends to be spacey, in both senses: emptied out, and slightly dazed. One track begins with the hum of conversation and someone saying, shruggingly, “We could do that.” The musicians are playing “Greetings to Idris,” by Pharoah Sanders, who loved to start with a warm melody and push outward, overblowing his saxophone to create an openhearted sort of chaos. What remains is a bit like the “beat tapes” that hip-hop producers sometimes make-a carefully compiled collection of excellent grooves. “Music for Saxofone & Bass Guitar” is in some ways the inverse of “Sex Machine”: it sounds like a breezy studio album but was actually recorded live, with all the applause edited out. There is a long and proud history of fake live albums, like James Brown’s volcanic “Sex Machine,” from 1970, which was partly recorded in a studio, with applause dubbed in later.
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The sound is echoey, sometimes chattery, reflecting the circumstances of the album’s production: the seven tracks are excerpts from a series of ad-hoc performances at two Los Angeles restaurants, one in Laurel Canyon and one on Sunset Boulevard, in Silver Lake. The album is called “Music for Saxofone & Bass Guitar,” and it has a cover that looks, accurately, like the result of a quick session on Microsoft Word. The track, “BOA,” was taken from an odd little album by Sam Gendel and Sam Wilkes, which has been steadily finding listeners since its release, in 2018.
Most viewers surely didn’t think too hard about this moment, but a few of them probably experienced a pleasant jolt of recognition.
And it was haunted by a hip-hop rhythm, in the form of a ghostly click that could have been a finger snapping somewhere far away.
Perhaps this was jazz, but it was quiet and elusive. An electric bass sketched out a couple of chords, and a breathy saxophone added a few restrained lines of melody-the horn sounded like a curious animal in an unfamiliar place, carefully exploring its surroundings. But the music in this interlude was harder to place. Most of the “Malcolm & Marie” soundtrack was a familiar combination of soulful older songs, by singers like Roberta Flack and James Brown, and soulful newer ones. The interlude lasts for nearly two uninterrupted minutes while Marie, played by Zendaya, sinks sorrowfully into a bathtub, and Malcolm, played by John David Washington, refills his glass of Scotch and prepares for their nightlong argument to resume. Halfway through “Malcolm & Marie,” a black-and-white Netflix drama that was shot during the pandemic, the dialogue pauses-the film consists of almost nothing but dialogue-so that viewers can listen to some music.
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