The 20 Best Paste Studio Sessions of 2017

Paste recorded more than 500 unique live performances this year, from newcomers to hall of famers. Here are our favorites.

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10. Béla Fleck & Abigail Washburn
Dec. 7
There’s virtuosity all over Echo in the Valley, the sophomore record by the first couple of the banjo, from the telepathic chemistry of the instrumentals to the historical prisms through which they tell their stories. Quite apart from Fleck, who has been nominated in more categories than any other instrumentalist in Grammy history, Washburn brings a sophistication and artistry that shines bright on its own. At Paste, the duo played us a sonic history course in three songs, complete with explainers on the difference between three-finger and clawhammer banjo, the relationship between Appalachian and Eastern music, and they even threw in a dance lesson via Washburn’s percussion on “Take Me to Harlan.” Prepare to be inspired. —Matthew Oshinsky

9. Ian Chang
Sept. 25
Son Lux Drummer Ian Chang is on the cutting edge of his instrument, blurring the boundaries between electronic music and analog performance. Using Sunhouse’s Sensory Percussion system, Chang can program a huge array of samples into his drum kit and play a veritable symphony of electronic shades and colors based on where and and how hard he’s hitting each drum. Technically speaking, this may be the coolest thing we saw (and heard) in the Studio all year. Watch Chang conduct a digital orchestra of rhythm on “Inhaler.” His EP, Spiritual Leader, came out Sept. 22. —Matthew Oshinsky

8. Phoebe Bridgers
July 31
At its core, Phoebe Bridgers’s debut LP, Stranger in the Alps, is a collection of sad folk songs, presented with nifty sonic accoutrements (mournful fiddle here, electro-noise there) and clever references (David Bowie, Jeffrey Dahmer) that give them added dimension. But its her plainspoken lyrics and airy, inescapable melodies that made Alps not just one the year’s best debuts, but also one of its best albums by anyone at any stage of their career. At 23 years old, Bridgers already has a masterpiece under her belt. Her spare arrangements of three songs from the album—”Smoke Signals,” “Motion Sickness,” and “Georgia”—left us breathless. —Ben Salmon

7. Taj Mahal & Keb’ Mo’
Aug. 14
The first collaborative album from this pair of blues icons, Tajmo, showcases everything that has made each of them a torchbearer for American music over the past few decades. Taj Mahal has been representing and redefining blues music since 1968, when he released his debut, an eclectic mix of traditional songs and modern revamps. Twenty-five years later, Keb’ Mo’ emerged with the blues resurgence of the early ‘90s, reaching back to Robert Johnson and the deepest roots of the music just as another generation was coming around to the origin story of American songwriting. Both men have spent many years and many albums infusing the blues with sounds and styles taken from the far corners of the music world, from reggae to folk to calypso to rock ‘n’ roll, each with an immediately recognizable voice and guitar-picking style. —Matthew Oshinsky

Read: Taj Mahal and Keb’ Mo’ Play a Century’s Worth of Blues

6. Mike Stern
Sept. 5
Following a terrible accident last July, where he tripped over some hidden construction in the street outside of his Manhattan home, breaking both his arms in the process, jazz-guitar hero Mike Stern underwent two surgeries to restore feeling to his nerve-damaged right hand. A year later, he still can’t hold a pick in that right hand, so he attaches his fingers to the plectrum with special wig glue in order to play. He began recording his 2017 album, Trip, six months after the accident, and the result it a triumph of human will over the cruelties of modern life. Playing with all the fire, finesse and soul he ever had when he played with Miles Davis and Earth, Wind and Fire, Stern jumped in and out of various jazz and rock lanes with forceful glee. This is a guy who can pretty much play guitar with both hands tied behind his back. —Bill Milkowski/Matthew Oshinsky

5. Steve Martin & The Steep Canyon Rangers
Sept. 29
Steve Martin  has been playing the banjo his entire life, which makes his most recent phase as a touring bluegrass musician all the more rewarding: In some ways, all the comedy, the writing, and the performing have led to this moment. In September, Martin and his sometime backing band, Steep Canyon Rangers, released their second record together, The Long-Awaited Album, an LP brimming with masterful bluegrass instrumentation and Martin’s unique lyrical sensibility. A week later, they visited Paste Studio in New York for an exclusive three-song performance, with Martin leading the crew on both three-finger and clawhammer banjo. He even threw in a little backstory from the Three Amigos set. —Matthew Oshinsky

Read: Steve Martin Talks About His New Album and How He Tells Stories in Song

4. The Marcus King Band
Feb. 27
This South Carolina-born guitarist and singer was raised on the blues, playing shows as a pre-teen sideman with his father, bluesman Marvin King. At age 21, he’s basically a veteran, leading his band through psych-inflected, horn-happy soundscapes of jazz and deep-fried vocals reminiscent of a young Gregg Allman. At Paste, King and the gang cooked the whole menu, running through a killer jazz instrumental (“Thespian Espionage”), a countrified acoustic shuffle (“Sorry ‘Bout Your Lover”) and an inflamed slow-blues (“Rita Is Gone”). King’s double-threat guitar skills and vocal depth augur a long career of insane performances like this one. —Matthew Oshinsky

3. Tank & the Bangas
Sept. 15
Though Tank & the Bangas hail from New Orleans, their hodgepodge of sounds—derived in large part by poetic superstar frontwoman Tarriona Ball (aka Tank) and Joshua Johnson, the group’s drummer and musical director—has more in common with the personality of the city than the styles associated with it. Mostly steeped in soul and jazz, the group also draws on influences from around the globe, which makes sense given the members’ eclectic origins and backgrounds. But the music has an authentic, almost improvised sound, which is a credit to their organic songwriting process. At Paste, Tank and Co. mesmerized us with four journeys via song, a veritable roller coaster of artistry and emotion. —Claire Greising

Read: Tank and the Bangas Gleefully Blur the Lines Between Music and Poetry

2. Christian Scott
May 22
One of a handful of young jazz artists on the scene today—along with Robert Glasper, Nicholas Payton, Kamasi Washington—who are espousing jazz as protest music, the 34-year-old firebrand trumpeter addressed sociopolitical concerns on 2007’s Anthem (which contained the post-Hurricane Katrina ode “Katrina’s Eyes”) and 2010’s Yesterday You Said Tomorrow. The trumpeter-bandleader’s 2017 release on Stretch/Ropeadope, Rebel Ruler, kicked off his Centennial Trilogy, an ambitious series of records meant to commemorate the centennial of the first jazz recordings in 1917 while tackling themes of social and political peril. For his first Paste session, Scott (aka Christian Scott aTunde Adjuah) was backed by a stellar crew of longtime collaborators—Zaccai Curtis on bass, his brother Luques on bass, and Marcus Gilmore on drums. —Bill Milkowski

Read: Christian Scott aTunde Adjuah: The Best of What’s Next

1. Violents + Monica Martin
April 26
Despite releasing their first record together in April, Awake and Pretty Much Sober, on Partisan Records, Jeremy Larson (aka Violents) and PHOX frontwoman Monica Martin had never performed in public until they arrived at Paste Studio on April 26. On top of that, the duo was backed by a string quartet that they’d just met that morning. It all proved how magical spontaneity (and a little rehearsal) can really be. Their performances of “Equal Powers,” “How It Left” and “Unraveling” were absolutely breathtaking, combining Martins’s soft, raspy alto with a classical-jazz accompaniment in a soulful envelope. Part of the lightning-in-a-bottle greatness of this session came in the fact that the project lived in 2017 for all of three total performances, making it a luminous flash of musical power that we were able to capture and let go like a butterfly in a forest. —Matthew Oshinsky

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