DVD commentaries come and go, but among the best I’ve heard is for ‘Sideways’, Alexander Payne’s classic 2004 movie starring Paul Giamatti and Thomas Haden Church.
One scene, set at at the fictitious Frass Canyon winery, opens on the shot of a pale, very sincere acoustic guitarist playing a ‘tender’ ballad. On the commentary, Haden Church mutters: ‘Very Windham Hill-ish’, eliciting a chuckle from Giamatti.
You get the feeling that the term ‘Windham Hill’ is a code for something not entirely positive…
For a brief period in my teens, a cassette copy of An Invitation To Windham Hill was always near the family hi-fi.
It has since become one of those weird, unclassifiable albums that I can’t shake. Why is that? What is this kind of music really about once you subtract the nostalgia?
The Windham Hill label was founded in 1976 by Californian guitarist William Ackerman, who initially used the imprint to sell his own music out of a Palo Alto garage. Just down the road, Steve Jobs was establishing his Apple empire, and guess what: he was a big fan of Windham Hill, as Ackerman later recounted in an interview:
‘Steve fell in love with the aesthetic. All the Apple computers (played) Windham Hill music when you turned them on. It was such an exciting time. Anything seemed possible. People were making dreams come true, and I did feel part of that.’
Early on, the label emphasised solo acoustic instruments, eliciting a ‘back to nature’ vibe. Later, electronic music, contemporary bluegrass, smooth Latin/jazz and Celtic sounds were eased into the mix.
The stark, ‘natural’ style of their album covers was apparently influenced by ECM, as was some of the musical ethos; Keith Jarrett’s Koln Concert and the acoustic guitar work of Ralph Towner, John Abercrombie and Pat Metheny were certainly important to Windham Hill.
Also, in the same way that Jarrett’s album proved a huge sales breakthrough for ECM, a similar thing happened to Windham Hill – George Winston’s Autumn unexpectedly sold over a million copies and changed the label from a modest, regional imprint to nationally-known entity (and Autumn was the first of his seasonal-themed recordings!).
The whole Windham Hill package, both musically and visually, is very ‘white’, very ‘corporate’, very ‘Thirtysomething’. It contributed massively to the mid-’80s popularity of New Age music (and the eventual backlash against it). It also has a lot in common with the Minimalist movement (including geography).
But Ian MacDonald has written persuasively about the infantilising effects of this stuff in his brilliant ‘The People’s Music’:
‘Something happens to people who listen to too much minimalism. They begin to smile facetiously, display a genially indiscriminate omni-tolerance and put their feet on your furniture. Some start wearing dungarees and playing with frisbees’!
There is definitely that element to An Invitation To Windham Hill, but it does also highlight the work of two genuinely excellent artists: Mark Isham and Michael Hedges. Isham has been a first-call soundtrack composer for 30 years now but his 1983 debut album Vapour Drawings is an ambient/electronic classic (more on that to come).
Hedges, who died in 1997, blew guitarists’ minds with the release of his debut album Aerial Boundaries. The title track manages to be both an amazing technical feat (it’s a solo piece for drastically detuned guitar sometimes featuring up to four intertwining melodies, achieved with a mixture of picking, tapping and hammer-ons) and also a substantial composition in its own right.
The other solo guitar tracks by Alex De Grassi and Ackerman are weirdly memorable, as are the solo piano pieces. In fact, the whole album is, and it might make a nice soundtrack to your wine-tasting evening or campfire gathering. Or it might not…
A1 George Winston ‘Thanksgiving’ (3:07),
A2 Alex De Grassi ‘Western’ (4:04),
A3 Mark Isham ‘Love Theme’ (From ‘Mrs. Soffel’) (4:11),
A4 William Ackerman ‘Visiting’ (6:07),
A5 Mark Isham ‘In The Blue Distance’ (4:07),
B1 Shadowfax ‘Angel’s Flight’ (4:00),
B2 Scott Cossu ‘Ohana’ (5:03),
B3 Michael Hedges ‘Aerial Boundaries’ (4:39),
B4 William Ackerman ‘The Bricklayer’s Beautiful Daughter’ (3:50)
B5 George Winston ‘Longing/Love’ (5:11)
2 thoughts on “Sideways & Steve Jobs: An Invitation To Windham Hill 30 Years On”
Ian MacDonald is a fine and insightful writer, but man, his take on minimalism shits me. What’s wrong with frisbee, I’d like to know? Or Terry Riley either?
Anyway, bile aside, nice to see Windham Hell get some warmth. It is still hugely unfashionable for reasons I don’t understand fully. Sure it is a bit like music that’s spent too long under a hot shower (too clean and relaxed for its own good) but there is lots of melody and uniformly great playing.
Thanks also for the bit of history – I’d no idea about the link with Jobs/Apple.
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Thanks Bruce. I think he was poking a bit of gentle fun there but there was also maybe a serious underlying point too. I’ve just read Dave Eggers’ ‘The Circle’, I can imagine some of those guys listening to Windham Hill… For some people, this kind of music sets off a ‘Never Trust A Hippy’ reaction!
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