An Eclectic Band of SFCM Alumni

Cover of the album being discussed (from the Bandcamp Web page)

Three weeks ago I first learned about Love Can’t Save You, Padmé. This was a combo consisting of alumni from the San Francisco Conservatory of Music dating back to a more adventurous time at that institution than seems to be currently the case. They call themselves an “eclectic band,” which pretty much gives the flexibility to explore whatever genres interest them. All of the members compose, arrange, perform, and improvise as a group, resulting in songs that are, for the most part, decidedly unique.

The members of the group include Jessie Nucho on different sizes of flutes, Justine Preston on both violin and viola, Tim Sherrin on guitar, Emma Logan on vibraphone and other percussion, and Erin O’Meally on vocals. There are also two “eclectic” performers, both of whom provide backing vocals and play multiple instruments. For Patrick Smith those instruments are guitar, bass, and piano. Michael Kropf also plays piano along with synthesizers and violin. The group’s latest album, Far Calls, was released at the beginning of this month and is available for streaming and download from a Bandcamp Web page. At least some of the tracks on this album include additional drum work by Christian Aimér.

Ten of the eleven tracks are original creations. “Les Tendres Plaintes” is a rondeau that begins a suite in D major that is included in the 1724 Pièces de Clavessin [sic] composed by Jean-Philippe Rameau. It was arranged for the Love Can’t Save You, Padmé ensemble by Sherrin. Personally, I think that Sherrin’s arrangement captures the plaintive qualities of this music better than any solo harpsichord. In another vein I have to say that I am old enough to appreciate the possibly cynical sharp edges encountered on the track titled “The Judy Garland Christmas Show.” Those that shy away from cynicism are more likely to be drawn to the two tracks entitled “Nocturne,” both of which make it clear that this genre has a “home” in the 21st century that is just as accommodating as in previous centuries.

On the other hand some of the tracks remind me of the distance between my age and the average age of the Love Can’t Save You, Padmé players. Nevertheless, just about any listening experience involves some degree of acquired taste. My guess is that I shall acquire enough familiarity to revisit this album from time to time.