It’s likely that you’ve never heard William Eggleston‘s music, but you’ve almost certainly seen his photographs. As one of the foremost color photographers of the 20th century, his work helped legitimize the art form — and his connections to music go way beyond just his own experimentation on the piano.
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Such experimentation is on full display on “Improvisation,” a new song released late last week ahead of Eggleston’s upcoming album 512. What’s notable about it is that Brian Eno plays bells on the track, just one of the many collaborations that make 512 so intriguing.
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Eggleston’s 512 also features appearances from a number of musicians invited by its producer, Tom Lunt, who also helmed Eggleston’s debut album, Musik, in 2017. 512 boasts contributions from Sam Amidon on fiddle and banjo; Leo Abrahams on organ, synthesizer, and electric guitar; Matana Roberts on saxophone; Mikele Montolli on bass; and Seb Rochford on drums.
Much of 512‘s tracks are new takes on American standards. Eggleston gives his own updates of “Ol’ Man River,” “Over the Rainbow,” and “Onward Christian Soldiers.” “I’ve never heard anything like it,” Eggleston said, per a statement released with the album announcement. “It’s very modern.”
Part of what makes music from Eggleston so exciting is that he’s already made so many lasting contributions to American popular music iconography over the last 50 years. Born in Memphis, his photographic work often captures colorful scenes of the seemingly mundane, rendered in an understated splendor. His famous quote was that he was “at war with the obvious.”
And yet, in any good record shop, thumb through the stacks and you’ll find glossy reproductions of Eggleston’s work stamped on vinyl record covers dating back to 1974. Fellow Memphis cohort Big Star used his striking image Red Ceiling for their second album Radio City. Jimmy Eat World brought another photo to the fore on their 2001 album Bleed American. The list goes on.
For 512, Eggleston finds himself back at the piano, which he’s been playing since age 4. In a 2017 interview with The Guardian, the artist spoke about his way of creating music like it’s simply something that happens in a mist.
“When I play, I’m really playing for myself. If friends are around when that happens, they often say: ‘Oh, Bill, it’s so beautiful. I’d love to hear that again,’” he said then. “And I say: ‘Well, I didn’t write it down.’ It’s here and it’s gone – like a dream.”
Photo by Rob Ball/Redferns via Getty Images
