Music and Recording Features

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Jason Victor Serinus  |  Apr 05, 2019  |  10 comments
Philip Glass (b. 1937) may not quite be a household name in America, but he's surely as well-known as any living classical composer, and the repetitive minimalism that is the hallmark of his music has influenced everything from rock music to TV commercials. Still, after 5 decades of composing, it took a commission from Chicago-based Third Coast Percussion for Glass to write his first concerto for percussion ensemble, Perpetulum—"What took them so long to ask me?" Glass has said about the commission. TCP has just released the premiere recording of the 21:23 minute concerto on their new 2-CD set, Perpetulum (OM 0132), from Glass's own label, Orange Mountain Music. The recording, which was engineered in 24/96, is also available as a download with those specifications.
Ken Micallef  |  Apr 04, 2019  |  6 comments
"I have an organic approach toward music but I've always been interested in electronics," says Jean-Michel Jarre, whose luxurious electronic pop conquered the world in 1976 with his hit album Oxygène. Even today, Oxygène's bubbling tones and saturated textures provide a blissful sonic experience. "I love jazz because of its organic approach to sound, and I've been influenced by that. I always thought that jazz and electronic music have much more in common than we think."
John Atkinson  |  Mar 26, 2019  |  3 comments
"Got a match?" ("Uh-uh")

"It's a fabulous party! . . . Look at all the fabulous people."

"You wanna dance?" ("Yes I'd love to . . .")

"Let's party a little bit." ("All right . . .")

Ken Micallef  |  Feb 14, 2019  |  2 comments
Only a few months after the extraordinary news and release of John Coltrane's Both Directions at Once: The Lost Album on Impulse! Records, which revealed the tenor and soprano saxophonist deep in transitional mode, comes Universal Music/Verve's attempt to cash in on the Trane fever. Joining music from The Lost Album with selections from other albums recorded by Coltrane in that year, 1963: New Directions brings Coltrane's legacy to our commercially crass, modern marketplace.
Jason Victor Serinus  |  Jan 08, 2019  |  11 comments
Dmitri Shostakovich (1906–1975) was hardly the first composer to run headfirst into opposition from political authorities. In his case, however, the pushback was so extreme that it affected everything he wrote thereafter.

In early 1936, after the style and subject matter of his opera Lady Macbeth of Mtsensk clashed with the so-called proletarian aesthetic of Russian dictator Joseph Stalin (1878–1953), Shostakovich was denounced by the official state newspaper, Pravda. From then on, his symphonies reflected either his defiance of decades of Socialist realism, or attempts to appease the authorities while still speaking his truth.

Sasha Matson  |  Dec 27, 2018  |  3 comments
Autumn in New York—watching Central Park change colors. Also time to catch the Bill Charlap Trio during their annual residency at the Village Vanguard: Charlap at the piano, Peter Washington on bass, and Kenny Washington at the drums in the Church of Jazz, the room the Bill Evans Trio called home in the 1960s and '70s. Exploring the great traditions of jazz and American song has become a Charlap trademark.
Fred Kaplan  |  Dec 17, 2018  |  4 comments
Sorry I've been away from this space for so long. My day gig (national-security columnist for Slate) has kept me busy (as you can imagine), and I've got a tight deadline on a new book. Still, as Congreve observed, "Musick has Charms to sooth a savage Breast," and there's plenty of breast-beating savagery out there, so I've continued to listen, and here is my dispatch on the Best Jazz Albums (10 new and two historical discoveries) of 2018.
Ken Micallef  |  Dec 11, 2018  |  3 comments
Wayne Shorter is 85. His mind moves at warp speed, a million miles from Art Blakey's Jazz Messengers, who rescued him from Newark, New Jersey—or the Miles Davis's second great quintet, for which the saxophonist wrote the compositions that would establish his genius. Shorter's constellation of classic Blue Note recordings from 1964–67—Night Dreamer, JuJu, The All Seeing Eye, ETC, The Soothsayer, Adam's Apple, Speak No Evil, Schizophrenia—is now but a dim cluster of stars in his ever-expanding musical galaxy.
Art Dudley  |  Nov 29, 2018  |  12 comments
The stars lined up.

According to biographer Charles Reid, the British conductor Sir John Barbirolli "burned with Elgarian zeal," attributable in part to Barbirolli's participation, as a young cellist in the London Symphony Orchestra of 1919, in the premiere performance of Edward Elgar's Cello Concerto. That performance, conducted by the composer and with Felix Salmond as soloist, was a disaster—Elgar's rehearsal time had been cut short by a lack of cooperation from another conductor on the bill, a slight the composer never forgave—yet from then on, the 19-year-old Barbirolli regarded Elgar's music with reverence.

Ken Micallef  |  Nov 06, 2018  |  2 comments
Photo: Nicholas Suttle

Electric guitarist John Scofield, winner of multiple Grammy Awards, has a knack for staying a step ahead of musical trends. In hundreds of jazz settings, "Sco" and his signature Ibanez AS200 guitar and Fender Reverb amplifier have created a unique style and sound that have earned him a popularity beyond jazz's usual audience.

Ken Micallef  |  Oct 04, 2018  |  5 comments
Even as hypergentrification runs rampant, enriching financial opportunities for some and crushing small-business dreams for others, New York City remains ground zero for jazz and for the small clubs it thrives in. The New York Times may not cover jazz unless someone of the stature of Wynton Marsalis is on the bill, but the music moves ahead undeterred, taking up residence at such iconic venues as the Blue Note, Cornelia Street Café, Fat Cat, 55 Bar, Jazz Gallery, Mezzrow, Smalls, Smoke, the Village Vanguard, and Zinc Bar.
Jim Austin  |  Sep 18, 2018  |  70 comments
I attend at least a couple of dozen classical-music performances each year. I also read reviews of recordings and live performances, and have even dabbled in writing them. Why, then, do I find classical music reviews so frequently annoying?

It's the vocabulary. In these reviews I often see words that I rarely see used elsewhere: scintillating, irresistible, delightful. One venerable reviewer for Gramophone magazine has used the word "beguiling" 100 times in some 900 reviews. When I read such words, I envision the poor music critic writhing in his (occasionally her) listening chair, approaching an involuntary state of aesthetic ecstasy. It isn't a pretty image.

Sasha Matson  |  Sep 04, 2018  |  2 comments
There are the Grammys, and then there's the supermarket. Both are marks of achievement and permanence in popular recorded music. Having just begun writing this piece, I walked into the Price Chopper Supermarket in Cooperstown, New York, and what do I hear? Rita Coolidge, and the refrain from her 1977 recording of "(Your Love Has Lifted Me) Higher and Higher." Now that's a hook—a high mark on the tree of pop.
John Atkinson  |  Aug 21, 2018  |  19 comments
The dingy green-and-ochre poster on the subway-station wall, advertising events at Queens's Forest Hills Stadium, didn't draw attention to itself. But what else is there to do on a subway platform but look at posters? I looked at it. There, near the bottom of the left column, I read: "SEPT 12: VAN MORRISON AND WILLIE NELSON & FAMILY."

Van Morrison. In concert. In Queens.

Jason Victor Serinus  |  Jul 31, 2018  |  2 comments
We who love recordings of massed voices have learned the hard way that some succeed in blending vocal clarity with acoustic resonance, while others deliver echo-muddied jumbles. Happily, some very fine choral recordings have come my way in the last six months. Along with John Atkinson's acoustically stunning engineering of recordings by the vocally gifted Portland State Chamber Choir and the all-male ensemble Cantus, these aural documents do composers proud.

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