Acclaimed guitarist Todd Mosby joins me for the latest episode of Harmonious World. We all need perspective right now, and there's a lot of that in Todd's latest album - Aerial Views . Todd's comment about creating music that musicians will love to perform on is very apt and I finish with Aether, one of my favourite tracks of 2021. Harmonious World Podcast gives many thanks to Todd for allowing me to feature clips from Aerial Views alongside our conversation.
Over the last half decade, Shabaka Hutchings has established himself as a central figure in the London jazz scene, which is enjoying its greatest creative renaissance since the breakthroughs of Joe Harriott and Evan Parker in the 1960s. Hutchings has a restlessly creative and refreshingly open-minded spirit, playing in a variety of groups-most notably, Sons of Kemet, The Comet Is Coming, and Shabaka & the Ancestors-and embracing influences from the sounds of London's diverse club culture, including house, grime, jungle, and dub. "The common theme in my career as a jazz musician has been wondering if what I'm doing is the thing that I should be doing," says Hutchings, who studied classical clarinet at college at London's prestigious Guildhall School of Music & Drama. "Me learning about jazz, how to play and interpret, was always a case of just trial and error. I think where I've come to recently is I've stopped trying to think ‘Is what I'm doing valid? or ‘Is what I'm doing part of the jazz tradition?' and just see myself as a musician."
Hutchings is featured on the cover of the May issue of Downbeat. SEE COVER IMAGE
Skope's Sasha Lauryn writes....."A world in which people seek the uncertainties, and possibilities, of art" is the vision of one of the most innovative ensembles to be gracing the popular music landscape right now. With the recent release of their latest album, it's undeniable that Art Of Time Ensemble is bringing that vision to life. Led by the artistic direction and vision of Andrew Burashko together with arrangements by Jonathan Goldsmith who reinterpreted a wide array of songs that qualify as standards. Goldsmith stays faithful to the original melodies and form and then pushes the boundaries as far as possible in every conceivable way. After immersing myself in the deeply sensory sonic landscapes, mesmerizing motifs and hypnotic storytelling that their recent album ‘Ain't Got Long' boasts, I can say with certainty they do just that. The Canada based collective have been breaking archaic genre boundaries since 1998, as their eclectic mix of musicians has attracted captivated crowds on multiple tours. Honestly, I'm just waiting for them to announce their next road trip. This album features the phenomenal pipes of Madeleine Peyroux, Gregory Hoskins, Jessica Mitchell and Sarah Slean. Perhaps it's Andrew's perfect pairings of soundscape with singer or the astounding arrangements of the songs themselves that sets this album apart from anything I've experienced.
Whatever it is, I can't get enough.
READ THE FULL Skope Magazine REVIEW
WRTI's SUSAN LEWIS writes......The Catalyst Quartet uncovers music and the stories of the people who wrote it in its new recording series UNCOVERED. The first volume focuses on music by late 19th-century English composer, Samuel Coleridge-Taylor.
The Catalyst Quartet, founded in 2010 by the Sphinx Organization, aims to "reimagine" the classical music experience. "Sometimes classical music is presented like a museum piece," says violist Paul Laraia. "We want to make sure everything we do has relevance to today," and so the ensemble's programs reach out to a diverse audience, with diverse repertoire.
This new project, Uncovered, featuring music of composers who have been overlooked because of race or gender, begins with an album of music by Samuel Coleridge-Taylor, a Black English composer born in the late 19th century, the child of an English mother and an African father from Sierra Leone.
Ironically, Coleridge-Taylor, who was born in 1875 and died suddenly at the age of 37, was acclaimed during his short lifetime. Raised in England, he started violin at 5, joined the Royal College of Music at 15, and at 23, had a triumphant premiere of his cantata, Hiawatha's Wedding Feast, set to the poetry of Henry Wadsworth Longfellow. He toured the U.S., where he visited The White House at the invitation of President Teddy Roosevelt. He was so successful, the story goes, that New York musicians in the early 1900s began referring to him as "The Black Mahler;" others are said to have called him "The Black Dvorak."
And while Hiawatha's Wedding Feast remains familiar to many choral ensembles and you may recognize his melodies such as Deep River, much of his over 80 compositions, including operas, ballet music, songs, a symphony, violin concerto and chamber music are unknown today.
Volume 1: Samuel Coleridge-Taylor includes one quartet, and two quintets, one featuring pianist Stewart Goodyear, and one with clarinetist Anthony McGill.
LISTEN & WATCH THE 90.1WRTI: Philadelphia INTERVIEW
'SOMETHING came from Baltimore's' Thom Gouker......Yeah! This was a big thrill for me. I was nervous interviewing one of my favorite artists of all time, Joe Lovano, so I decided to ask him 20 goofy questions to see how he handled them. He easily accepted the challenge and spun junk questions into gold. It's very impressive and that it why I suggest that you check out the Youtube interview, we chatted for 1 1/2 and must of it make it to tape.
"Garden of Expression" is the sent album with the trio Lovano/Crispell/Castaldi, the first was the 2018 release "Seeds of Change"
Do we have to explain who Joe Lovano is????? This is copied from Wiki. Joseph Salvatore Lovano (born December 29, 1952) is an American jazz saxophonist, alto clarinetist, flautist, and drummer. He has earned a Grammy Award and several mentions on Down Beat magazine's critics' and readers' polls. He is married to jazz singer Judi Silvano with whom he records and performs. Lovano was a longtime member of a trio led by drummer Paul Motian.
LIMELIGHT Magazine's Clive Paget writes......Superlative soloists and compelling chamber music from a quartet on a mission.
One of the revolutions set in progress by last year's Black Lives Matter protests has been the refocusing of the classical music industry's attention of composers of colour, many of them historical figures formerly the preserve of the curious collector and rarely programmed live.
New York-based Catalyst Quartet was founded in 2010 by the Sphinx Organization, an outstanding Detroit-based social justice organisation dedicated to transforming lives through the power of diversity in the arts. The ensemble (Karla Donehew Perez, violin; Abi Fayette, violin; Paul Laraia, viola; and Karlos Rodriguez, cello) build programs and projects accordingly and this excellent release of music by Samuel Coleridge-Taylor is the first in a projected series of "Uncovered" CDs focussing on composers overlooked because of race and/or gender (others releases will include music by Joseph Boulogne Chevalier de Saint-Georges, William Grant Still, Florence B. Price, Coleridge-Taylor Perkinson, and George Walker).
CLICK HERE FOR THE LIMELIGHT PAGE
Spellbinding Music's GUILLAUME writes....Born in Chicago and based in Palo Alto, California, William Susman is an American composer and pianist whose work encompasses orchestral, chamber, vocal and soundtrack music informed by western classical, jazz, African and Latin American traditions as well as contemporary minimalism. Constantly toying with instrumental permutations – from solo performance to his scaled-down big-band formation Octet – the music of William Susman is a continuous exploration of harmonic and rhythmic patterns. Released in October 2019 and January 2021 respectively on his own Belarca label, Collision Point and A Quiet Madness introduce works spanning over 25 years.
This is "music for moving pictures" – to paraphrase the title of his documentary soundtrack released in 2009 – an astute and contemporary sonic expression of the "quiet madness" playing out on 24-hour news TV channels or as an infinite scroll on our smartphone screens.
READ THE FULL Spellbinding Music REVIEW
Icelandic pianist and post-classical composer Eydís Evensen has confirmed details of her debut album, BYLUR, which will be released on 23rd April, 2021 by XXIM Records, Sony's new imprint for innovative, post-genre instrumental music.
On 26 March 2021 the ambitiously multifaceted musician/composer Clark presents his chillingly affecting ninth studio album Playground In A Lake, on which he broadens horizons and tries new things, with profound results.
Three-time GRAMMY Award-nominated pianist Joey Alexander follows his major-label debut album, WARNA (Verve Records), with three new singles "SALT" (March 19: LINK), "Under the Sun" (April 23), and "Summer Rising" (May 28) set for global release on Verve.
Andrew Wan will rewire your conception of music with his OSM: Ginastera ? Bernstein ? Moussa recording / SHARPS & FLATIRONS
Posted: February 24, 2021 12:00 AM
| By: Admin
SHARPS & FLATIRONS - Peter Alexander writes.....One of the perks of job that I do is that people send me recordings.
They want me to review or write about them. Sometimes they come in the U.S. mail, actual CDs. Sometimes they come in the form of links to Mp3 files, although I prefer not to review those because the sound quality of CDs is better. Sometimes I write and ask for a CD instead, and sometimes they send me one.
These recent CDs that showed up in my mailbox all provide opportunities to hear music outside of standard concert fare. This is all the more welcome as the past year has shown even more clearly than usual how much of the music on offer is the same from concert to concert, place to place, year to year. These discs contain music that is definitely not standard concert fare, and they are recommended to help widen your horizons.
Two of the three works on the CD are called concertos, but neither quite conforms to the standard mold. And the third piece may sound like a concerto, but it is actually a hybrid of the concerto and the descriptive tone poem.
First on the CD is the Violin Concerto of Argentine composer Alberto Ginastera (1916-1983). A late work in the composer's output, the concerto does not have the colorful folkloric elements of his earlier music. Instead, it is a more thorny work based on 12-tone serial techniques.
Nor does it present a familiar concerto structure. Its barely discernible three movements unfold in five sections. The first movement starts with a wandering, introspective cadenza for solo violin. The second half of the movement comprises six studies, each a variation on the work's tone row, each exploiting a different violin technique and a different orchestral sound quality.
The slow movement is a lyrical interlude that comes closest to a normal concerto movement. The finale is again in two parts: a pianissimo scherzo that leaps from one virtuosic flourish to another, interrupted by fleeting fragments, including hints of Paganini; and a fiery, whiplash Perpetuum mobile.
Wan plays with extreme delicacy when needed, but no shortage of flair. You won't come away humming the themes of Ginastera's score, but you might have a broader view of what a concerto can be.
The disc's other concerto, by young Canadian composer Samy Moussa (b. 1984), stretches the frame in different ways. Three movements-an ethereal prelude, another written-out cadenza, and an ominous, driven movement that surges to a powerful close bound to elicit applause-are played without pause. Than, after the apparent ending, the beginning returns, a sweetly ascending line that takes the soloist into the heights of the violin's range.
This is music that seduces the listener from the outset. Through the first two movements, there is a hint of menace beneath the soaring violin part. That menace is realized with a sudden outburst of ominous chords after the cadenza. These movements create a dramatic arc culminating with the final chords of the third movement, while the unexpected return to the opening idea provides relief and a surprise. I look forward to hearing more of the inventive composer's music.
Between the two concertos is Leonard Bernstein's Serenade, after Plato's "Symposium." This work is hardly unknown-it was played at the Colorado Music Festival's opening concert in 2018-but it has not quite entered the standard solo repertoire.
Plato's Symposium presents a series of seven discourses on love, placed in the context of an evening of eating, drinking and carousing. Bernstein portrays Plato's discourses in music, making the score half concerto, half program music. The seven parts are compressed into five movements, each in a separate and distinct style reflecting the content the speeches.
You need not read Plato to enjoy the Serenade. The score in unified by Bernstein's genial, accessible style. The violin is shown to good advantage, particularly its lyrical qualities. Most memorable is the last movement, in which a sober, serious speech by Socrates is suddenly interrupted by the arrival of the drunken Alcibiades. As the party descends into raucous chaos, Bernstein's jazzy side emerges, for a flashy and virtuosic ending.
Wan performs with aplomb in these three very different works. He charges fearlessly through Ginastera's atonal fireworks, and soars sweetly through the first two movements of Sousa. Nagano and the Montréal players provide expressive support. This is a fascinating disc, a musical adventure to be relished.
Andrew Wan, concertmaster of the OSM, and the Orchestre symphonique de Montréal, under the direction of Kent Nagano, present the album Ginastera – Bernstein – Moussa : Works for Violin and Orchestra.
Recorded in concert at the Maison symphonique de Montréal in 2019, the album brings together important works, namely the Violin Concerto, Op. 30 by Alberto Ginastera, a score that requires no less than seven percussionists handling some fifty instruments, the imposing Serenade for Solo Violin, Strings, Harp and Percussion by Leonard Bernstein (after Plato's Symposium), and the Violin Concerto "Adrano" by Samy Moussa, a world premiere recording and an OSM commission.
Andrew Wan's impeccable playing is impressive and confirms his place among the greatest violinists playing in Canada today. Energetic, articulate and in perfect harmony with the soloist, the OSM and Maestro Nagano elevate these works with their transcendent performance. The result is nothing short of masterful.
The autumn of 2015 at Analekta and at the Orchestre symphonique de Montréal is colored by the works of Camille Saint-Saëns. With his important contributions to the soloist-with-orchestra repertoire, the composer occupies a special place in the history of French music. OSM is featuring: The Complete Violin Concertos of Saint-Saëns. The Orchestre symphonique de Montréal, conducted by Maestro Kent Nagano, and OSM concertmaster Andrew Wan. Wan is equally at home as a soloist, chamber musician and orchestra concertmaster. He was appointed concertmaster of the Orchestre symphonique de Montréal in 2008, making him one of the youngest musicians to occupy that position with an important symphony orchestra. His relationship with the OSM began when he appeared as soloist in the Elgar Violin Concerto, a performance recognized by La Presse as one of the musical highlights of 2007.
68 NEW 79 Total
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