Pianist Keith Jarrett, one of the most important figures in jazz of the last 50 years, has been curiously invisible since his last performance in February 2017 at New York's Carnegie Hall. He has now revealed the reason for his silence in a New York Times interview with Nate Chinen: Jarrett suffered two strokes in 2018 that have likely permanently derailed his ability to perform in public.
Jarrett, 75, told Chinen that since being afflicted by the strokes in February and May of 2018, he is partially paralyzed on his left side. The second stroke resulted in a 10-month stay in a nursing facility. Jarrett has since relearned to walk with a cane but has only occasionally attempted to play the piano; in a recent attempt, he discovered that he had forgotten some staple tunes of the bebop repertoire.
"I can only play with my right hand, and it's not convincing me anymore," Jarrett told Chinen. "I don't know what my future is supposed to be, [but] I don't feel right now like I'm a pianist."
Chinen also conducted the most recent JazzTimes interview with Jarrett, in 2017. At that time, the pianist discussed a late-1990s struggle with chronic fatigue syndrome that had nearly destroyed his career. "I just found myself too tired to do anything I normally do. I thought I was dying," he said. "I didn't know if I'd play again." In that case, Jarrett recovered sufficiently to launch a renaissance in 1999.
Jarrett's newest release, the forthcoming Budapest Concert, documents a solo performance from his 2016 European tour. It will be released October 30 on ECM Records. Keith Jarrett (photo: Woong Chul An)
READ THE FULL JazzTimes ARTICLE
With the abundance of jazz and blues that slides into my mailbox every week, it's sometimes easy to forget the bustling and beautiful American piano that much of our musical heritage comes from. Don't let words like "heritage" discourage you from diving deep into her boundless piano energy… her performance of Harry Thacker Burleigh's 5:07 "Troubled Water" (based on "Wade In The Water") is full-bodied and moving… this is one of the tunes I believe will be getting some HUGE amounts of airplay on all types of stations around the globe!
I'll tell you right now, you've never heard a more invigorating performance of "Down By the Riverside" than Jeni gives you… she presents some very unique stylings with her keyboard, too.
Of the eighteen enchanting songs presented, I found the 6:40 opener, "Deep River", to be my choice for personal favorite… Jeni's piano covers all the bases… jazz, blues and even Tchaikovsky in one stunning performance of Margaret Bonds beautiful song!
I give Jeni a MOST HIGHLY RECOMMENDED rating, with an "EQ" (energy quotient) score of 4.98. Get more information on the Zoho Music page for the release. Rotcod Zzaj
SEE THE Contemporary Fusion Reviews PAGE
As we near the election, with hope of setting the country on a better path, tensions are high. We are worried that if things go wrong, as they did in 2016, that the country might never recover, that this horror show might become our permanent identity. And meanwhile, most of the things we would turn to in times of crisis – family gatherings, concerts, baseball games, theatre – are not available to us, making everything even more difficult and dire. But fortunately musicians continue to release albums that speak to the better parts of us, to what humanity remains inside, uniting us in a real way. Here are some brief notes on a few new jazz releases you might be interested in.
Accomplished classical pianist Jeni Slotchiver presents the work of several American composers on her new release, American Heritage, an album of solo piano pieces. The music includes spirituals, blues, and folk, all performed with passion and heart. This is a beautiful and moving album, and in a time of division and hatred in our country, it provides a welcome look back at some of the diverse composers who have added to the great musical culture of our nation, and might help to restore some pride in our history. Composers whose work is featured here include Samuel Coleridge-Taylor, Margaret Bonds, Harry Thacker Burleigh, Louis Moreau Gottschalk, Florence B. Price, Robert Nathaniel Dett, William Grant Still and Frederic Rzewski. A lot of the music chosen for this release will be familiar to you, and Jeni Slotchiver gives it a fresh life. This album was released on October 9, 2020.
SEE Michael Doherty's Music Log PAGE
JUNO and SOCAN Music Award winner Laila Biali celebrates Canadian icon Joni Mitchell's birthday with an intimate cover of Mitchell's beloved song, "Both Sides Now". Biali's stripped down approach illuminates poignant lyrics that speak to the heart. Multi-award winning singer-songwriter and pianist Laila Biali has performed on prestigious stages from New York City's Carnegie Hall to Beijing's National Centre for the Performing Arts. Known for her signature sound that "masterfully mixes jazz and pop" (Washington Post), Biali has received top honors including a 2020 SOCAN Music Songwriting Award plus the 2019 JUNO (Canada's GRAMMY) for Vocal Jazz Album. She has also toured with pop icon, Sting, and hosts a national radio show on CBC Music. Be sure to check out Laila's Quarantunes Series, and head to Both Sides Now to pre-save your copy now!
Biali is KBOG'S favorite songstress. SEE THE KBOG: Bandon OR PAGE
For her latest studio album, pianist Hélène Grimaud travels to Salzburg where she creates a fascinating juxtaposition between the eternal Mozart and the Ukrainian composer Valentin Silvestrov (b. 1937). Hélène has long had a passion for Silvestrov's music, which some call post-modernist or even neoclassical. The composer's own words hint at why this is for her so intriguing: "I do not write new music. My music is a response to and an echo of what already exists."
In selecting the music for this album, Hélène has carefully chosen music by Mozart that fits into an overall dramaturgy: from Mozart's famous unfinished D minor Fantasy, Helene transitions seamlessly into the great D minor concerto K. 466 - one of the most popular amongst Mozart's 27 concertos (and one of only two in a minor key). The C minor Fantasy here signals "the end of Mozart" and a new beginning: The Messenger starts with a theme reminiscent of Mozart, and like a messenger, creates a connection between the present and the world that existed before. Melancholy and hope, sadness and exuberance can be felt emanating from both Mozart's and Silvestrov's works. The Messenger, one of Silvestrov's most performed works, is dedicated to his wife Larissa Bondarenko, who had recently passed away. The Two Dialogues with Postscript that serve here as an epilogue, leave the outcome open, leading the way to Schubert, Wagner and beyond.
"When I first heard it, I was mesmerized," is how Grimaud describes the first time she heard Valentin Silvestrov's music. ECM Records founder Manfred Eichner gave her a CD of Silvestrov as a birthday present, and she was hooked. Grimaud talks about her newest album (of over 20!) with 90.5WUOL: Louisville KY - Daniel Gilliam. LISTEN
t amazes me how many films today have a soundtrack that isn't informed by the movie itself. This interchangeable claptrap has made it almost impossible to review. But composer William Susman flavors the setting of Sarah Sifer's Fate of the Lhapa beautifully. Interestingly enough, I saw this documentary many, many years ago, and it truly affected me, but I never knew the soundtrack was available until it was sent to me to review 13 years after its original release. Go figure.
While there are certainly traditional forms of Western instrumentation such as harp, Susman has incorporated sounds we would associate with Nepal: There is no list, but I believe we are hearing drums - such as the dhimay, madal, and khin - a bansuri (a bamboo flute), a plucked string (perhaps the tunga), tingsha cymbals, a sringa (a large "C"- or "S"-shaped horn which is also a political symbol), and more. Along the way is minimalism that is so transporting it would make Philip Glass proud, as it helps achieve a sense of bittersweet spirituality so prevalent in the film. (Glass is also a fierce proponent for Nepal's freedom and Buddhist principles - the latter evidenced in his opera, Satyagraha.)
At first, part of the fun for me was parsing out the instruments (wait - is this sound that conch shell that has both ritual and religious importance in Hinduism?), but magically by the seventh of eleven tracks, they merge into a higher plane of trance-inducing balminess that lovingly elucidates the subject matter. While it's accurate to say that the music of Susman (who also performs) blends that mysterious, uncanny long-established Asian music with those soul-moving Western strings evokes what the press notes call an "ancient healing tradition in danger of extinction," this is music that stands alone from the film - in fact, this journey requires you to listen with headphones on and your eyes closed. The mixing by Stephen Hart at Berkeley's Fantasy Studios makes everything sound crystal clear.
READ THE FULL STAGE & CINEMA REVIEW
James Whale's film classic Frankenstein (1931), starring Boris Karloff, was released without a musical score, as were many films in those early days of the talkie. A number of critics, including Leonard Maltin, have remarked that Frankenstein is badly in need of music. Michael Shapiro's 70-minute score is written to be played simultaneously with the screening of the film. For modern-day concert- and moviegoers, his haunting music adds significantly to the emotional impact of the film.
Harmonious World Podcast's Hilary Robertson interviews composer and conductor Michael Shapiro.There's a good chance that I'll be jumping on a plane as soon as such things are possible again - this time to see the operatic version of Michael's film score to the original film of...
LISTEN TO THE PODCAST
WaterTower Music is pleased to announce today's release of the 62-track Lovecraft Country (Soundtrack from the HBO® Original Series), featuring music from the first season of Lovecraft Country, which airs on HBO/ HBO Max, and is Based on Matt Ruff 's novel of the same name.
Inspired by the ground-breaking mission of NASA's Juno space probe and its ongoing exploration of Jupiter, Juno to Jupiter is a multi-dimensional musical journey through electronic, progressive, ambient, techno, orchestral, and vocal music.
Milan Records today announces the release of Luca Guadagnino's WE ARE WHO WE ARE (ORIGINAL SERIES SCORE) featuring music by producer, multi-instrumentalist, composer, songwriter and vocalist DEVONTÉ HYNES.
As COVID-19 shuts down the arts, the performers, and the teachers, I CARE IF YOU LISTEN presents 'a quick start guide to live streaming'
Posted: March 21, 2020 12:00 AM
| By: Admin
We are about a week into the COVID-19 shut downs that have affected almost every arts organization, performing artist, teacher, professor, food industry worker, and beyond. No matter what we do, this will have a giant impact on the economy. For artists, losing performance fees and teaching wages are the hardest blows. Luckily the internet is an incredible resource in times of social isolation. Whether you're an independent artist, small nonprofit organization, or a large institution, there are ways to move your performances online and even monetize these efforts to help mitigate the large-scale cancellations and loss of income facing our creative community.
Artists are already going online with their music. Igor Levit has been live on Twitter. The Dropkick Murphy's hosted a St. Patrick's Day live stream. You can simply go live on any mobile device these days, but there are a few ways to step up your game to get better audio and a good picture. The following is a quick start guide to considering all of the specs and opportunities for your live streaming set up.
Adam Schumaker from I CARE IF YOU LISTEN recommend that you take these steps to get started:
1. Decide the social media platform you want your streams to originate from – I'd recommend a platform you have the most followers and activity on.
2. Assess your streaming devices – what do you and your friends have to work with on the tech side? How can you make it better? How will you mount your cameras and get a great picture?
3. Make your audio the best it can be. Can you collaborate with friends before you go buy something?
4. Last, how will your streaming benefit your community and career in terms of collaborations, networking, and finances. Be creative. Experiment. Have fun.
A very personal double album marked by a desire for encounter and togetherness. The program includes rarely played arrangements of Bach and Brahms by Ferruccio Busoni and Max Reger, as well as Palais de Mari – Morton Feldman's final work for piano.
Longing and its fulfilment at the same time: Igor Levit's new double album "Encounter" is the pianist's sixth disc released on the Sony Classical label and conveys the urgent desire for encounter and human togetherness – at a time when isolation is the order of the day. The result is a very personal recital. While speaking touchingly of the hardships and unexpected feelings of liberty resulting from social distancing, musically the recital stands out for the objective spirit of its carefully crafted form.
Igor Levit's work on the 32 Beethoven Piano Sonatas has been the most important endeavour of the past 15 years of his life. This autumn will see his new studio recording of the complete sonata cycle released on Sony Classical on September 13 and represents the recorded testament to almost half his life spent in the study and performance of these sonatas. The release of this momentous 9-album cycle is one of the most eagerly awaited recordings for the 250-year Beethoven anniversary.
No other composer has had such an important influence on Igor Levit's life as that of Ludwig van Beethoven. He admits that this composer's music is around him practically every day and in almost everything he does. The profound impact of Beethoven's music- since his first emotional point-of-no-return with the Missa solemnis at age 13, followed by his first dedicated work on Sonata op. 2/2–has subsequently shaped Levit's approach to almost all music, whether he is playing Liszt, Shostakovich or Rzewski.
Sparked by the tragic death of a close friend in an accident, Igor Levit's piano playing reflects upon an experience of loss encompassing grief, despair, resignation and solace. He concentrates on works whose gloomy grandeur and melancholy beauty have occupied him for years. Each of them pays tribute to the virtuoso possibilities of the piano. Poetic moments of contemplative silence blend with life-affirming and extremely sensual music with a direct physical fascination. ...
Sony Classical announces the release of Pianist Igor Levit's third album - Bach, Beethoven, Rzewski. Available October 30, the album includes Bach's Goldberg Variations and Beethoven's Diabelli Variations, long considered acid tests of the performer's art, plus Frederic Rzewski's gigantic cycle on the Chilean revolutionary song ¡El pueblo unido, jamás será vencido!, which has the reputation of being nearly unplayable. Not content with canonized masterpieces, Levit is equally drawn to the physical challenge of Rzewski's virtuosic tightrope walks.
38 NEW 43 Total
SYND: C24, CBC Direct: SiriusXM, Music Choice, MOOD Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Wash DC, Dallas, Atlanta, Seattle, Cleveland, Minneapolis, Portland, Cincinnati, Detroit, Baltimore, Denver, Pittsburgh, Austin, New Orleans, Indianapolis, Louisville, Buffalo, Columbus OH, Honolulu, Canada Online: theartsdesk
Igor Levit has recorded the Partitas by this incommensurable Bach, BWV 825-830: it's the second release by the 27-year-old pianist, whom many regard as the greatest talent of his time. With his debut album, featuring the late Beethoven sonatas, Levit already enjoyed great success and international critical acclaim: the album rose to no. 46 in Germany's Top 100 album charts.
SYND: PRI/Classical 24, CBC Direct: SiriusXM, Music Choice Markets include: New York, Los Angeles, Chicago, Boston, San Francisco, Philadelphia, Wash DC, Dallas, Houston, Atlanta, Seattle, Minneapolis, Cleveland, Cincinnati, Denver, Portland, Austin, Pittsburgh, Detroit, Albuquerque, San Antonio, Memphis, Madison, Canada Online: Taintradio
"Unlike those technically brilliant young pianists who dazzle briefly and disappear, Levit is pre-eminently a real musician who seems built to last." – The Guardian
For the last three years, Igor Levit's name has been the first to be mentioned whenever there has been talk of the most exciting of the younger generation of pianists. What is so surprising about Levit is not only the maturity of his interpretations, but his boundless appetite for new repertoire of works as difficult and demanding as possible. For his long awaited debut album, the twenty-six-year-old Levit has chosen some of the most challenging repertoire ever written for piano: Beethoven's last five piano sonatas. On his two-CD debut set, Levit is not just another young aspiring pianist releasing his debut album, but rather an outstanding artist who meets the exceptionally high demands of this extraordinary music. Levit's technical and artististic command in the difficult "Hammerklaviersonate" op. 106 is sure to be recognized as one of the most astounding accomplishments in recent history of Beethoven recordings.