Bettye LaVette's first single in 1963 was a major hit, but for the next 40 years, the R&B singer bounced between label deals and near-destitution as her peers such as Aretha Franklin, Marvin Gaye and Diana Ross became superstars. LaVette grew up in Detroit, the birthplace of Motown, but the label's founder Berry Gordy Jr. never brought her onto his roster.
But LaVette is having the last laugh. At age 74, she's now enjoyed five Grammy nominations and numerous lifetime achievement awards. LaVette's new studio album Blackbirds is the ninth record she's released since 2003, when she kicked off a late-career resurgence.
She brought The Who's Pete Townshend to tears when she performed Love Rain Over Me at the 2008 Kennedy Center Honors. It led to her performing at President Barack Obama's inauguration ceremony.
Her talent for finding new emotion in other people's songs is such that Justin Hayworth from the Moody Blues once told her that he'd written Nights in White Satin, but he never understood it until she sang it. Her voice, both on stage and in person, is what makes LaVette so extraordinary.
After all these years, she's in a lane of her own. Bettye LaVette is the last of the great women of R&B's golden era.
LaVette joined us for a conversation about her long career as the underdog of American blues.
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Data Lords is a new double-album by Grammy Award-winning composer and bandleader Maria Schneider. Inspired by conflicting relationships between the digital and natural worlds, the recording features Schneider's acclaimed orchestra of 18 world-class musicians.
Schneider says; "No one can deny the great impact that the data-hungry digital world has had on our lives. As big data companies clamor for our attention, I know that I'm not alone in struggling to find space – to keep connected with my inner world, the natural world, and just the simpler things in life," says Schneider. "Just as I feel myself ping ponging between a digital world and the real world, the same dichotomy is showing up in my music. In order to truly represent my creative output from the last few years, it felt natural to make a two- album release reflecting these two polar extremes."
In the latest, 89.9WUCF: Orlando FL Magazine - Bob Kelley reviews the latest from keyboardist and arranger Antonio Adolfo - we celebrate the birth of tenor saxophonist Sonny Rollins - and Maria Schneider lets us in on her take of two polarized worlds with "Data Lords". LISTEN TO THE SEGMENT
Ludwig Göransson is a famous Swedish composer, record producer, and conductor. He worked in many great films but never won an Emmy. Other than that he won Grammy's award for best soundtrack for visual media in Black Panther.
On September 19th Saturday, Ludwig was announced as the best music composer for a series, where he scored his first Emmy.
Göransson tweeted thank you to the academy for this honor and all the fame Mandalorian received this Emmy season. He even thanked Dave Filoni and Jon Favreau for giving him such a great opportunity to cross genres and boundaries with the score.
Ludwig is no longer a secret that how talented and amazing person he is. He will be going to touch high places if goes with this speed and ability, Mondo's Mo Shafeek said in an interview. But he didn't tell about the chameleon-like ability to play with multiple genres.
"His music for films like Creed and Black Panther showcase not only his collaborative nature but also his relationship to pop and hip hop, as well as blending untraditional instrumentation with traditional orchestras."
Shafeek added: "His score for The Mandalorian is similarly masterful in its ability to be wildly experimental while never feeling out of place – like a synth spaghetti western score that feels inspired in equal parts to Ennio Morricone, John Williams, and Hans Zimmer, while also never feeling like a pastiche. We are honoured to be the home for this complete score."
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"Beauty will save the world." Those are the words of cellist Camille Thomas, whose new album, Voice of Hope, speaks to this very idea. This album concept, at first glance, might have been at risk of feeling overly saccharine. It turns out, it'll take no more than nine seconds before the opening Kaddish by Ravel pulls you in and you know this is no lightweight endeavor from Thomas. This is not a sweet, innocent beauty, but one of visceral yearning, colored with mesmerizing, sometimes hauntingly beautiful soundscapes.
Thomas delivers this, her second release on the Deutsche Grammophon label, alongside musical colleagues very much on her home turf - the Brussels Philharmonic and their French music director Stéphane Denève.
Hear Camille Thomas and Stéphane Denève discuss the recording of Never Give Up on 90.1WRTI: Philadelphia
Canada's most successful songwriters, composers and music publishers are will be honoured in the 31st annual SOCAN Awards, held for the first time online, with Shawn Mendes solidifying his place in songwriting royalty earning two of the most prestigious prizes, becoming the most-awarded SOCAN member in a single year.
Follow @socanmusic on Facebook, Instagram and Twitter (#2020SOCANawards) to join in the celebration of more than 50 award winners announced today through September 25th via special virtual presentation. Celebrations include Drake, LIGHTS, bülow, Andrew Lockington, Daniel Caesar, Laila Biali and more.
Biali has some new music for fall/winter including the release of Anthem by Leonard Cohen.
Laila Biali released her cover of 'Anthem' by Leonard Cohen last Friday, Sept 18, for Leonard's birthday celebration TODAY Sept 21.
The 2019 JUNO-Award winner covers her fellow Canadian and music icon with his relevant song that delivers a salient message for the times we find ourselves in: "Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything, that's where the light gets in." Leonard would have turned 86 today.
This single releases on the heels of Laila's highly succsessful 2020 album release, Out of Dust, which came out on March 27 and features an expansive ensemble of instrumentalists and singers including GRAMMY Award winners and nominees Lisa Fischer, John Ellis, Larnell Lewis, and others.
CBC Radio 1 is premiering the track today along with the Quarantunes video. Watch the attached
In 1968, a 16-year-old jazz fan at Palo Alto High School in California decides to hold a concert in the school's auditorium to raise funds for its International Club-and convinces Thelonious Monk's manager that his client should be the headliner. (Not surprisingly, the student, Danny Scher, would soon become a major force in the live-music production world.) As concert day approaches, one of the school's janitors, an audio enthusiast, offers to tune the piano in exchange for recording the show, a deal that's quickly agreed to. On the afternoon of October 27, the Thelonious Monk Quartet gives its only known high-school performance. Afterward, the janitor (his name apparently lost to history, though researchers are no doubt still working on that) hands the young promoter a tape. It goes in a box, where it sits for the next 50 years. When its owner rediscovers it, he contacts Monk's son T.S., who-first tickled by the story, then impressed by the recording's quality-sanctions its release.
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In the fall of 1968, a sixteen-year old high school student named Danny Scher had a dream to invite legendary jazz pianist and composer Thelonious Monk and his all-star quartet to perform a concert at his local high school in Palo Alto, CA.
Violinist Daniel Hope spent his period of social distancing by performing chamber concerts online from his living room in Berlin with specially invited guests including Christoph Israel, Till Brönner, Matthias Goerne and more.
Turning 75 this month, Itzhak Perlman has been so ubiquitous for so long that it is easy to take him for granted / The New York Times
Posted: August 26, 2020 12:00 AM
| By: Admin
Itzhak Perlman is a superstar in classical music. And not just there: No other violinist enjoys his level of recognition among people who don't even go to traditional concerts.
Many have seen him on "Sesame Street," or at Madison Square Garden appearing alongside Billy Joel. They might have heard him speaking about disability issues, informed by the childhood bout of polio that took away the use of his legs. They might have teared up listening to the theme from "Schindler's List," which Mr. Perlman infused with ineffable melancholy.
Mr. Perlman has been so ubiquitous that it is easy to take for granted his status as "the reigning virtuoso of the violin," as his marketing materials put it. But with his 75th birthday arriving on Aug. 31, this may be a moment to reassess how that reign began and what has happened to the realm and all the superlatives. For some guidance, there is a new box set from Sony of 18 CDs, from a 1967 Prokofiev album with Erich Leinsdorf conducting the Boston Symphony Orchestra to the klezmer tribute "Eternal Echoes," from 2012.
For me, it's also a chance to revisit an experience with Mr. Perlman at a 2014 recital, a concert that left me disappointed, but also curious to understand what it was his fans in the hall were cheering.
Part of my discomfort that evening came from the discrepancy between the live performance he was giving and my memory of his albums. Like many, I had come to know Mr. Perlman through his recordings. By the time I was in my teens in the 1980s and becoming serious about studying the violin, virtually every album of fiddle music I owned featured him. The Solo Sonatas and Partitas of Bach, in which his sustained, radiant sound seemed to draw ribbons of light in the dark. The concertos of Sibelius and Tchaikovsky, in which his violin cut jubilantly through the orchestral forest in even the most acrobatic passages. His Bruch simmered. His Mozart was flirtatious and sunny. He was a universal entry point to classical music.
Mr. Perlman was born in Tel Aviv in 1945 and fell in love with the violin when he first heard it on the radio at 3. A year later, he contracted polio, but after recovering showed a remarkable musical talent. A significant break came in 1958, when he was invited to play Mendelssohn on "The Ed Sullivan Show." Soon after that, he moved to New York to study with the famed pedagogue Dorothy DeLay at the Juilliard School.
Mr. Perlman at 20, in 1966, when he was still a rising virtuoso with a brilliant sound.Credit...Frank Teskey/Toronto Star, via Getty Images
On that 1967 debut recording, with Leinsdorf conducting the Boston Symphony, he played Prokofiev's Second Concerto. Appropriately, the first notes are Mr. Perlman's alone, and his sound in that ruminating statement is soulful and knowing. Elsewhere, in passages of agitated difficulty, the bravura and bite of the young violinist's technique are evident. But it is the heat and depth of tone that announced, from the beginning, an artist of uncommon magnetism.
Mr. Perlman rose to fame as an earlier cohort of star violinists - Jascha Heifetz, David Oistrakh, Yehudi Menuhin - faded from view. With his glamorous tone and dazzling technical skills, he was their natural heir.
More collaborations with Leinsdorf followed, and with the pianist Vladimir Ashkenazy, who would become a preferred chamber music partner for years. By the 1980s, Mr. Perlman was the standard - and some degree of standardization seemed part of the package. His facility with acrobatic bowing techniques made him one of the most persuasive champions of 19th-century showpieces, like the Paganini caprices or Sarasate's "Carmen Fantasy." And his signature tone resulted in definitive renditions of war horses of the concerto repertory.
Glossy, voluminous and cleanly contoured across the range, his sound was uncommonly reliable, reproducible and brightly projected. It aligned perfectly with the high-fidelity technology that was changing both the way people listened to music at home and what they expected to hear in live concerts.
And onscreen: Mr. Perlman proved a natural communicator on television, advocating for music and disability rights with a winning combination of self-deprecating charm and self-assurance. In 1993, it was his violin that deepened the pathos of the "Schindler's List" theme, which for a vast swath of listeners remains his signature tune. On Spotify, it has been streamed over 35 million times - five times as many as his most popular classical tracks on the service: an eye-wateringly difficult Paganini caprice and a somewhat stodgy summer storm from Vivaldi's "Four Seasons."
While Mr. Perlman's playing now bears the sepia tint of another era, he has been in business long enough to have seen fashions come and go.
In 1994, Mr. Perlman formalized his increasing devotion to education. His wife, the violinist Toby Perlman, founded the Perlman Music Program, through which both continue to nurture gifted teenage string players. The course includes a robust course of contemporary music, taught not by Mr. Perlman but by visiting specialists: His own dips into the music of his time have been rare, and even more rarely on the experimental side of things.
Yet even as Mr. Perlman's fame grew outside of the classical music scene, his stature inside it shrank. One reason is that, with fewer media opportunities for classical artists, the hierarchical shape of the field began to cave in, even as that field narrowed. The historically informed performance movement revolutionized approaches to early music and whipped up an appetite for fleeter and more feathery readings, especially of Bach. A new generation of concert violinists, like Janine Jansen, have found ways to integrate the lessons of the period-instrument movement with symphony-hall glamour and punch; by contrast, Mr. Perlman's style can seem staid and dated.
Other trends moved from niche markets into the mainstream, where tastes were more open to diversity. Contemporary music created specialist players familiar with its techniques and technological demands. The cellist Yo-Yo Ma, among others, used his star power to familiarize concert audiences with non-Western instruments. No one violinist could preside over such a polyglot scene as the reigning virtuoso.
And Mr. Perlman's skills began to deteriorate. Critics called out his "careless playing" and "effortful intonation." That matched my own experience at Lincoln Center in 2014, a program which began with a rendition of a Vivaldi sonata that was almost obtusely old-fashioned and stodgy. His tone was still vibrant and vigorous, but it had lost much of the pliancy and depth that had warmed earlier recordings.
But the printed part of the program (which also included works by Ravel, Beethoven and Schumann) was only the prelude. Mr. Perlman played eight sweet and flashy encores, which he picked, miming impatience, from a huge stack of sheet music before introducing them with the odd anecdote or droll comment.
Though the show of generosity and spontaneity felt manipulative to me, the audience loved it. Undoubtedly charisma had a lot to do with this. And I suspect that what many listeners heard was a palimpsest combining the Perlman they knew from recordings with the one playing live in front of them.
If the flaws in his playing registered at all to such listeners, they might not have perceived as such. String instruments can have a very direct way of showing the age of their player - unlike the piano, on which weakening faculties more often translate into simple flubbed notes. A violin can betray, but also humanize an aging musician. Recent footage of Ida Haendel, who died last month at (it is thought) 96, and Ivry Gitlis, now 98, offer a fascinating mix of frailty, beauty and ironclad talent.
As I watch these videos, I come to believe that part of the fascination lies in the way the corporeality of the player presses to the forefront. After a lifetime dedicated to doing justice to great composers, when we expect performers to be almost transparent vehicles for the music, nature invites us to consider their humanity - not in some abstract, transcendent manner, but flesh-and-blood, warts and all.
Mr. Perlman's playing is still far from wrinkled. While his Vivaldi now bears the sepia tint of another era, he has been in business long enough to have seen fashions come and go. And it is strategic for him to make his late-career concerts a bit more about him and a bit less about Vivaldi. The sheer brilliance of his sound goes a long way in disarming scholarly scruples and critical quibbles. And whether or not they subscribe to every detail of his style, aspiring soloists would do well to study an art of which he is indeed perhaps the reigning virtuoso: engaging an audience, and playing it both for pathos and laughs. PHOTO: Yael Malka
Crossover Media Projects with Itzhak Perlman | Emanuel Ax
Legendary violinist Itzhak Perlman is known the world over as one of the most recognizable and beloved classical artists today. The 16-time Grammy winning Perlman celebrates his 70th birthday on August 31; the milestone is marked with multiple releases paying tribute to his catalogue as well as Perlman's first new solo recording in 16 years. Fauré & Strauss Violin Sonatas with pianist Emanuel Ax released on August 28 on Deutsche Grammophon/UMC, on the heels of the 25-CD box set Itzhak Perlman: Complete Recordings on Deutsche Grammophon, released May 26 on DG/UMC.
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