MusicWeb writes.....Once the preserve of Russia's Orthodox churches, this rich choral tradition has now found some fine exponents further west. Several conductors/ensembles spring to mind, among them the Phoenix and Kansas City Chorales, led by Charles Bruffy. I first heard them in Gretchaninoff's Passion Week, a much-cherished Chandos release that was also one of my top picks for 2007. They followed that up in 2014, with a similarly successful account of Rachmaninoff's All-Night Vigil. (My comparative review was headlined by a 2012 BIS recording of the same work, featuring Kaspars Putniņš and the Netherlands Radio Choir. This is yet another partnership that excels in this repertoire.) Staying Stateside, there's Craig Hella Johnson and Conspirare, whose 2013 album, The Sacred Spirit of Russia, was ‘a joy from start to finish' (Harmonia Mundi). And one mustn't overlook Alexander Lingas and his Oregon-based Cappella Romana, whose own-label recording of Maximilian Steinberg's Passion Week so impressed John Quinn back in 2015.
Nearly all the works in More Honourable than the Cherubim are new to me, but, as I soon discovered, there's so much to enjoy here. Indeed, the opener, Petar Dinev's ‘It Is Truly Meet' has a purity of tone and certainty of line that augurs well for what's to come. One of the most striking things about Chesnokov, as revealed in Teach Me Thy Statutes, is the sheer strength and consistency of his work. That's borne out by ‘O Theotokos, We Shall Never Cease Proclaiming', the first of several contributions to this new collection. Its thrilling weight and amplitude are a pleasing foil to the Dinev; that's a sign of astute programming. Different again is Gretchaninoff's ‘Let us Hasten with Fervour', the burnished, gold-leaf loveliness of this choir sure to ravish the ear and batter the heart. (Such epiphanies move me to say that as much as I admire Pavel Grigorievich's output, that of Alexander Tikhonovich occupies a very special place in my affections.)
A magnificent release, beautifully conducted, flawlessly sung and incredibly well recorded; indeed, it's sure to be one of my Recordings of the Year.
READ THE FULL MusicWeb REVIEW
La Scena Musicale's PAUL E. ROBINSON writes......The lockdowns and restrictions have been trying for all. For those who care about classical music not to be able to hear music live has been frustrating. And for those who make music for a living it can be soul-destroying or even career-destroying. Yannick Nézet-Séguin has seen his usual whirlwind of concerts in Montreal, New York, Philadelphia and elsewhere reduced to a trickle. Last summer, when he was able to do almost no conducting he reverted to the piano and the result is this fascinating solo album recorded in the concert hall at Domaine Forget in the Charlevoix region of Quebec. In effect, Yannick was forced to make music by himself. But there was another inspiration. His longtime piano teacher Anisia Campos (1928-2020) had just passed away. Madame Campos was born in Brazil and later studied with Cortot and Arrau. Yannick studied with her in Montreal for nearly 10 years.
Yannick recently appeared with the Orchestre Métropolitain playing Mozart, but his solo performances are rare. But as might be expected with such a gifted musician, when he sits down at the piano, he has something to say. In this album repertoire has been carefully chosen to relate to the melancholy many of us have felt during the past year. None of the pieces chosen are about technical virtuosity. Even the Scarlatti (Sonata in B minor K. 87), Haydn (Sonata No. 33 in C minor) and Mozart (Adagio in B minor K. 540) pieces are tinged with sadness, and yes, introspection. Yannick plays them all with care and conviction and resists the temptation to make them express more than their composers intended.
READ THE FULL La Scena REVIEW
HollywoodSoapbox - Jon Soltes writes.....It's not everyday that a new orchestral piece comes around that has been inspired by robotics, artificial intelligence and the relationship between humans and inanimates, but that's exactly what listeners can expect when taking in the sounds of Lim Fantasy of Companionship for Piano & Orchestra. The new work comes courtesy of French composer Manu Martin, who was commissioned to write the piece by Dr. Susan Lim, a pioneer in robotic surgery from Singapore, according to press notes.
Both Lim and Dr. Christina Teenz Tan are billed as creators of the work, and their efforts have now produced a recording of the piece, out now from Signum Records. Included on the album are pianist Tedd Joselson, London Voices and the London Symphony Orchestra, all under the direction of maestro Arthur Fagen.
The album was recorded in 2019 at Abbey Road Studios, and the songs are pulled from another project, a musical named ALAN, which is also the name of the inanimate robot at the center of the narrative. Recently Hollywood Soapbox exchanged emails with Tan about the project. Questions and answers have been slightly edited for style.
READ THE HollywoodSoapbox Q&A with Dr. Christina Teenz Tan
Piazzolla: Cien Años (Centaur) commemorates the 100th birthday of the Argentine bandoneón virtuoso and composer Astor Piazzolla (1921-1992). Bandoneón soloist Juanjo Mosalini joins the Pro Arte Chamber Orchestra of Boston, under the direction of its Conductor Emerita, Gisèle Ben-Dor. The recording opens with Piazzolla's bandoneón concerto, Aconcagua. Four world premiere recordings follow, all, like Aconcagua, scored here for bandoneón and orchestra. First is Mosalini's vibrant Tomá, Tocá (Take It, Play It), dedicated to Tomás Gubitsch, an electric guitarist who performed with Piazzolla. Mosalini composed the reflective Cien Años (One Hundred Years) in memory of his grandfather. The timing of the work's creation also coincides with the Piazzolla centenary. Mosalini's arrangements of Piazzolla's The Four Seasons of Buenos Aires (Cuatro Estacíones Porteñas) and Libertango conclude the disc. Cien Años and the arrangement of The Four Seasons were both commissioned by Ben-Dor. Mosalini is a superb instrumentalist, a technically brilliant artist whose playing is both unfailingly kinetic, and suave in tone and phrasing. It is seductive music making; and isn't that perhaps the highest compliment one can pay to an interpreter of tangos? Mosalini layers improvisational elements into Piazzolla's three-movement Aconcagua, certainly appropriate for the character of this music, and highly effective. Both Mosalini's Tomá, Tocá and Cien Años are brief, single-movement works that feature a convincing and beguiling synthesis of various popular and classical elements, very much in the Piazzolla tradition. Piazzolla composed the movements of the work now known as The Four Seasons of Buenos Aires separately, and over a period of about 5 years. It is now known as a unified work (sometimes a concert companion to Vivaldi's Le quattro stagioni) and has been arranged for various complements of instruments. In his arrangement for bandoneón and orchestra, Mosalini adds connective tissue so that that the four movements are performed without pause. It's a lovely effect, and one that fits into the work's 25-minute time span without strain. The disc concludes with a stirring rendition of one of Piazzolla's signature works, Libertango. Conductor Gisèle Ben-Dor has long been a superb advocate for Latin-American music. Here, she leads the Pro Arte Chamber Orchestra in performances that are teeming with color, style, and irrepressible energy. The recording, which positions the listener in close proximity to the artists (but not oppressively so), packs considerable impact. Both Pablo Aslan and Ben-Dor contribute lively and informative commentary for the CD booklet, which also includes artist bios. A worthy and highly engaging centenary tribute to the father of the Tango Nuevo. Recommended. - Ken Meltzer
It's a meeting of electronic and acoustic percussion and ethereal moods with Jomoro. This is the project of percussionists Joey Waronker and Mauro Refosco with guest artists including Sharon Van Etten and Lucious. Veterans of artists like David Byrne, Red Hot Chili Peppers, Atoms for Peace and more, they've conceived an album that's like Can meets Tropicália meets the avant-garde on their debut album, Blue Marble Sky. We beat the drums of Jomoro on Echoes.
SEE THE ECHOES PAGE LISTEN TO THE SEGMENT
RTE's Ruth Barton writes......40 years after its release and with the Olympics in full swing, it's time to reassess the film with the iconic theme tune. If ever there was a film for a sporting occasion, Chariots of Fire is it. As we conclude the final lap of the marathon that is 2021's delayed Olympic Games, it is to the tune of Vangelis' iconic soundtrack that the IOC must surely move as they take their places looking down over the (empty) stands.
Directed by Hugh Hudson, produced by David Puttnam and written by Colin Welland, Chariots of Fire is routinely nominated as Best Olympic Film Ever 40 years after its release. More than that, it is also Joe Biden's favourite film. He referenced it in his 2008 run for the White House and again in his first address as president-elect. This, after all, is a story of good men and heroes who stick by their principles and win.
READ THE FULL RTE ARTICLE
Lowak Shoppala' expresses Chickasaw identity through the medium of modern classical music and theatre through eight scenes and features orchestra, narration of a libretto by Chickasaw poet and Pulitzer Prize finalist Linda Hogan, children's chorus, traditional Chickasaw and classical vocal soloists, and Chickasaw storytellers. Each scene (Fire and Light, Double Header, Shell Shaker, Clans, Removal, Spider Brings Fire, Hymn, Double Header & Finale) depicts a part of Chickasaw culture and history and is sung in Chickasaw.
The recording, conducted by Jerod Impichchaachaaha' Tate, features the Chickasaw Nation Children's Chorus and Nashville String Machine, an ensemble made up of musicians from the Nashville Symphony, and soloists including narrators Richard Ray Whitman, Lynn Moroney, and Wes Studi (Dances with Wolves); baritone Stephen Clark; and sopranos Chelsea Owen and Meghan Vera Starling.
Born in Oklahoma, Mr. Tate lives under dual citizenship – United States and Chickasaw. His father is a Chickasaw lawyer and tribal judge who authored the current tribal constitution and his mother is of Manx descent originally from Nebraska. In addition to being an active leader of American Indian law and politics, Mr. Tate's father is a classically trained pianist and baritone and his mother was a professional choreographer and dancer, leading to Mr. Tate's immersion into American dance, musical theater, and opera. Like his classical composer role models such as Claude Debussy (France), Bela Bartók (Hungary), and Igor Stravinsky (Russia), Mr. Tate strongly identifies with his culture and imbues it into all of his compositions.
LISTEN TO THE Classic 107.3 - St. Louis SEGMENT
Jane Ira Bloom set to 'key in the morning' on Deutschlandfunk Kultur
Posted: July 22, 2019 12:00 AM
| By: Admin
On Monday, August 26 / Key in the morning at 11:45 am, Deutschlandfunk Kultur presents a Portrait of the soprano saxophonist Jane Ira Bloom. The soprano saxophone is not always taken for full in jazz, quite often it is additional instrument to alto or tenor saxophone. A few musicians have focused exclusively on the higher, usually unbent, saxophone. From a distance it is easy to confuse it with a clarinet, but the sound is sharper and more pressure. A musician who can only be experienced on the soprano saxophone is Jane Ira Bloom. The US saxophonist is an icon in music circles, but beyond the jazz circle she is not well known. Author: Ulrich Habersetzer
American original Jane Ira Bloom does it again. This time the 21st-century soprano saxophonist reimagines the poetry of 19th-century visionary Emily Dickinson in two different settings. This new 2 CD pack, has the quartet (Dawn Clement (piano), Mark Helias (bass)& Bobby Previte (drums) interpretating Dickinson's poetry both instrumentaly and in spoken word settings that feature readings by popular stage & film actor Deborah Rush. After the success of her 2016 trio album release Early Americans, Bloom shifts gears with Wild Lines / Improvising Emily Dickinson. Bloom composed Wild Lines when she was awarded a 2015 CMA/ Doris Duke New Jazz Works commission. She was inspired to musically reimagine Dickinson when she learned that the poet was a pianist and improviser herself.
SYND: PRI/Jazz After Hours, Jazz FM Markets include: New York, Los Angeles, Chicago, San Francisco, Philadelphia, Boston, Miami, Cleveland, Portland, Seattle, Detroit, Austin, St. Louis, Kansas City, New Orleans, Minneapolis, Milwaukee, Albuquerque, Berkeley CA, San Antonio, Louisville, Knoxville, Orlando, Madison WI, Long Island NY, Omaha, Hartford CT, WV(Statewide), OR(Statewide), ME(Statewide), Honolulu, Vancouver, Berlin, Pisa, Oslo INTER: Canada, Mexico, UK, Ireland, Wales, France, Germany, Italy, Spain, Netherlands, Norway, Poland, Austria, Norway, Russia, Chile, Australia, New Zealand, South Africa Online: MOJA, Jazz From Gallery 41, Downbeat, Soulandjazz.com, salt peanuts, Contemporary Fusion Review, LEMON WIRE, Midwest Record, Green Arrow, Jazz Views, Radio Valencia, Jazzandrock.com, Keys and Chords, era jazzu
You never know what American original soprano saxophonist Jane Ira Bloom is going to do next. After the success of her 2014 all-ballads release "Sixteen Sunsets" Bloom shifts into another gear showcasing the kinetic energy of her acclaimed trio playing with the musicians that she knows best on Early Americans (OTL142). It's her first trio album, sixteenth as leader and sixth recording on the Outline label. Her sound is like no other on the straight horn and she lets it fly on every track. She's joined by long-time bandmates Mark Helias on bass & drummer Bobby Previte and with over fifty years of shared musical history together the album is sure to be a winner. Bloom's collaboration with Helias dates back to the mid 70's in New Haven CT and her unique chemistry with Previte has been ongoing since 2000. She brought the group together in summer 2015 to Avatar Studio B in NYC to capture their breathtaking sound in both stereo and surround-sound with renowned audio engineer Jim Anderson. The album features twelve Bloom originals ranging from the rhythmic drive of "Song Patrol" and "Singing The Triangle" to the spare melancholy of "Mind Gray River." She closes the album with a signature solo rendition of the American songbook classic, Bernstein & Sondheim's "Somewhere." World-renowned portrait photographer Brigitte Lacombe contributes a stunning cover image of Bloom. "Playing in threes" has always held a special fascination for jazz artists - it offers the possibility that something can be slightly off balance and that's just what fires the imagination of players like Bloom, Helias, & Previte. With Early Americans Jane Ira Bloom stands in the vanguard of her generation carving out new territory in the heart of the jazz tradition. Don't miss this trio of "fearless jazz explorers who share a commitment to beauty & adventure."
"I grew up listening to these songs and knowing the lyrics. They were a part of my earliest listening experiences so playing them is like breathing to me. As time's gone by it's been easier to let the meaning of the songs come through the horn."- Jane Ira Bloom
Award winning soprano saxophonist Jane Ira Bloom has always had a special feeling for ballad performances. So much so that she has now finally released: Sixteen Sunsets, a beautiful new recording featuring expressive interpretations from the American Songbook along with five compelling slow tempo original compositions. With this her 15th album as leader and her first all-ballads album, Sixteen Sunsets pairs JIB with long-time colleagues Cameron Brown on bass and Matt Wilson on drums, along with an exciting new pianist we will all be hearing a lot more from: Dominic Fallacaro.
After thirty years, Award winning soprano saxophonist Jane Ira Bloom has returned to her original label, Outline Records, for a disc employing an electro-acoustic band which brings together fellow 70's New Havenite Mark Helias on bass, drummer Matt Wilson, and Seattle new comer Dawn Clement on keyboards for Mental Weather. After premiering the piece with the Doris Duke new jazz works program, Bloom then brought the band into Avatar Studio B in NYC with audio engineering legend Jim Anderson and laid down nine thrilling tracks.
4 New 'ON' this week: 198 'Total
SYND: NPR: Fresh Air PRI: All That Jazz, WFMT Net: Jazz with Bob Parlocha, CMJ & Jazzweek Charts Markets include: New York, Los Angeles, Chicago, Boston, Wash DC, Philadelphia, Seattle, Minneapolis, Miami, Atlanta, Cleveland, Baltimore, St. Louis, Detroit, Portland, Las Vegas, San Diego, New Orleans, Buffalo, Albuquerque, Berkeley CA, Louisville, Jacksonville, Orlando, Honolulu, Buffalo, Omaha, Raleigh, Toledo, Santa Fe, San Jose, San Antonio, Knoxville, Stanford CA, Puerto Rico CANADA: Toronto, Ottawa, Winnipeg, Quebec INTER: France, The Netherlands, Australia, Germany, Poland, Portugal, New Zealand, Russia, Austria, Columbia Charts: CMJ & Jazzweek Press includes: Downbeat, All About Jazz, JazzTimes
Whether adventuring into interior or outer space in her music, award winning soprano saxophonist Jane Ira Bloom continues to navigate her unique musical path with creative abandon. Wingwalker, her 14th album as leader and fourth album on the Outline label reunites Bloom with long-time bandmates Dawn Clement on piano, bassist Mark Helias, and drummer Bobby Previte. After two years since Bloom's last release "Mental Weather," she brought the band together in June 2010 to record new compositions written during time made possible by a Guggenheim Fellowship. Wingwalker was recorded in Avatar Studio B in New York City with renowned audio engineer Jim Anderson. The album features eleven Bloom originals and a solo sax rendition of Lerner & Lowe's classic "I Could Have Danced All Night." From the groove inspired "Life on Cloud 8" to the spare simplicity of "Adjusting to Midnight," Jane has journeyed further into jazz dimensions without a safety net. The CD also features an extra mp3 downloadable version of the music condensed into a 5 minute 49 second event.
8 New 'ON' this week: 336 Total
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Direct: SiriusXM, Music Choice
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Online: The Jazz Session, Moja, Live 365, Taintradio, Jazzweekly.com, All About Jazz, amazon, Aggie Radio, UKJazzRadio, Jazz Virtuosa, Hot House, Cory Weeds, Jazzreview.com, Jazz Police, PopMatters, Big Butter and the Eggman, IAJRC