THE Violin Channel writes......The United States Marine Band commissioned American composer Peter Boyer for special fanfare at Biden/Harris Inauguration, to be performed at the U.S. Capitol on January 20th, 2021. Boyer's new work, "Fanfare for Tomorrow," will be performed as part of the one hour prelude music of the inauguration, conducted by Colonel Jason K. Fettig., the Marine Band's Director. The piece was originally for solo French horn, was commissioned by the Cincinnati Symphony and Pops Orchestra. Boyer significantly expanded and developed it for a full concert band for this inaugural commission. The United States Marine Band, the "The President's Own," is America's oldest continuously active musical organization. It is said that debuted in 1801 for Thomas Jefferson's inauguration. "I had just over a week to compose and orchestrate the piece," Boyer said. "Col. Jason Fettig had cautioned me about writing too high for the brass, due to the very cold conditions in which the piece would be performed outdoors. I had just a few hours to create and deliver this lower key version of the piece to the Marine Band. Happily, It seems to have worked out well!" READ THE FULL Violin Channel ARTICLE

NPR: Tiny Desk's Bob Boilen writes......Every January, I attend globalFEST at a New York City nightclub and see some of the most fantastic music I'll experience all year. Now, given the pandemic's challenges and the hardening of international borders, NPR Music and globalFEST moved the 2021 edition from the nightclub to your screen of choice and shared the festival with the world. We called it Tiny Desk Meets globalFEST. We presented 16 artists in intimate settings (often behind desks donning globes), all hosted by African superstar Angélique Kidjo. Recording from her apartment in Brooklyn, award-winning Argentine vocalist and songwriter Sofia Rei provides a concert that blends South American folk traditions with experimental pop and electronic music. That mix of tradition and modernity extends to her surroundings, which features traditional iconography, robotic 'saints,' exuberant plants and looping pedals. This performance took place during the opening night of our 2021 festival. --globalFEST SET LIST
"Un Mismo Cielo" (The Same Sky)
"Negro Sobre Blanco" (Black On White)
"Escarabajo Digital" (Digital Beetle) MUSICIANS
Sofia Rei: vocals, charango, electronics
JC Maillard: guitar, bass, programming, background vocals
Leo Genovese: keys
Jorge Glem: cuatro
Ana Carmela Rodriguez Contramaestre: background vocals, percussion SEE THE NPR PAGE

The New York Times, Jon Pareles writes.... With 16 bands over four nights, the festival expanded its reach at a time when live music with audiences is in short supply. Minyo Crusaders set an old Japanese song, from a tradition called minyo, to a Nigerian Afrobeat groove. DakhaBrakha, from Ukraine, roved from Eastern European drones and yipping vocals to something like girl-group rock. Aditya Prakash, from Los Angeles, sang a joyful Hindu devotional over upbeat jazz from his ensemble, sharing its melody with a trombone. Rachele Andrioli, from southern Italy, sang a fierce tarantella accompanying herself with a tambourine and electronic loops of a jaw harp and her voice. Hit La Rosa, from Peru, topped the clip-clop beat of cumbia with surreal lyrics, surf-reverbed guitar solos and psychedelic swoops and echoes. They were all part of the 18th annual Globalfest, the world-music showcase that moved online this year as a partnership with NPR Music's Tiny Desk Concerts series, which will preserve the performances online. Previous Globalfests were one-night live showcases in New York City for a dozen bands on club stages. But for this pandemic year, musicians recorded themselves performing live at home: living rooms, studios, a record-company office, a backyard barbecue. Angélique Kidjo, the singer from Benin who appeared at the first Globalfest, played virtual host in eye-popping outfits; musicians made sure to have at least one globe on camera. The sets were short, just two or three songs each. But Globalfest's potential audience has been hugely multiplied. While necessity forced Globalfest online, networking has long been built into its music. Many musicians who cherish local and traditional styles have decided that the way to ensure their survival is through adaptation and hybridization, retaining the essence while modernizing the delivery system. For musicians, fusion is also fun: a chance to learn new skills, a way to discover creative connections. There are commonalities in the ways voices can croon or bite or break, in mechanisms like repetition or call-and-response, in wanting people to dance. Modernization doesn't have to mean homogenization. There were traditionalists at Globalfest. Dedicated Men of Zion, a multigenerational band of family members, sang hard-driving gospel standards like "Can't Turn Me Around," rasping and soaring into falsetto, from a backyard in North Carolina with a smoking barbecue grill. Edwin Perez led a 10-piece band - mostly Cuban musicians - updating a New York style that flourished in the 1970s and 1980s: salsa dura, propulsive and danceable with jabbing horns, insistent percussion and socially conscious lyrics. (One song was "No Puedo Respirar" - "I Can't Breathe.") But tradition often came with a twist. Nora Brown adeptly played and sang Appalachian banjo songs from Kentucky, passed down through personal contact with elder generations, even though she's a 15-year-old from Brooklyn, where she performed in a tunnel under Crown Heights with a train rumbling overhead. Rokia Traoré, from Mali, has an extensive catalog of her own songs, but her set reached back to a tradition of epic song: centuries-old historical praise of generals who built the West African Mande empire - "Tiramakan" and "Fakoly." She sang over mesmerizing vamps, plucked and plinked on ngoni (lute) and balafon (xylophone), progressing from delicacy to vehemence, from gently melodic phrases to rapid-fire declamation, putting her virtuosity in service to the lore she conveyed. Musicians securely grounded in their own cultures also felt free to experiment with others. Martha Redbone - born in Kentucky with Cherokee, Choctaw and African-American ancestors - punctuated bluesy, compassionate soul songs with Native American rattles and percussive syllables. Elisapie sang in her Native American language, Inuktitut, as she led her Canadian rock band in volatile songs that built from folky picking to full-scale stomps. Emel, a Tunisian singer influenced by the protest music of Joan Baez, sang two songs from a living room in Paris. They were introspective, brooding, keening crescendos: "Holm" ("A Dream"), which envisioned a "bitter reality that destroys everything we build," and, in English, "Everywhere We Looked Was Burning." Labess, a Canadian band led by an Algerian singer, had musicians performing remotely from France and Colombia; its set roved from Arabic-flavored songs to, for its finale, "La Vida Es Un Carnaval," a kind of flamenco-samba-chanson amalgam with French lyrics and a button-accordion solo. Natu Camara, a singer from Guinea now based in New York, gave her West African pop a tinge of American funk as she offered determinedly uplifting messages. And Sofia Rei, an Argentine singer now based in New York, conjured a wildly eclectic, near hallucinatory international mix from her living room with her band: Andean, Asian, jazz, funk, electronics. True to Globalfest's boundary-scrambling mission, she sang about living under "Un Mismo Cielo": "The Same Sky."

New Classical Tracks, Julie Amacher writes....Ofra Harnoy returns to the stage with her new album - On The Rock (Analekta) "We came here for a vacation, and it was within days that we decided to start looking for a house here and we found the perfect house, which is on a lake. I can look out and see eagles flying across the lake. Every day the weather's so different that it's like watching an ever-changing painting." That beautiful scene in the province of Newfoundland is what inspired Ofra Harnoy's 44th recording, On the Rock. It's her second recording with her husband, multi-instrumentalist and arranger, Mike Herriott. "Well, 'The Rock' is kind of a slang or nickname for the province of Newfoundland. My husband and I actually moved here about two years ago and we came up with a list of music that we thought could be beautifully arranged to suit the cello. "Our hope with the album was to be true and respectful to the Newfoundland tradition but also share my love of this music through the voice of the cello. So, the music had to be suitable for that. I think we came up with a beautiful collection of songs that really tell a story. I think it's a universal story for any seaside or oceanside community. It has the love, the longing, the ballad, the pub culture, and the fun." READ THE Q&A AND LISTEN

A true virtuoso, Mike Garson has had a very diverse career. Heard at his best with his own groups or with Free Flight, Garson has also toured with David Bowie and for a television movie on Liberace, he performed the music and had his hands used for the playing sequences of the film. He started playing piano when he was seven, studied classical music for ten years, graduated from Brooklyn College, served in the military, and then joined a rock group called Brethren that recorded. Garson soon gained experience freelancing with a wide variety of performers, including Mel Tormé, Thad Jones, and Annette Peacock; he also studied with Lennie Tristano and had an important six-hour lesson with Bill Evans. Garson toured with Bowie from 1972 to 1974, moved to Los Angeles, and worked with Freddie Hubbard and Stanley Clarke (1978). He became a busy studio musician (both composing and performing prolifically) and in 1982 joined Free Flight, a group that switches back and forth between classical, straight-ahead jazz, and funkier rhythms. Garson has recorded jazz as a leader for Contemporary (1979), Jazzhounds, Chase, and Reference. The world-renowned keyboardist shares his love of music with Sacramento's ABC10 - KXTV, how it plays into our psyche and spirit. He also talks about playing with David Bowie, and bringing the joy of playing piano into your home with Playground Sessions. WATCH

Deutsche Grammophon releases Gustavo Dudamel and the Los Angeles Philharmonic's performances of the complete Charles Ives symphony cycle. Called "a revelation" by the Los Angeles Times, the rarely heard symphony cycle was recorded in early 2020 as part of the LA Phil's Dvořák and Ives festival.   THE CLASSIC REVIEW's David A. McConnell writes.....Dudamel, the Los Angeles Philharmonic and DG deserve our warmest thanks for releasing new recordings of these endlessly fascinating works. The label "Complete Symphonies" is misleading however, since the "New England Holidays" Symphony is not included. Given the excellence of these performances, I hope Dudamel and Los Angeles turn their attention to that work in the future. Nevertheless, it is fantastic that one of America's finest orchestras has recorded this repertoire.   SEE THE CLASSIC REVIEW PAGE

FanFare's Henry Fogel writes.....Gregoriadou is a Greek guitarist who draws a remarkably wide range of color from her guitar. The calm beauty of the third movement of the Bach violin sonata, simply marked Andante, is followed by a brilliantly executed final Allegro that manages to wed crisp articulation with lyrical flow. Britten's Nocturnal after John Dowland, written for Julian Bream, is given a superb reading. The music is a set of variations that appear before the Dowland theme itself emerges at the end. Britten said that the music contained "disturbing images," though he never specified what they were. This is unsettled music that seems to stop and start, building tension in its halting, quiet way. Release, at least to a degree, is found at the end with Dowland's original theme. Gregoriadou's performance emphasizes the work's underlying tension without overplaying it. Sofia Gubaidulina's Serenade was composed in 1960 when the composer was 29, and is a gentler and more introspective work than we are used to from her. At three minutes, it is also very brief. Not unlike the Britten, the music is tonally ambiguous until resolving in what Gregoriadou, in her excellent notes, calls "a therapeutic G major chord." Jacques Hétu was a Canadian composer (1938–2010) who wrote his Suite pour guitare in 1986. It is predominantly a lyrical work, much of it at soft dynamics. The third movement, "Ballade," is marked by an underlying darkness that is relieved in the following "Rêverie." After these two quiet movements the work ends with a brilliant finale, in the style of a moto perpetuo. What is special about this recording is Gregoriadou's focus on timbre. Her technique is exceptional, but it is always at the service of creating a sound world with a wide spectrum. Her dynamic shading in the last movement of the Hétu is astonishing, and it is so effortlessly achieved that you don't think about technique as you listen. I don't think of Gregoriadou as a guitarist. I think of her as a musician who happens to play the guitar. This is a very beautiful guitar recital, with recorded sound that makes it seem as if you are in the room with Gregoriadou, and at just the right distance for the best perspective.