No doubt, you've heard some new music in rotation lately on KXPR - music that seemingly stands a bit outside of what you are used to hearing on the classical station. There's no question that the standard European repertory that we've come to associate with classical music is important. The music is beautiful, powerful, and well, classic. But there's a whole world of amazing and unique classical music either rarely presented or being created right now across the globe. On KXPR, we want to bring you examples of the diverse face of classical music today. Among our few examples of the broad classical music reach we're spinning, from Manhattan (New York OR Kansas) to Mumbai is....Amjad Ali Khan - "Love Avalanche" - Performed by Sharon Isbin.
Guitarist Sharon Isbin has been incredibly busy of late. One of her three albums released within the last year is called "String for Peace."
The record is Isbin's first foray into the intriguing sounds of Indian classical music. It's not always easy to separate classical music from its traditional European roots. But when I listen to the music of Amjad Ali Khan, I am reminded that there is so much more out there.
Isbin and Ali Khan have been working on making this collaboration happen for nearly a decade. Isbin's guitar is paired with traditional Indian instruments including the sarod, played by Amjad and sons, and the tabla. Ali Khan says of the collaboration, "The idea is to achieve a cross-fertilization at both the cellular and cosmic levels of two classical music traditions, which are often held to be radically different."
You can hear more about the recording on a recent episode of New Classical Tracks from Minnesota Public Radio.
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No doubt, you've heard some new music in rotation lately on KXPR - music that seemingly stands a bit outside of what you are used to hearing on the classical station. There's no question that the standard European repertory that we've come to associate with classical music is important. The music is beautiful, powerful, and well, classic. But there's a whole world of amazing and unique classical music either rarely presented or being created right now across the globe. On KXPR, we want to bring you examples of the diverse face of classical music today. Among our few examples of the broad classical music reach we're spinning, from Manhattan (New York OR Kansas) to Mumbai is....Jean Michel Blais - "Nostos" - Performed by La Pieta
Jean Michel Blais draws inspiration from a lot of composers, but is probably most akin to minimalists like Philip Glass and Steve Reich. "Nostos" was improvised initially on the piano in the composer's bedroom in Montreal and recorded on a Zoom microphone, a style of collaboration all too familiar to many of us these days.
On the album "Pulsations," the work is arranged for string orchestra and the cinematic qualities of the piece are very apparent. "Nostos" is chock-full of emotional, sweeping melodies and lush textures. The title in Greek refers to an epic journey by sea like the one found in Homer's "Odyssey," and the piece sounds as though it could easily be the accompaniment to a hero's return to his loved ones from battle.
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No doubt, you've heard some new music in rotation lately on KXPR - music that seemingly stands a bit outside of what you are used to hearing on the classical station. There's no question that the standard European repertory that we've come to associate with classical music is important. The music is beautiful, powerful, and well, classic. But there's a whole world of amazing and unique classical music either rarely presented or being created right now across the globe. On KXPR, we want to bring you examples of the diverse face of classical music today. Among our few examples of the broad classical music reach we're spinning, from Manhattan (New York OR Kansas) to Mumbai is....
Caroline Shaw - "And So" - Performed by the Philharmonia Baroque Orchestra & Anne Sophie von Otter. I just love how this song begins: A harpsichord and a voice, that's all. The way that something so simple can command your attention is a testament to how great a composer Caroline Shaw is.
She utilizes the rest of the orchestra very carefully as they pluck their way through the second verse, all the while momentum builds in the stunning mezzo-soprano voice of opera star Anne Sophie von Otter. Caroline Shaw is an expert at writing gorgeous melodies that weave through unique textures in the ensemble. "And So" is part of a larger song cycle called "Is A Rose" that juxtaposes 18th and 21st-century poetry and music.
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Award-winning violinist Ray Chen, described as "the ray of sunshine in the violin world" by The Times, has announced his new studio album Solace, professionally recorded and released from his home during the global lockdown, will be digitally released on 7 August 2020. Solace features six movements from J. S. Bach's Six Sonatas and Partitas for Solo Violin representing the personal and powerful feelings Ray Chen has experienced this year.
Violinist Ray Chen will digitally release his new Bach album ‘Solace', recorded from his home during lockdown, on 7 August 2020.
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Music of all kinds are tending toward a consciously experimental direction. Maybe we're finally getting through to them.
In spite of the great lull in today's rock music climate, 2015 proved an astonishing year for experimental music, signifying the simultaneously shrinking and expanding gap between avant-garde and pop traditions. Several of this year's releases, like Clarence Clarity's ineffable No Now or new albums by Oneohtrix Point Never and Holly Herndon, tackle heady concepts of global capitalism and hyper-connectivity of the Internet Age.
While some albums venture into brutal and immersive territory-Blanck Mass' Dumb Flesh, Colin Stetson and Sarah Neufeld's Never were the way she was, and Prurient's Frozen Niagara Falls-others are glossy and luminous-for instance, the bubblegum bass of PC Music's new compilation or the plinking and clinking of Battles' La Di Da Di. Overall, music of all kinds seems to be tending toward a consciously experimental direction.
Just look at recent music from hip-hop greats Kendrick Lamar and Kanye, or even the work of pop stars Lady Gaga and Miley Cyrus. Maybe we're finally getting through to them.
In April, a couple of Constellation instrumentalists-Colin Stetson and Sarah Neufeld-got together to produce the craggy shambler Never were the way she was. The two have occupied close quarters in the past (in Arcade Fire, Stetson was a collaborator and Neufeld a core member). Here, the two position themselves outside the formal constraints of classical and jazz, though the traditions inform their work as much as any others. Never were the way she was tells the story of a girl "who ages slow as mountains; excited, exalted, and ultimately exiled in her search for a world that resembles her experience".
"The sun roars into view" roars into view from a ghostly wisp into a Lovecraftian beast, and "In the vespers" is a jubilant breaking free from a wildwood enclosure. And few song titles more adequately describe their own effect than "With the dark hug of time". Between Stetson's torrential blasts and clacks of bass clarinet and contrabass sax-waves smashing ceaselessly on the shore-and Neufeld's relentless flourishes of string-an epic weaving of linen tapestry-Never were the way she was implores us to contemplate our journey rather than plow through it. To adequately hum these tunes, your entire lymphatic and digestive systems must hum as well.
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Violins of Hope is an artistic and educational project composed of instruments that were owned by Jewish musicians before and during the Holocaust. Violins in the collection were played in the concentration camps and ghettos, providing a source of comfort for some and a means of survival for others. The project was founded by Amnon Weinstein and his son Avshalom, Israeli luthiers who collect these instruments, refurbish them to concert quality, and bring them to communities all over the world, so that their voices can be heard again. The Violins of Hope have traveled to Jerusalem, Sion, Madrid, Maastricht, Monaco, Rome, Berlin, London, Bucharest, Dachau, Dresden, and Auschwitz. In the United States, the project has been presented in Charlotte, Cleveland, Houston, Jacksonville, Sarasota, Washington, D.C, Cincinnati, Nashville, Birmingham, Knoxville, Phoenix, Louisville, Fort Wayne, and San Francisco.
89.7WCPE: Wake Forest NC classical host, Rob Kennedy spoke with Niv about the recording. Listen to the attached interview.
During a conversation with Guitar Player, Al Di Meola, he explains his problem with shredders. Names Surprising Connection With Iconic Rock Song. He says; "They're just going off on the guitar. I come from a compositional background."
During a conversation Di Meola talked about his staple track "Dance With the Devil on Spanish Highway," released on his classic album, 1977's "Elegant Gypsy." "It's a very funny song, in a way," Al said, adding: "By that, I mean the way it's been perceived and written about is a little strange. "It's that word 'shred' that I'm not crazy about. It just feels so limiting and certainly not a good way to describe what I do - because a lot of shredders aren't known as good songwriters. "They're just going off on the guitar. I come from a compositional background. "Even when I played with Return to Forever, we emphasized writing, although we were certainly known for technique. So this song is interesting to me, but not always in the ways that people like to talk about it.
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The first-time teaming of Poland's dynamic Marcin Wasilewski Trio and big-toned US tenorist Joe Lovano brings forth special music of concentrated, deep feeling, in which lyricism and strength seem ideally balanced.
Sony Music Masterworks today releases Not Our First Goat Rodeo, the long-awaited follow-up album to the GRAMMY Award-winning The Goat Rodeo Sessions, with Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile.
Blues Hall of Famer Bettye LaVette has decided to release her stirring rendition of "Strange Fruit" ahead of schedule as it says as much about the history of American racism and the state of the country today.
The Comet Is Coming - Trust In The Lifeforce Of The Deep Mystery makes Treble '10 Best Jazz Albums of 2019'
Posted: December 12, 2019 12:00 AM
| By: Admin
Comparing the year in jazz to that of 2018 is a little like comparing this year in metal to its predecessor-on the surface it seems hard to compete with 12 months of obvious ringers. After all, last year revealed the first set of unheard John Coltrane music in decades. I mean, this year also yielded a set of unheard Coltrane pieces, which was pretty cool as well, but they were still essentially alternate versions of pieces we'd already heard, and the novelty wasn't quite as strong. But if the strength of a jazz year can only be measured by the freshness of its rare Coltrane recordings, well, most years would be pretty disappointing. And honestly, to focus on 50-year-old outtakes when so much great new material is being recorded feels at best shortsighted and at worst intransigent. Jazz this year was dominated not by headline-grabbing archival music but by the sheer strength of new artists honing their craft. Some of them have made this list before (Yazz Ahmed, Shabaka Hutchings). Some of them are best known in other genres (Cochemea). And some arrived well out of left-field (Paisiel). But the one thing they have in common is that they all reveal something new about a 100-year-old style. Here are the best jazz albums of 2019.
I've always been somewhat skeptical of anything described as "nu-jazz," as more often than not it's less jazz and more downtempo electronic music to pulse through the lobby of a trendy, high-end boutique hotel. The Comet Is Coming, however, are a proper jazz outfit who just so happen to sound like they're prepped to launch into hyperspace, thanks in large part to Danalogue's synth-heavy atmospheres. Yet saxophonist Shabaka Hutchings and drummer Betamax are what bring the project back down to earth with both an emotionally powerful presence and grooves that never relent. One need only give one spin to standout jam "Summon the Fire" to understand that this group is simply not fucking around-they're certainly headed for the cosmos, but they're getting asses shaking on the ascent. Trust In the Lifeforce of the Deep Mystery is the group's Impulse! debut, putting them in the league of giants like Charles Mingus and John Coltrane (and Hutchings' other group, Sons of Kemet), and while those might be big shoes to fill, it's to the iconic label's credit that groundbreaking talent like this-making something truly innovative from an electronic/jazz combo that's been stuck in M.O.R. range for too long-is carrying their its forward into the 21st century.
"Bridging the gap between experimentation and accessibility" (Rolling Stone), The Comet Is Coming announces the digital release of the group's highly-anticipated mini-album The Afterlife, via Impulse! The Afterlife will serve as a companion piece to the group's breakout album Trust In The Lifeforce Of The Deep Mystery and the lead track "Lifeforce Part II."
"The Afterlife has been a topic of deep consideration and of the keys to spiritual mythology around the world for millennia," claims kinetic keyboardist Danalogue. He continues to state "The two records can be seen as companions, that cannot exist without each other, like day and night, light and dark, creation and destruction. They were made together, at the same time, and have always been intended to be experienced together."
The Comet Is Comingreleases their Impulse! Debut - Trust In The Lifeforce Of The Deep Mystery US tour starts March 12. Includes; Los Angeles, SXSW, New York, Philadelphia, DC, Big Ears, Bonnaroo
The Comet Is Coming, "an improvisational, intergalactic mash-up" (The Guardian), will release their Impulse! debut, Trust In the Lifeforce Of The Deep Mystery, on March 15. Their first-ever US tour begins in Los Angeles on March 12 and takes them through SXSW, NYC, Philadelphia, DC, Big Ears Festival and finally lands them in Bonnaroo on June 13. The first track from the album, "Summon The Fire," is available today.
The Comet Is Coming, who in 2016 were shortlisted for the Mercury Music Prize, is comprised of King Shabaka (Shabaka Hutchings) on saxophone, Danalogue (Dan Leavers) on keys/synth, and Betamax (Max Hallett) on drums. On this album, Trust In The Lifeforce Of The Deep Mystery, the trio envisage a 21st century take on spiritual jazz that is part Alice Coltrane, part Bladerunner.