SFCV's Lou Fancher writes.....Unexpectedly, in a conversation with American Indian composer and pianist Jerod Impichchaachaaha' Tate, superlatives like "fabulous," "stupendous," and "sensational" are frequent. It's language you might anticipate from haute couture fashion designers or theater critics overwhelmed by a successful production; hardly the words expected from a serious, acclaimed classical music composer. But if there's one word that most defines the taproot from which he draws inspiration it is "ethos."
Tate was raised in a music- and talk-filled home; and his father, who is Chickasaw American Indian is a classically trained pianist and vocalist who practiced law, specializing in Chickasaw politics. His mother, a dancer, choreographer, and professor at the University of Wyoming for more than 30 years, is of Irish descent. Tate holds a bachelor of music in piano performance from Northwestern University and a master of music in piano performance and composition from the Cleveland Institute of Music, where he studied with Elizabeth Pastor and Donald Erb.
Tate's commissioned works have been performed by the National Symphony Orchestra, San Francisco Symphony and Chorus, Dallas Symphony Orchestra, Detroit Symphony Orchestra, Minnesota Orchestra, Oklahoma City Philharmonic, Colorado Ballet, Canterbury Voices, and Dale Warland Singers, among others. He has been commissioned three times by the American Composers Forum and his music was recently featured on the HBO series Westworld. Most often, his compositions merge classical music with his Chickasaw culture, but also extend to include the music and language of nearly a dozen other American Indian tribes. He is guest composer/conductor/pianist for the San Francisco Symphony Currents program in a virtual production, Thunder Song: American Indian Musical Cultures.
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WAMU: Washington DC - Kathryn Fink writes.....U.S. Poet Laureate Joy Harjo has been busy during the pandemic. She recently released her first spoken word album in over a decade entitled "I Pray For My Enemies." She edited a new anthology called "Living Nations, Living Words: An Anthology of First Peoples Poetry." And she's set to release a new memoir this fall.
Oh, did we mention she's also been appointed to a rare third term? We talk with Harjo about her latest work - and what it means to be the first Native poet to serve as U.S. Poet Laureate. PHOTO: VALERIE MACON/AFP via Getty Images
Critics' Point writes.....The distinguished guitarist Smaro Grigoriadou is a special case among her colleagues, as through an endless filial mood, which over the years not only does not decrease, but intensifies, she explores the sound and technical possibilities of her instrument. Her constant companion is her teacher, George Kertsopoulos (b. 1952). The Kertsopoulos , student of the unforgettable guitarist and Master Dimitris Fabas (1921-1996), has dealt extensively with the construction of instruments, especially guitar, which provides the opportunity to experiment in depth and is creating institutions that offer new opportunities to performers their. The Grigoriadou plays and records holding in his hands exclusively his guitars.
Even in the difficult times we are experiencing, the musician proves that she is present. Confirming its steady presence in the music scene, and not only domestically, but also internationally, it recently proposed a new record, recorded by the American company Delos (Delos, based in Sonoma, Southern California). This is her fourth album released by this record label.
The album, which bears the full meaning and significance entitled A Healing Fire ( A Therapeutic Fire ), hosts two musical eras composers pages of the Baroque era and three twentieth (if even two of them, and twenty-first) century. We will mention from the beginning that all the works that are heard are arrangements of the same, a fact that gives her more space and freedom to add her own personal interpretive touches.
The recorded program opens with the transcription for Sonata for Violin no. 2, in minor, BWV 1003 , by Johann Sebastian Bach (1685-1750). The Grigoriadou interprets the introductory part, Grave , with the required reflective mood, proceeding then to a classical clarity and attention to the approach lighting bachianis plurality of the second part, Fuga . The third part, Andante , grafts with emotion , while her finger flexibility and energy stand out in the fourth part, Allegro .
He then explores the Night by John Dowland ( N octurnal after John Dowland ), Op . 70 , by Benjamin Britten (1913-1976), completed in 1963 especially for the important and relatively recently lost guitarist and lute player Julian Bream (1933-2020). The latter premiered the play on June 12, 1964, at the Aldeburgh Festival. We will remind you that thanks to Bream, the guitar repertoire of the twentieth century was enriched with many valuable works. He had the perspicacity, readiness and foresight to ask for and inspire great composers of his time ( William Walton , Michael Tippet , Richard Rodney Bennett , Malcolm Arnold , Alan Rawsthorne , Lennox Berkeley and Hans Werner Henze , to name just a few names that spontaneously come to mind) to write about the guitar, an instrument that is completely special and really inaccessible to anyone who does not know their secrets well.
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Pianist and music educator David Korevaar recently released a recording of Lowell Liebermann's piano music – the third volume in his series devoted to Lowell Liebermann's solo piano music on the MSR Classics label – as he continues his journey of recording all of Liebermann's works for the piano. This release features each of Liebermann's original works for solo piano composed between 2001 and 2017, including world premiere recordings of his Nocturne No. 8, Op. 85; Nocturne No. 9,Op. 97; Nocturne No. 10, Op. 99; and Nocturne No. 11, Op. 112. Additional works include Liebermann's Piano Sonata No. 3, Op. 82; Schubert Variations, Op. 100; and 2 Impromptus, Op. 131.
Julie says, "David is obviously a very talented pianist, but I was curious about the prospect of recording the music of someone who has been a friend for so long… especially when, as in this case, you're creating the premiere recordings of some of those works. We talk about that, as well as the challenges of being a university music professor during a pandemic and the musical works he recommends students explore. Based on his caring attitude and thoughtful list, I think I would have enjoyed having David as a piano instructor!"
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The third volume in David Korevaar's highly acclaimed series devoted to Lowell Liebermann's solo piano music (MSR Classics MS1688) continues his journey of recording all of Liebermann's works for the piano. This release features each of Liebermann's original works for solo piano composed between 2001 and 2017, including world premiere recordings of his Nocturne No. 8, Op. 85; Nocturne No. 9, Op. 97; Nocturne No. 10, Op. 99; and Nocturne No. 11, Op. 112. Additional works include his Piano Sonata No. 3, Op. 82; Schubert Variations, Op. 100; and 2 Impromptus, Op. 131. Korevaar sat down with New Jersey Net's David Osenberg to discuss the recording.
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Enjoy conversations with and performances by classical musicians of local, national and international fame on The Classical Network's award winning program Cadenza - winner of the 2014 ASCAP Foundation Deems Taylor/Virgil Thomson Radio Broadcast Award.
All About Jazz: Bob Osborne writes......2021 is proving to be the gift that keeps giving for new jazz releases. Curtis Andrews returns after a long break from releasing music to deliver an album which is rich in rhythmic exploration, modal and raga-based melodies, and some truly virtuosic performances. There's also the debut from Martin Frieberg, Dennis Gonzalez Ataraxia Trio's second offering, a new one from Tom Rainey's excellent Obbligato band, and a selection of other new albums which ably demonstrate the wide variety of music available in the World of Jazz.
Notes With Attachments, the new album from renowned bassist Pino Palladino and celebrated multi-instrumentalist and producer Blake Mills, released on March 12 via New Deal / Impulse!. Initially conceived as a solo record for Palladino, Notes With Attachments quickly evolved into a fully collaborative work centered around the two artists' love for experimentation. 'Just Wrong' & 'Djurkel' are featured on All About Jazz: Bob Osborne's 'Selection Of New Releases' for April.
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The first in the series of the Penderecki in Memoriam Podcast features internationally renowned Irish pianist Barry Douglas CBE. Winner of the Gold Medal at the 1986 Tchaikovsky International Piano Competition, Douglas collaborated closely with Penderecki including the 2007 premiere performance and recording of the composer's large-scale, single movement work Piano Concerto "Resurrection". This 19-minute podcast, hosted and produced by Crossover Media's Max Horowitz, was curated and produced by PCINY's head of music programming, Anna Perzanowska.
Penderecki in Memoriam Podcast will present a comprehensive portrait of the composer with insightful commentary and memories from musicians, conductors, colleagues, composers, writers, and historians including Barry Douglas, JoAnn Falletta, Larry Foster, Elliot Goldenthal, Jonny Greenwood, Michail Jurowski, Laura Kaminsky, Louis Langrée, David Lynch, Anne-Sophie Mutter, Kent Nagano, Rafael Payare, Julian Rachlin, Leonard Slatkin, Krzysztof Urbanski and Antoni Wit, among others.
Three-time GRAMMY Award-nominated pianist Joey Alexander follows his major-label debut album, WARNA (Verve Records), with three new singles "SALT" (March 19: LINK), "Under the Sun" (April 23: LINK), and "Summer Rising" (May 28) set for global release on Verve.
Multi GRAMMY® Award-winning pianist/composer Arturo O'Farrill and nonprofit the Afro Latin Jazz Alliance (ALJA) announces today they have reached more than 1 million people in over 25 countries through their innovative "ALJA Digital Village" programming since its launch one year ago in March 2020.
Cande y Paulo, the Argentinian duo who caught the attention of the world when a performance of ‘Barro Tal Vez', an achingly intense but minimalist Argentine rock classic went viral on YouTube amassing over 12 million views, today announce their debut.
This is the third volume of the Danish String Quartet's ongoing Prism series, which shows how the radiance of Bach's fugues is refracted through Beethoven's quartets to illuminate the work of later composers.
Todd Mosby's 'Aerial Views' succeeds on its own artistic terms, evoking the beauty and clarity of the open skies / the arts fuse
Posted: November 11, 2020 12:00 AM
| By: Admin
St. Louis–based Todd Mosby's Aerial Views flies toward the pastel sunset horizon where world music meets New Age and smooth jazz. Mosby is an unusual guitarist who makes relatively conventional records. He comes from a bluegrass background, but he has studied closely with Indian sitar master Imrat Khan and learned classical North Indian technique. Mosby draws on both in his acoustic performances by playing a hybrid "Imrat guitar" he helped design, a half guitar and half semi-sitar.
"This is as brilliant a recording as I have ever been associated with," states Will Ackerman, the founder of Windham Hill Records and producer of the CD. This is high praise from the man who essentially established the genre of New Age music. Ackerman brings his familiar Windham Hill touch to this disk, and it is as brilliantly engineered as you would expect. Ackerman doesn't overdo it with the reverb or hissy digital sound. It's difficult to effectively mix melodic acoustic guitar over a rich instrumental background, as Pat Metheny and Earl Klugh know well, but it is accomplished here with delicacy and immediacy.
Mosby brings a touch of bluegrass to the proceedings, so there is more folksy appeal here than you'd expect in slick New Age music. He's not hesitant to outright strum. The guitarist also tastefully adds some fretboard and string effects that remind me of the late (and greatly missed) Windham Hill guitarist Michael Hedges.
The compositions, according to the notes, are "influenced, in part, by Mosby's childhood co-piloting experiences with his father." The concept "depicts a journey across the skies." The opening track, "Gliding," is indeed bright and airy - it exhales a cool exhilaration. "Aether" proffers a slow, gradually unfolding melody that is picked up by Premik Tubbs on soprano sax via a solo of long-held notes. "Earth & Sky" has a nice groove that includes an unexpected sonic blend of the Imrat guitar and snare drum, although I could do without the spa-soundtrack wind synth Indian flute (can't Tubbs play a real wooden flute?). "Into Starlight" is music for the hot tub, especially when Lola Kristine enters with echoey wordless vocals. Still, a strong backbone of rhythm guitar and percussion keep it tethered to earth. A taste of Tony Levin's melodic fretless bass arrives, but it soon becomes lost in the wordless ooh-ahh vocals and that lame wind synth Indian flute again.
Charlie Bisharat's violin is featured on several tracks, adding some classical dignity. Other effective sonic touches are Tubbs's lap steel guitar, Levin's powerful fretless bass, Kristine's George Winston–like piano, and Jeff Haynes's consistently tasteful percussion. The sonic palette isn't as wide here as it is on the Pat Metheny Group records, and the soloing isn't nearly as ambitious. But there are similarities in the careful layering, airy spaciousness, and carefully arranged entrances and exits of instruments to vary textures and enhance emotional impact.
Aerial View may not be for all tastes, but it succeeds, on its own artistic terms, in evoking the beauty and clarity of the open skies. This is lovely and relaxing music. It may not be challenging music but, if you let your guard down, you might be uplifted.
If the music on guitarist and composer Todd Mosby's newest release, Aerial Views, seems to take flight and soar, that's not coincidental. From the time he was six years old, Mosby has been in love with flying-now, on this collection of a dozen towering tracks, he conveys that sensation through his music.
"I had early childhood experiences piloting my father's plane; he was a professional aviator," Mosby says, "and we spent a lot of time in the air, feeling a special freedom and independence whenever we took to the sky. As I grew older, that freedom evolved into an ever expanding musical and spiritual journey. Music became integral to my sense of centeredness, allowing my spirit to take flight through rhythm and melody. Practice was like a meditation and prayer, performance allowed my soul to soar. "
Produced by Windham Hill Records founder Will Ackerman, and with a sound described as "an album to daydream to", Open Waters finds Mosby once again embarking on a creative journey navigating through elements of Jazz, New Age, Folk and Indian music. Coming from a family of inventors (he is the co-inventor of the Imrat guitar along with Kim Schwartz and Imrat Khan), Mosby's early musical DNA was formed from his love of Bluegrass and Folk music, which eventually expanded into Fusion and Jazz.