Acclaimed guitarist Todd Mosby joins me for the latest episode of Harmonious World. We all need perspective right now, and there's a lot of that in Todd's latest album - Aerial Views . Todd's comment about creating music that musicians will love to perform on is very apt and I finish with Aether, one of my favourite tracks of 2021. Harmonious World Podcast gives many thanks to Todd for allowing me to feature clips from Aerial Views alongside our conversation.
Over the last half decade, Shabaka Hutchings has established himself as a central figure in the London jazz scene, which is enjoying its greatest creative renaissance since the breakthroughs of Joe Harriott and Evan Parker in the 1960s. Hutchings has a restlessly creative and refreshingly open-minded spirit, playing in a variety of groups-most notably, Sons of Kemet, The Comet Is Coming, and Shabaka & the Ancestors-and embracing influences from the sounds of London's diverse club culture, including house, grime, jungle, and dub. "The common theme in my career as a jazz musician has been wondering if what I'm doing is the thing that I should be doing," says Hutchings, who studied classical clarinet at college at London's prestigious Guildhall School of Music & Drama. "Me learning about jazz, how to play and interpret, was always a case of just trial and error. I think where I've come to recently is I've stopped trying to think ‘Is what I'm doing valid? or ‘Is what I'm doing part of the jazz tradition?' and just see myself as a musician."
Hutchings is featured on the cover of the May issue of Downbeat. SEE COVER IMAGE
Skope's Sasha Lauryn writes....."A world in which people seek the uncertainties, and possibilities, of art" is the vision of one of the most innovative ensembles to be gracing the popular music landscape right now. With the recent release of their latest album, it's undeniable that Art Of Time Ensemble is bringing that vision to life. Led by the artistic direction and vision of Andrew Burashko together with arrangements by Jonathan Goldsmith who reinterpreted a wide array of songs that qualify as standards. Goldsmith stays faithful to the original melodies and form and then pushes the boundaries as far as possible in every conceivable way. After immersing myself in the deeply sensory sonic landscapes, mesmerizing motifs and hypnotic storytelling that their recent album ‘Ain't Got Long' boasts, I can say with certainty they do just that. The Canada based collective have been breaking archaic genre boundaries since 1998, as their eclectic mix of musicians has attracted captivated crowds on multiple tours. Honestly, I'm just waiting for them to announce their next road trip. This album features the phenomenal pipes of Madeleine Peyroux, Gregory Hoskins, Jessica Mitchell and Sarah Slean. Perhaps it's Andrew's perfect pairings of soundscape with singer or the astounding arrangements of the songs themselves that sets this album apart from anything I've experienced.
Whatever it is, I can't get enough.
READ THE FULL Skope Magazine REVIEW
WRTI's SUSAN LEWIS writes......The Catalyst Quartet uncovers music and the stories of the people who wrote it in its new recording series UNCOVERED. The first volume focuses on music by late 19th-century English composer, Samuel Coleridge-Taylor.
The Catalyst Quartet, founded in 2010 by the Sphinx Organization, aims to "reimagine" the classical music experience. "Sometimes classical music is presented like a museum piece," says violist Paul Laraia. "We want to make sure everything we do has relevance to today," and so the ensemble's programs reach out to a diverse audience, with diverse repertoire.
This new project, Uncovered, featuring music of composers who have been overlooked because of race or gender, begins with an album of music by Samuel Coleridge-Taylor, a Black English composer born in the late 19th century, the child of an English mother and an African father from Sierra Leone.
Ironically, Coleridge-Taylor, who was born in 1875 and died suddenly at the age of 37, was acclaimed during his short lifetime. Raised in England, he started violin at 5, joined the Royal College of Music at 15, and at 23, had a triumphant premiere of his cantata, Hiawatha's Wedding Feast, set to the poetry of Henry Wadsworth Longfellow. He toured the U.S., where he visited The White House at the invitation of President Teddy Roosevelt. He was so successful, the story goes, that New York musicians in the early 1900s began referring to him as "The Black Mahler;" others are said to have called him "The Black Dvorak."
And while Hiawatha's Wedding Feast remains familiar to many choral ensembles and you may recognize his melodies such as Deep River, much of his over 80 compositions, including operas, ballet music, songs, a symphony, violin concerto and chamber music are unknown today.
Volume 1: Samuel Coleridge-Taylor includes one quartet, and two quintets, one featuring pianist Stewart Goodyear, and one with clarinetist Anthony McGill.
LISTEN & WATCH THE 90.1WRTI: Philadelphia INTERVIEW
'SOMETHING came from Baltimore's' Thom Gouker......Yeah! This was a big thrill for me. I was nervous interviewing one of my favorite artists of all time, Joe Lovano, so I decided to ask him 20 goofy questions to see how he handled them. He easily accepted the challenge and spun junk questions into gold. It's very impressive and that it why I suggest that you check out the Youtube interview, we chatted for 1 1/2 and must of it make it to tape.
"Garden of Expression" is the sent album with the trio Lovano/Crispell/Castaldi, the first was the 2018 release "Seeds of Change"
Do we have to explain who Joe Lovano is????? This is copied from Wiki. Joseph Salvatore Lovano (born December 29, 1952) is an American jazz saxophonist, alto clarinetist, flautist, and drummer. He has earned a Grammy Award and several mentions on Down Beat magazine's critics' and readers' polls. He is married to jazz singer Judi Silvano with whom he records and performs. Lovano was a longtime member of a trio led by drummer Paul Motian.
LIMELIGHT Magazine's Clive Paget writes......Superlative soloists and compelling chamber music from a quartet on a mission.
One of the revolutions set in progress by last year's Black Lives Matter protests has been the refocusing of the classical music industry's attention of composers of colour, many of them historical figures formerly the preserve of the curious collector and rarely programmed live.
New York-based Catalyst Quartet was founded in 2010 by the Sphinx Organization, an outstanding Detroit-based social justice organisation dedicated to transforming lives through the power of diversity in the arts. The ensemble (Karla Donehew Perez, violin; Abi Fayette, violin; Paul Laraia, viola; and Karlos Rodriguez, cello) build programs and projects accordingly and this excellent release of music by Samuel Coleridge-Taylor is the first in a projected series of "Uncovered" CDs focussing on composers overlooked because of race and/or gender (others releases will include music by Joseph Boulogne Chevalier de Saint-Georges, William Grant Still, Florence B. Price, Coleridge-Taylor Perkinson, and George Walker).
CLICK HERE FOR THE LIMELIGHT PAGE
Spellbinding Music's GUILLAUME writes....Born in Chicago and based in Palo Alto, California, William Susman is an American composer and pianist whose work encompasses orchestral, chamber, vocal and soundtrack music informed by western classical, jazz, African and Latin American traditions as well as contemporary minimalism. Constantly toying with instrumental permutations – from solo performance to his scaled-down big-band formation Octet – the music of William Susman is a continuous exploration of harmonic and rhythmic patterns. Released in October 2019 and January 2021 respectively on his own Belarca label, Collision Point and A Quiet Madness introduce works spanning over 25 years.
This is "music for moving pictures" – to paraphrase the title of his documentary soundtrack released in 2009 – an astute and contemporary sonic expression of the "quiet madness" playing out on 24-hour news TV channels or as an infinite scroll on our smartphone screens.
READ THE FULL Spellbinding Music REVIEW
Icelandic pianist and post-classical composer Eydís Evensen has confirmed details of her debut album, BYLUR, which will be released on 23rd April, 2021 by XXIM Records, Sony's new imprint for innovative, post-genre instrumental music.
On 26 March 2021 the ambitiously multifaceted musician/composer Clark presents his chillingly affecting ninth studio album Playground In A Lake, on which he broadens horizons and tries new things, with profound results.
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), and "Summer Rising" (May 28) set for global release on Verve.
The English pianist Benjamin Grosvenor is one of today's most sought after pianists. Ever since winning the BBC Young Musician of the Year at the age of 12 in 2004, Grosvenor has developed an International career that has seen him perform with the world's top Orchestras and make several award winning recordings on the Decca Record label.
Benjamin Grosvenor's latest release that comes today, February 19, 2021 features the music of Liszt…and not just any Liszt! Grosvenor has recorded some of the most difficult and monumental music that Liszt ever composed:
Piano Sonata in B minor, S. 178
Berceuse, S. 174ii
Tre sonetti di Petrarca, S. 161/4-6
Réminiscences de Norma, S. 394 (after Bellini)
Ave Maria, S. 558/12 (after Schubert)
When asked why Grosvenor chose to record the music of Liszt Grosvenor says "He had so many sides to him as a person but also as a musician…some composers I suppose, if you were to devote and entire disc to them you might worry about a lack of variety, but with Liszt and his compositional output, there's such a lot of variety and there is also the fact he was such an incredible transcriber of other people's music. He had amazing gifts in taking a whole opera and summarizing it in to a paraphrase of 15 minutes."
What Grosvenor is referring to is his recording of the Reminiscences de Norma (after Bellini) that can be found on this latest disc. A piece that demands that the pianist is totally secure in his technique, and also that he has a clear idea of the narrative that Liszt is trying to get across in the music. Grosvenor succeeds in spades on both counts!
The centre-piece of his latest recording is the vast and expansive Liszt B minor sonata. This is a sonata that would send lesser mortal pianists running for the exit due to its technical requirements, intense interpretive demands, and need for sheer endurance needed by the pianist. The piece is in one large chunk that lasts roughly 30 minutes. As Grosvenor says "It's a piece to be consumed in its entirety" And what a feast! Grosvenor has shown that he is clearly up to the task. He has made a recording that is 30 minutes of sheer delight. The interpretation is engaging, and interesting; this combined with Grosvenor's technical perfection and innate ability to sing through the piano make this truly a musical banquet; complete with sides, tea and fine French pastries.
"It's an extraordinary journey filled with so many different emotions…throughout there is this kind of contrast between the divine and the diabolical," says Grosvenor. "There is this sort of devilish element which he sets out in the characters that we hear on the very first page...In terms of the structure, the whole piece is developed from material we hear in the first minute of the piece."
Throughout so many of his recordings and performances Benjamin Grosvenor has proven himself to be a master of lyricism and the ability to change tonal colors at the drop of a hat, as the music requires. This element of Grosvenor's playing comes shining through in his interpretations of the three Petracha Sonettos that come from Liszt's 2nd Book of Years of Pilgrimage. These pieces can also be found on the disc. "They are intimate works, they are inspired by poems of the 14th century poet Petrach," Grosvenor says. "They are all love poems essentially, and Liszt picks three that offer three contrasting visions of love." Here again Benjamin Grosvenor manages to bring out the tenderness and also the dramatic aspects of these three pieces.
This latest recording of the music of Liszt marks not only his latest triumph on record, but it also marks Grosvenor's renewal of his contract with Decca Records. "It's great to be continuing my partnership with them. I've recorded for Decca for ten years now, I signed when I was 18. I hope there will be many more years to come, and I look forward to the next few discs we have with this contract."
For us as listeners let's hope the partnership Grosvenor has with Decca is long and fruitful, because if this if this latest disc is anything to go by, it is going to fantastic partnership!
Hot on the heels of his 2020 Diapason d'Or and Gramophone Award triumphs, British pianist Benjamin Grosvenor presents his first album in a renewed exclusive partnership with Decca Classics.
The album, Liszt, is released on 19th February 2021, signifying Grosvenor's most substantial solo recording to date, centred around the works of the Romantic piano virtuoso and composer, Franz Liszt. The release marks Benjamin's sixth album on Decca Classics, following the award-winning Chopin Piano Concertos in 2020.
Grosvenor says, "Decca Classics has been my recording home for the last decade, and I'm pleased that we are continuing our partnership with this new release. The music of Liszt has been central to my repertoire since I was introduced to it as a child, by my grandfather. I wanted with this recording to show the composer in his different aspects, including some of his original compositions, but also displaying the extraordinarily re-creative abilities he showed in his transcriptions."
British pianist Benjamin Grosvenor presents a new recording of two concerto favorites: Chopin's Piano Concertos Nos.1 and 2, released on Decca Classics. Recorded with Elim Chan and the Royal Scottish National Orchestra (RSNO), the record marks Benjamin's fifth album on Decca Classics, following the hugely successful Homages in 2016, and is his first orchestral album since 2012.
These works have been an active part of Grosvenor's repertoire since his early teens: "Chopin was the first composer to whom I felt a strong connection as a child. I have always been drawn to his music, and his piano concertos are among some of the finest in the repertoire." Of the new recording, which came to fruition following a successful performance of the Piano Concerto No.2 with Elim Chan and the RSNO in 2018, Benjamin notes: "I am delighted to have the opportunity to collaborate with Elim and the outstanding musicians of the RSNO." Benjamin appears this spring in the US performing the Piano Concerto No.1.
In this new recording, British pianist Benjmain Grosvenor explores works by great composers paying tribute to their predecessors. Among these works, Mendelssohn looks back to the Prelude & Fugue form made so popular by Bach; and Franck does likewise (adding a Chorale as a central section). Busoni takes Bach's great solo violin Chaconne, presenting it in a bold transcription for piano; Chopin breathes new life in to the traditional ‘Barcarolle' of Venetian gondoliers, followed ten years later by Lizst's tribute to Italian folksong, Venezia e Napoli. From the 20th Century, Ravel looks to the traditional baroque suite for inspiration for his Tombeau de Couperin (available only on the digital release). The new album will be released by Decca on September 9, 2016.
16 NEW 49 TOTAL
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Benjamin Grosvenor presents Dances, a glittering album shining the spotlight on music from Bach to Boogie Woogie via Chopin, Scriabin, Granados and the Blue Danube. Grosvenor states: "This album's inspiration comes from a letter in 1909 from Busoni, proposing a ‘dance program' comprising original compositions and transcriptions.With Bach's 4th Partita as its starting point, this recording presents a chronologically and geographically wide-ranging recital of works by composers (and transcribers) to whose output the keyboard was central, featuring both familiar and more obscure gems from the piano repertoire."
26 NEW 53 Total
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