This is another remarkable set from soprano maestro, Jane Ira Bloom, and even a departure for the saxophonist herself being her first trio album, and thus abandoning (temporarily at least) the quartet format in which she has made her home in recent years. Stepping away from having a chordal instrument as a harmonic crutch is often a leap of faith for many musicians, but as a specialist in the treacherously pitched soprano saxophone, you are not only confronting your own skills and intuition as an improviser but also, as the only lead voice and main soloist having to dispel the preconceptions of others as to the wisdom of such a move.
If any of the above entered Bloom's thought processes when contemplating this recording, then she certainly does not let it show. Her playing is as flawless as one has come to expect and once again she has produced music of great individuality and originality that could belong to no one else. With the somewhat small and limited legacy of fellow soprano specialist, she is beholden to no one and fearless in the way she exerts her own authority and personality upon this difficult instrument.
READ THE FULL Jazz Views REVIEW
Fans of Loreena McKennitt will have additional opportunities to see the world and Celtic music star this fall. McKennitt continues her acclaimed A Trio Performance tour this fall, with 25 shows on the schedule in the U.S. and Canada. Here's what fans need to know about the upcoming fall leg of the tour, which opens October 12 at Michigan Theater in Ann Arbor, Michigan.
The tour continues with a number of stops in the Midwest and into the Southeastern parts of the U.S., with cities including Chicago, St. Louis, Memphis, and Atlanta among the stops scheduled for this fall. Three stops are scheduled in the Canadian province of Ontario. The fall leg of the A Trio Performance tour wraps up November 10 with a performance at Massey Hall in Toronto. Concert details and ticket information are posted on McKennitt's website. As reported previously on AXS, McKennitt's earlier legs of the tour saw sold-out shows.
READ THE FULL axs ARTICLE
Cory Henry will join The Roots tonight on The Tonight Show Starring Jimmy Fallon as the Snarky Puppy member promotes his latest album The Revival, out now via GroundUP Music/Verve Label Group. Cory Henry has been playing the Hammond B-3 organ since he was two years old and on The Revival, he has crafted a tribute that shows where the instrument has been and where it can be taken in his monumentally talented hands. Filmed and recorded in Henry's native Brooklyn at the Greater Temple of Praise, The Revival finds Henry taking the organ across multiple genres – gospel, R&B, jazz, soul – in a performance that needs to be seen as much as heard. Snarky Puppy band mate Michael League calls The Revival "a master class for the organ."
The Tonight Show airs at 11:35 PM ET on NBC. Currently, Henry is off the road but will return in October for a series of solo shows in Europe beginning October 5 in Amsterdam. SEE THE Jambands LISTING
Violinist, violist, and conductor Pinchas Zukerman is close to 70 years old, but shows no signs of slowing down. Or wanting to do so. When I chatted with him for this feature, he was set to perform with his longtime musical partner, Itzhak Perlman, and head to the Berkshire Hills and Tanglewood to speak to several thousand people of the importance of music in one's life. The Deutsche Grammophon label (which is part of Universal Classics, and therefore owns several labels), has a broad-ranging release of 22 CDs that Zukerman made between the mid 1970s and the 1990s. As All Classical's music director, and an employee here since the station's founding in 1983, I'm familiar with nearly every recording. As I learned in talking with Mr. Zukerman, I may be more familiar with his CDs than he is! But that's understandable: the ever-busy musician says while he remembers many of the recordings, he won't be "staring out the window" reminiscing about them, because there's still so much music making to do. Mr. Zukerman says of the role of music in his life: "I am born to make music. Music is my motive since I was five years old, it gives me energy, emotion, everything." This collection gives nearly everything that a fan of this musician, who has 5 decades of performance already racked up, could hope for. In my conversation, you'll hear selections of Cesar Franck's Sonata in A; Vivaldi's "Spring" concerto; a viola sonata by Brahms; Mr. Zukerman conducting horn soloist Hermann Baumann and the St. Paul Chamber Orchestra; and partnering with a then 10-year-old Midori. A collection that serves as a document of one man's contributions to music, and to our lives.
LISTEN TO THE All Classical Portland SEGMENT
At first, I thought with the blast of orchestration, that this was going to be some lush, Martin Denny exotica type excursion. But, I was wrong. Ron Davis teases the ears with the introduction and then puts the music in high gear. Simple piano chords hook the listener at the onset as the orchestra builds on a compelling melody -- then, Davis starts tossing out notes in a Dave Brubeck captivating piano style. The orchestra is what gives Davis a distinctively different edge. It's not small combo -- it's almost like someone asked themselves what would Mantovani or Percy Faith sound like if their music was jazzier, edgier or challenging?
The shame of Lawrence Welk's Orchestra, back in the 50's & 60's is that many of his musicians were accomplished jazz-big band musicians and they seldom had a chance to just let loose. That's not an issue here with Ron Davis' orchestra. Not in the least. The approach has a nice provocative tint.
READ THE FULL No Depression REVIEW
Soprano saxophonist Jane Ira Bloom does something new on her latest album, the 52-minute Early Americans. On her 16th release as a leader, she strips the proceedings down to a trio format. The result is a dozen Bloom originals (and one Broadway standard) which crackle with sustained fortitude, snap with swing and groove, and pop out from the speakers or headphones with auditory aplomb. Bloom is joined by two longtime musical friends: bassist Mark Helias (who first collaborated with Bloom in the mid-70s) and drummer Bobby Previte (who has worked with Bloom for 15 years). It's not hard to imagine the simpatico synergy which filters through each tune, and listening confirms Bloom, Previte and Helias' uncanny communication.
READ THE FULL Audiophile Audition REVIEW
Ripe with an intimate humidity and a potent cocktail of bug spray, pinots, and cheese, the Koussevitzky Shed welcomed Sir Andrew Davis, violinist Lisa Batiashvili, and the Boston Symphony Orchestra.
Inspired by Brahms's new concerto which arose from a collaboration with violin virtuoso Joseph Joachim, Dvořák started writing his Violin Concerto in A Minor right after the premiere of the Brahms. The powerhouse of an opening immediately sets the mood with a passionate but short fanfare from the orchestra. This reviewer can vouch for the difficulty in diving right into the first solo after such an orchestral introduction. In fact, achieving a balance between soloist and orchestra is an especially challenging task throughout. So often the violin can be drowned out by the orchestra by virtue of Dvořák's writing (one wonders why a man of his 6-foot stature allowed this!) and this can create a prickly push-and-pull between orchestra and soloist. Additionally, the violin part is uncomfortably written, even when compared to more difficult openings of concertos by Brahms or Paganini. However, when played with enough breadth and gusto, it is a truly grand effect. The Georgian-German violinist Lisa Batiashvili, with her consummate technical strength, launched the concerto with latitude and panache. There was no clutter to speak of. In general, her playing is more spoken than sung; she often prefers portato technique to separate legato slurs. She maintained a trenchant poise, never forcing the instrument past its limits.
Batiashvili could have done more to distinguish the violinistic style of this piece from that of, say, the Brahms Violin Concerto or other Romantic war horses. While it is certainly a matter of taste, she opted for a more German than a Czech Dvořák. In the final bars of the first movement, Dvořák writes a delightful chamber interlude with the violin's quiet yet expressive lament accompanied by a small group of winds. The performers treated it more as an extension of robust concerto writing, and could have done more to exploit the opportunity to do something truly breathtaking. In the second movement, Batiashvili's playing never lacked suppleness, and she displayed a clear understanding of when to be chained to bar lines, and when to stretch across them. It was wonderfully balanced and expressive.
The crisp, energetic third movement felt downright frisky from both orchestra and soloist. While I would have liked to hear more of the pesante feeling, I was very glad to not hear the finale of Beethoven's Violin Concerto, which is often what ends up happening when violinists perform this work (with more pom-pom-pom, of course). About half way into the movement, Dvořák suddenly introduces a lamenting d minor dumka-esque melody, with indication to avoid preparing it using rubato or tempo changes. In a moment of beautiful fidelity, the performers listened, and were able to alter our mood without needing a "checkpoint to re-calibrate." Batiashvili closed with a rowdy and virtuosic coda. Her approach was more muscular than, say, the effortless and transparent sound of Nathan Milstein but equally convincing, and appropriate considering the venue.
READ THE FULL Boston Musical Intelligencer REVIEW
Charlie Hunter is not only a singular guitarist - he uniquely plays a custom-made seven-string ax that allows him to deliver bass grooves simultaneously with rhythm chords and solo notes - but he's also a creative whose style and expression continue to advance with each project he immerses himself into.
Remarkably, while piano maestro Kenny Barron has recorded more than 40 albums as a leader and countless others as a valued sideman, he had never documented his impressive working trio of bassist Kiyoshi Kitagawa, with him for 20 years, and drummer Johnathan Blake, onboard for the past 10 years.
'Ensemble Caprice: Adagio' is this week's KDFC: San Francisco / Download Of the Week
Posted: November 5, 2013 12:00 AM
| By: Admin
Under the artistic direction of Matthias Maute,Ensemble Caprice is renowned for its innovative interpretations of baroque music. Performed entirely on period instruments, their new Analekta disc: Adagio is a powerful, emotional recording and is this week's: KDFC: Download Of The Week.
On Chaconne - Voices of Eternity, Ensemble Caprice gathers some of the most beautiful chaconnes and passacaglias from the hundreds of composed during the Baroque period. In the chaconne and the passacaglia, repetition of the same harmonic formula allowed for the representation of a notion of time that transcended that of day-to-day experience – in other words, eternity! As a geometrically variable group, Ensemble Caprice here draws on the talents of seven musicians playing period instruments, who are joined by organist Jean-Willy Kunz, sopranos Dawn Bailey and Jana Miller and mezzo-soprano Maude Brunet. In addition to the instrumental pieces judiciously selected from a vast repertoire, Matthias Maute (conductor and composer) has rearranged certain others for two recorders and bass, including Johann Sebastian Bach's famous Chaconne BWV 1004 for solo violin and Monteverdi's Chi vol che m'innamori (with its closing "Today we are light, and then tomorrow, shadow"). The album also contains hauntingly beautiful 16th-century Czech folksongs. Everything, in a program of heightened feeling, takes us to this indescribable notion of eternity.
16 NEW 76 Total
SYND: Classical 24, CBC, TRH Direct: SiriusXM, Music Choice, MOOD, Stingray Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Wash DC, Dallas, Atlanta, St. Louis, Seattle, Cleveland, Minneapolis, Cincinnati, Portland, Detroit, Baltimore, Houston, Denver, Pittsburgh, Austin, New Orleans, Albuquerque, Buffalo, Columbus OH, Honolulu, Canada Online: Taintradio
Under the artistic direction of Matthias Maute, Ensemble Caprice renowned for its innovative interpretations of baroque music records ‘Adagio.' Founded in Germany in 1989, Ensemble Caprice is now well established in Montreal and has achieved national and international success. The Ensemble is often invited to perform in Europe and in the United States.
"The music of the CD Adagio: A Consideration of a Serious Matter lies exactly where real questions begin..." - Matthias Maute
20 New 'ON' 81 TOTAL
SYND: PRI/Classical 24 Direct: SiriusXM, Music Choice, MOOD, Galaxie Markets include: New York, Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Wash DC, Dallas, Atlanta, Cleveland, Portland, Seattle, Minneapolis, Houston, Baltimore, St. Louis, Cincinnati, New Orleans, Detroit, Austin, Pittsburgh, Buffalo, CANADA Online: RadioIO, Taintradio
Winner of one Juno and three Prix Opus from Conseil quebecois de la musique, notably "performer of the year" in 2010, Ensemble Caprice is renowned for its innovative interpretations of baroque music. The New York Times even called it "a group that encourages listeners to rehear the world." This new recording of the Ensemble combines Johann Sebastian Bach's famous Brandenburg Concertos, composed between 1712 and 1721, with a few preludes and one fugue by Dmitri Shostakovich, as arranged by music director Matthias Maute.
31 New 'ON' this week: 172 Total
SYND: Classical 24 Direct:SiriusXM, Music Choice Markets include: New York, Los Angeles, Chicago, Boston, San Francisco, Philadelphia, Wash DC, Dallas, Atlanta, Seattle, St. Louis, Minneapolis, Baltimore, Cleveland, Cincinnati, Houston, Pittsburgh, Detroit, Portland, Austin, Denver, New Orleans, Berkeley CA, Louisville KY, San Antonio, Madison WI, Honolulu Online: RadioIO, Taintradio
Ensemble Caprice is proud to present: Salsa Baroque. One can describe baroque music of Latin America as a fusion of harmonies and rhythms of Europe and Africa blended with Amerindian nuances and styles. This unique fusion dates back to the 16th century and gave rise to a complex and fascinating multitude of musical forms resulting in a great variety of instrumentations, structures, and rhythmic and melodic phrasing. Salsa is the Spanish word for sauce, designating at the same time a dance as well as a family of musical genres in Latin-American music. It is this latter meaning and its ancient roots that, together with a bit of humour, we have taken to give the title Salsa baroque to our project. Despite the human and political tragedies surrounding the colonization of the South-American continent, the multipolar musical culture that resulted is distinguished by its fiery spirit and passion: here is music with a unique character that enriches the repertoire of the 17th century with refreshing novelties.
13 New 'ON' this week: 66 Total
Synd: NPR/Sunday Baroque, Millennium Of Music Direct: SiriusXM, Music Choice Markets include: New York, Los Angeles, Chicago, Boston, Philadelphia, Seattle, Atlanta, Houston, Cleveland, Baltimore, Pittsburgh, Kansas City, New Orleans, Austin Online: Taintradio
The Ensemble Caprice members are putting on their gypsy attire! Following a wild journey along with Vivaldi on the bohemian road, they do it again with Telemann! High-octane performances of the composer's oeuvre are intertwined with sparkling Matthias Maute's arrangements of gipsy pieces. All the colors and opulence of a unique cultural heritage offered to you. From Telemann's own writings, after listening to gypsy musicians and their music: One can hardly believe what wonderful imaginative ideas these pipers and fiddlers have as they improvise. In only a week, a composer could be inspired for an entire lifetime. I have written several major concertos in this style.
8 New ON this week 69 Total Synd: APM/Performance Today, PRI/Classical 24 Direct: SiriusXM/Boundaries, Music Choice/Light Classical, In-Flight on Air Canada Markets include: Los Angeles, Chicago, San Francisco, Boston, Philadelphia, Minneapolis, Houston, Cleveland, Detroit, Baltimore, New Orleans, Kansas City, Berkeley CA, Honolulu Online: Taintradio, RadioIO, Beethoven.com