"Hey everybody, prepare yourself," is how Stephen Colbert welcomed Kinky Boots and Pose star (and "fashion icon") Billy Porter to Wednesday's Late Show. And while that might smack of old-school timidity in the face of one of the most gloriously outrageous and talented performers out there, Colbert was more than game to let Porter both give him a quick accessory makeover, and speak feelingly about how the ball culture depicted in FX's Pose was and remains a powerful, necessary "chosen family" for many gay people. "Sometimes our biological families are not equipped to love us unconditionally in the ways that are necessary for us to thrive when we are LGBTQ people," explained Porter. "It's a culture that came, that emerged out of these people being thrown out of their houses just because of who they are."
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Though she had her share of setbacks-one of which was very early on when she contracted polio as a child-Joni Mitchell is one of the biggest names in the music industry. Not only known for her catchy, touching, original, and enduring music, Ms. Mitchell's lyrics have been celebrated for their deep emotional meaning and poetic verses. Even if you have never listened to her original versions, you have definitely heard one of her songs before.
I was first introduced to the songbook of Joni Mitchell by my mother when I was starting high school. She kept all the CDs in two black cases stored by the stereo. I used to pick albums randomly, mostly classical, but I would always pass over the grouping of Joni Mitchell and Laura Nyro. One day, I decided to actually try one of these CDs. I don't remember exactly which one, but there's a good chance that it was Ladies of the Canyon (1970) or Blue (1972). At the time I didn't really like them that much. However, when I played Court and Spark (1974), my whole mindset was changed. That's the beauty of Joni Mitchell's music, from folk to pop to jazz and everything in between, she's done far too much to be summarized with just a single album.
And as such, TREBLE's Konstantin Rega compiled a guide to getting started with the Canadian troubadour's large and rewarding catalog. READ THE FULL ARTICLE
Back in 2017, Springsteen revealed that the album was "influenced by the Southern California pop music of the '70s… Glen Campbell, Jimmy Webb, Burt Bacharach, those kinds of records. I don't know if people will hear those influences, but that was what I had in my mind. It gave me something to hook an album around;
When Uncut spoke to Jimmy Webb, the legendary songwriter admits he didn't expect to ever be cited by Springsteen: "I had heard these rumours and thought, ‘Is it possible that this is true? This guy needs us like a migraine!' I think it's a very bold and admirable step, and it certainly shows that he's connected with the ground. He's planted down here with all of us. It shows there's no snobbery in him."
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In the episode n ° 870 of "ANIMAJAZZ", conceived and conducted by BRUNO POLLACCI , airing TUESDAY 18 June at 20.30, on PUNTORADIO, also in streaming on www.puntoradio.fm is 'Malibu' from Richard Ford's latest recording; 'Basso Profondissimo.'
The musical world of Basso Profondissimo springs from the imagination of English bassist and producer Richard Ford. The collection was conceived and played on bass, creating a unique and surprising melding of sounds and adding some rough edges to the genres of jazz, ambient, bossa nova and neoclassical.
Sharing some of the same musical landscape as Sigur Rós, Lyle Mays, Bebel Gilberto, ECM Records, and Bill Frisell, Basso Profondissimo employs a cinematic language, often minimal and evocative. There are surprising moments, as when softer passages burst into something rougher and edgier. In the neoclassical-leaning pieces, unexpected elements surface, like ﬂoating transparencies revealed from somewhere back in the scenery. Elsewhere, bubbling rhythms emerge, cracking pieces open into exotic meters. This is not a work concerned with virtuosity (though references to seminal bassists like Jaco Pastorius can be heard in places). This collection is about evoking moods and character, not about ﬂash.
PUNTORADIO: animajazz is in collaboration with the PISA ACADEMY OF ART. SEE THE PROGRAM PAGE
This new release features works for solo piano by female composers from the 19th to the 21st centuries, performed by Anna Shelest. Opening with the sonata by Fanny Mendelssohn, the album includes works by Amy Beach, Clara Schumann, Cécile Chaminade, Lili Boulanger, and Chia-Yu Hsu. Hailed by The New York Times as a pianist of a fiery sensibility and warm touch, Shelest is an award-winning pianist who has thrilled audiences throughout the world.
For Friday June 14, 2019, Anna Shelest - Donna Voce is the WFMT: Chicago 'Featured New Release'
At the emotional heart of the album is Bach's Chaconne in D minor, whose serenity Samuelsen has chosen to counter with the nervous agitation of "Knee Play 2" from Philip Glass's "Einstein on the Beach." The rest of the program grew organically from the seeds of Bach and Glass, tracing themes of change and renewal, from the increasingly complex variations of the Chaconne to the expansive melodic development of Clark's "Mammal Step Sequence." The album also contains Vladimir Martynov's "The Beatitudes," Peter Gregson's "Sequence (Four)," arrangements of Jóhann Jóhannsson's "Heptapod B" and Brian Eno's "song By this River," and Peteris Vasks' "Vientulais Engelis (Lonely Angel)". The mix also includes four works by Max Richter, with whom she collaborates on a regular basis, including "Vocal," for solo violin, and "November." "The need to go into a room and just listen to sound – almost like sound therapy – is bigger than ever," Mari said. "People are hungry for it, and I wanted to use my creativity to collaborate and experiment with some of the great people living today. Slowing down, and people leaving their busy lives behind, is only going to become more important, so there will be more room for this type of collaboration, and this type of music, in the years to come."
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Raul Midón first met Lionel Loueke when the Benin-born guitarist/vocalist was a member of trumpeter Terence Blanchard's band, which was working on the score of Spike Lee's 2004 film "She Hate Me." Midón was a rapidly rising star hired to write and perform the movie's theme song, "Adam n' Eve n' Eve," a piece that captured Lee's tangle of sexual politics.
Midón, a singular vocalist and guitarist, recognized a kindred spirit in Loueke, and that initial encounter planted a seed that got further nourishment the next year when Midón joined Herbie Hancock in the studio to record Stevie Wonder's "I Just Called to Say I Love You" for the pianist's album "Possibilities" (Vector/Hear Music).
By that point, Loueke had joined Hancock's band, and he's been touring and recording with the trailblazing pianist, keyboardist and composer ever since. But he's taking the down time from Hancock's band to launch a new collaboration with Midón, a freshly minted duo that performs Monday at Santa Cruz's Kuumbwa Jazz Center and Wednesday at Berkeley's Freight & Salvage (they also give a master class at the California Jazz Conservatory on Tuesday evening).
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After sending shockwaves through the socialsphere following her electrifying performance alongside Cardi B at the 2019 Grammy Awards, high-energy performance pianist Chloe Flower releases her first-ever original single on Sony Music Masterworks.
On April 19, Angélique Kidjo will release Celia (Verve/Universal Music France), an album that honors Celia Cruz, widely known as "the Queen of Salsa" and the most popular Latin artist of the 20thcentury.
From the filmmaking team behind the highly-acclaimed documentary The Beatles: Eight Days A Week - The Touring Years, PAVAROTTI is a riveting film that lifts the curtain on the icon who brought opera to the people.
Ben Cooper's latest EP as Radical Face is Therapy. The collection, which arrives April 26 via Bear Machine, is both a continuation and departure from his eight-year, three-part Family Tree series. Through those releases, he explored his complex family life, ultimately realizing that the material proved difficult to perform and difficult to live with.
Having relocated to Los Angeles after an intense court battle involving his family, Cooper soon began attending weekly therapy sessions. The process sparked his latest EP, resulting in a collection of songs that are thoughtful and which perfectly capture the precarious nature of opening one's soul and seeing what, if anything, is worth keeping and what must be cast away. At times cinematic but always honest and emotionally engaging, Therapy never overplays its emotional hand is all the more necessary for it.
"Hello, Hope, it's been a while," go the opening lines of "Dead Ends", the centerpiece of Ben Cooper's latest EP as Radical Face. After giving eight years of his life, creatively and emotionally, to his three-part The Family Tree series -- The Roots (2011), The Branches (2013), and The Leaves (2016) -- Cooper had indeed lost touch with hope. He'd too long grasped ideas and perceptions that held him back from peace. Speaking with a professional finally enabled him to let go, something he's honored by naming his new effort Therapy.
On Therapy, Radical Face has let go of all his past narratives. Instead of an intricate saga, he's kept his parameters simple. Instead of acoustic folk, he's written lush compositions. Instead of his troubled past, he's focused on his scarred present. Unsure yet confident, battered yet resilient, Cooper is taking Radical Face in a poignant new direction. And there's hope there.
Bear Machine Records is excited to announce the release of "Missing Film" by indie-folk artist Radical Face. Known for his cinematic and emotional music, Ben Cooper wrote and produced this 12 song collection with film makers in mind, focusing on mood and entirely instrumental arrangements -- a direct contrast to his traditional concept and story-driven albums. He has partnered with Noisetrade to give away the album, and is offering the music to students, young directors and content creators to use for free use in all non-commercial media.