Nicholas McGegan may no longer be the artistic director of Philharmonia Baroque Orchestra, but the record of McGegan's inimitable touch - unmistakable, in the case of Handel's Saul - remains to savor. Everything about his artistry, including the buoyant and sprightly tempos, sly humor, deep reverence for beauty, and capacity for sincere emotional expression come through on this, his final live recording with PBO.
Although Saul's covers and liner notes shockingly fail to give him credit, the recording was superbly produced, recorded, edited, mixed, and mastered by PBO's former recording engineer, David v.R. Bowles of Swineshead Productions, LLC. Set down in Berkeley's First Congregational Church in April, 2019, this digital-only release shows the Philharmonia Baroque Orchestra and Philharmonia Chorale, under Bruce Lamott, in fine form. Auditioned in 24/192 high-resolution, Bowles's achievement captures all the nuance and color that were transmitted by First Congregational's uniquely live, resonant, and spacious acoustic, and leaves me deeply regretting both his departure and that of his husband, McGegan.
The recording is available on various streaming/download services, including Qobuz, Amazon, and others. If you download or stream this recording and discover yourself without libretto, biographies, and Lamott's introduction, you can find them at philharmonia.org/saul., Make sure to access them because they'll help you understand just how wonderful this performance is. Having said that, there are many times when the sound and music are so captivating that you may find yourself closing your eyes as your relish their beauties. PHOTO: Laura Barisonzi
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Alfred Hitchcock and Bernard Herrmann. Steven Spielberg and John Williams. Spike Lee and Terence Blanchard. Every visionary filmmaker needs a composer they can trust-someone they can call on to accentuate their work with music. And from 1964 until well into the 1980s, there was no greater director-composer partnership than Sergio Leone and Ennio Morricone, the Italian film composer who died on Monday in Rome at age 91. It was through his long-term collaboration with the late filmmaker that Morricone created his most iconic scores and helped define the sound of the Spaghetti Western, the Italian film movement spearheaded by Leone and his so-called "Dollars Trilogy" starring Clint Eastwood: 1964's A Fistful of Dollars, 1965's For a Few Dollars More, and 1966's The Good, the Bad and the Ugly.
Leone was hardly the only director to take advantage of Morricone's talents over the last 60 years. In fact, hundreds of filmmakers, among them Quentin Tarantino, Brian De Palma, Pier Paolo Pasolini, and Terrence Malick, partnered with the composer in order to infuse their films with orchestral gravitas and vintage swagger. Morricone's prolific drive was astonishing: By the end of his career, he had scored more than 500 movies-an especially impressive number, considering how he refused to move to Hollywood and never learned to speak English.
Some film composers consider it their duty to write music that blends into the scenery or prioritizes tasteful subtlety. Not Morricone. His scores are expressive, grandiose, and undeniably audacious in their oddball instrumental choices, from the pan pipes he used in 1989's Casualties of War to the Haitian drumming and children's choir he incorporated into 1977's Exorcist II: The Heretic. Such boldness was remarkably well-suited to the operatic scope and brooding emotional expanse of the Spaghetti Western. As Leone put it in an interview towards the end of his life, "I've always felt that music is more expressive than dialogue. I've always said that my best dialogue and screenwriter is Ennio Morricone."
Fittingly, on Monday, everyone from Chance the Rapper to Bon Iver's Justin Vernon to El-P mourned the indispensable composer. As the director Edgar Wright put it, "He could make an average movie into a must-see, a good movie into art, and a great movie into legend." Movies will be a little quieter, and emptier, without Morricone.
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Not Our First Goat Rodeo is the long-awaited follow-up album to the Grammy Award-winning Goat Rodeo Sessions with Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile. Both albums combine the talents of the four solo artists to create a singular sound that's part composed, part improvised, and uniquely American. The music is so complex to pull off that the group likens it to a goat rodeo – an aviation term for a situation in which 100 things need to go right to avoid disaster. Both the first album and the new recording also feature the voice and artistry of singer-songwriter Aoife O'Donovan.
For July 6, Ma, Thile, Meyer, Duncan - Not Our First Goat Rodeo is the WFMT: Chicago 'Featured New Release.' SEE THE PAGE
To these ears, the soundtracks Japanese composer Joe Hisaishi created for Hayao Miyazaki's Studio Ghibli classics Spirited Away, Howl's Moving Castle, and Kiki's Delivery Service are so indissolubly bound up in their reception, it's hard to think of the music as a separate entity. To that end, Dream Songs: The Essential Joe Hisaishi does a superb job of enabling admirers to do precisely that by presenting his musical artistry sans visual accompaniment. In assembling a diverse selection of twenty-eight pieces spanning his nearly forty-year career, the release is a must-have for those already familiar with Hisaishi and those discovering him anew.
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Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it. John was a 20-year-old student at Berklee when he first met and played with bassist Swallow, and they have continued ever since, in many different contexts.
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"I love these songs", says Scofield of the selection of Swallow compositions explored here – a broad range including tunes that have become standards, as well as some lesser-known works. The rapport between Scofield and Swallow is evident in every moment. John: "Sometimes when we play it's like one big guitar, the bass part and my part together."
Behind the drum kit, Bill Stewart is alert to all the implications of the interaction. "What Bill does is more than ‘playing the drums,'" Scofield says. "He's a melodic voice in the music, playing counterpoint, and comping, while also swinging really hard." The guitarist himself plays with fire and invention throughout: "These two giants bring out the best in me."
Swallow's compositions, John notes, "make perfect vehicles for improvisation. The changes are always interesting – but not too interesting! They're grounded in reality with cadences that make sense. They're never just intellectual exercises, and they're so melodic. They're all songs, rather than ‘pieces'. They could all be sung."
Swallow Tales opens with "She Was Young", a tune introduced on Steve Swallow's ECM album Home, in 1979, where it was indeed sung, by Sheila Jordan. A number of the tunes addressed here – including "Falling Grace", "Portsmouth Figurations", and "Eiderdown" – belonged to the 1960s repertoire of Gary Burton's groups. Scofield, who had admired them from the outset, studied them with Burton and the composer in the early 1970s, by which point Swallow had made the transition from double bass to bass guitar, creating a new voice for himself on the electric instrument. When Scofield launched his own recording career, Swallow was in his trio (with Adam Nussbaum on drums). Touring widely the guitarist and the bassist fine-tuned their musical understanding, a process continued in many other configurations over the years. Scofield appeared on Steve's XtraWatt album Swallow in 1991, for instance, and Swallow is on numerous Scofield recordings - including the recent Country For Old Men, which also featured Bill Stewart. A close associate since the early 1990s, drummer Stewart had played in John's quartet with Joe Lovano, and gone on to join the guitarist in many journeys over varied musical terrain.
John Scofield has recorded for jazz labels including Impulse, Blue Note, Verve, Emarcy and Gramavision. ECM appearances to date have been infrequent but distinguished; they include two albums with Marc Johnson's Bass Desires group – Bass Desires (recorded 1985) and Second Sight (1987) - in which the guitarist shared frontline duties with Bill Frisell. On Shades of Jade (2004), a third Marc Johnson album, Scofield is heard alongside frequent colleague Joe Lovano. The live double album Saudades (recorded in 2004), meanwhile, features Scofield as a member of Trio Beyond, alongside Jack DeJohnette and Larry Goldings, reassessing the songbook of Tony Williams' Lifetime. Swallow Tales is the first of his ECM recordings to feature the guitarist as bandleader.
Produced by Max Horowitz - Crossover Media, This content, as well as the related podcast, are licensed under Creative Commons Attribution 4.0 International (CC BY 4.0) for redistribution and adaptation.
Sharon Isbin has been a tireless commissioner of new work and her latest album Affinity is no exception with several recent compositions set alongside some old friends. It's Chris Brubeck's 18-minute Guitar Concerto-the longest and most colorful work here-that gives the album its title and opens proceedings. The concerto's name alludes to a shared "affinity" between composer and soloist, two musicians who thrive on exploring different styles. Like his father jazz legend Dave Brubeck, Chris Brubeck has his roots in jazz, but despite its plentiful toe-tapping syncopation, Affinity is most definitely a classical work. At its atmospheric heart the composer manages to incorporate one of his father's loveliest tunes-"Autumn in Our Town"-before a lilting Renaissance dance section ups the tempo to end with something akin to a wriggling Brazilian samba. Highly energetic, melodically infectious, and colorfully scored, Affinity is a real crowd pleaser, and with her immaculate and fleet-footed technique Isbin does it proud. The Maryland Symphony Orchestra under Music Director Elizabeth Schulze has just the right feel for this music and the excellent engineering ensures both textural clarity and a perfect balance.
It's 40 years since Leo Brouwer wrote his solo guitar work El Decameron Negro for Isbin, and although she's recorded it previously, her interpretation has only deepened with time. The three evocative instrumental "ballads" are inspired by African love stories infused with the musical sensibilities of Brouwer's native Cuba. Isbin is a natural storyteller and is in her element here, putting on a virtuoso display full of light, shade, and manual dexterity. Ditto Tan Dun's Seven Desires, an intriguing solo work that straddles-and fuses-the seemingly disparate worlds of the Chinese pipa and Spanish flamenco guitar. Antonio Lauro's charming Waltz No. 3 is here arranged for two guitars by former Isbin student and now regular duet partner Colin Davin. The disc concludes with Richard Danielpour's Of Love and Longing, three contrasting settings for voice and guitar of the Persian poet Rumi. Performed here with great warmth and sensitivity by Isabel Leonard, it crowns an album that should please fans of Isbin and of contemporary guitar music in general.
One would find it hard to beat the all-star line-up featured in The Cave of Wondrous Voice, a new, hour-long survey of vocal and chamber music by the California-based composer Mark Abel. David Shifrin, Carol Rosenberger, Hila Plitmann, and Fred Sherry headline the album but they're not its only stars. On the whole, The Cave of Wonderous Voice is smartly played and engineered. Abel's writing throughout is fluent and often genial. While certain spots in the Trio, particularly, might benefit from grittier moments to offset the diatonic ones, this is music of considerable expressive directness as well as charm.
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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.
In the fall of 1968, a sixteen-year old high school student named Danny Scher had a dream to invite legendary jazz pianist and composer Thelonious Monk and his all-star quartet to perform a concert at his local high school in Palo Alto, CA.
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.
Guitarist John Scofield celebrates the music of his friend and mentor Steve Swallow in an outgoing and spirited recording, made in an afternoon in New York City in March 2019 - "old school" style as Scofield says, acknowledging that more than forty years of preparation led up to it.
Metallica on what they have in common with classical music / RollingStone
Posted: October 9, 2019 12:00 AM
| By: Admin
It's the day after Metallica played a stunning concert with the San Francisco Symphony at the city's enormous new Chase Center, and guitarist Kirk Hammett is letting his hair down in a tank top at his favorite restaurant in Sonoma, California. He's here for a photo shoot for an upcoming issue of Rolling Stone, but at the moment he's reviewing video of last night's rendition of "Nothing Else Matters," which features a newly souped-up orchestral intro. The sight of it - or maybe the sound of it - brings an ear-to-ear smile to his face.
The gig, dubbed "S&M2," was a supersized sequel to the metal militia's first collaboration with the San Francisco Symphony in 1999, when it was led by conductor Michael Kamen and cheekily called "S&M" for "Symphony & Metallica." The latest installment featured smartly textured, cinematic renditions of deep cuts that already sound grandly orchestral, like the instrumental "The Call of Ktulu" and the crushing "Master of Puppets," as well as daring arrangements of big, pummeling hits like "Enter Sandman" and "Wherever I May Roam," which sounded like a cousin of Led Zeppelin's "Kashmir" in all its Middle Eastern–tinged majesty. Although the original S&M was released on CD and home video, its sequel, which featured Metallica playing in and around 76 members of the symphony led by music director Michael Tilson Thomas and conductor Edwin Outwater, will first be shown in cinemas around the world October 9th and again on October 13th for everyone who wasn't able to make it to the two concerts.
Ahead of screenings of their ‘S&M2' concerts, Lars Ulrich, Kirk Hammett and members of the San Francisco Symphony discuss why they collaborated again. READ THE FULL RollingStone & WATCH THE VIDEO(Photo by Tim Mosenfelder/Getty Images)
Recorded live to the highest industry standards in front of the magnificent scenery of Beijing's Forbidden City, this unique gala concert celebrates the 120th anniversary of Deutsche Grammophon. The concert features conductor Long Yu and the Shanghai Symphony Orchestra, both freshly signed as exclusive recording artists to Deutsche Grammophon, and performances from Aida Garifullina, Daniil Trifonov, Mari Samuelsen, and more.
Impulse! has brought together some of the great progressive jazz musicians of our time to pay tribute to The Beatles'Sgt. Pepper's Lonely Hearts Club Band. A Day In The Life: Impressions of Pepper will be available on vinyl for Record Store Day on November 23, available on CD, digital, and streaming platforms on November 30, with a wide vinyl release on January 18, 2019.
A Day In The Life: Impressions of Pepper includes performances and interpretations by artists such as UK saxophonist and Impulse! recording artist Shabaka Hutchings, Impulse! pianist Sullivan Fortner, Verve recording artist Miles Mosley, Onyx Collective, percussionist Antonio Sanchez, guitarist Mary Halvorson, The JuJu Exchange and more.
This stellar lineup represents some of the great progressive jazz artists from around the world: Shabaka from the UK Jazz scene, Miles Mosley and Cameron Graves from LA's West Coast Get Down, Onyx Collective from NYC, Makaya McCraven and the JuJu Exchange from Chicago.
Many people picture grim-faced Beethoven, shaking his fist at the heavens and persisting through deafness and illness to compose works of transcendent beauty, but he also stirs emotions that feel both deeply personal and ubiquitous. There are moments of red-cheeked optimism, quiet introspection, playful dances, heroic declarations, a restless search for the sublime. And while Beethoven is perhaps most famous for his sonatas and symphonies, he composed an opera, chamber works, songs, sacred music, incidental music for the stage, even dances. Taken together, these selections paint a rich portrait of Beethoven's humanity, which has attracted artists of the highest caliber such as Leonard Bernstein, Carlos Kleiber, Janine Jansen, and Martha Argerich. Some of these recordings are legendary, but all of them jump out with their undeniable virtuosity and brilliance. This collection may remind you of that iconic portrait of immortal Genius suffering for Art, but it will also reacquaint you with an artist from another time who somehow captured so much of the human experience.
Decca Records is proud to release The Official Recording of The Royal Wedding, one of the most eagerly awaited events of the year. Having recorded the entire service live at St George's Chapel, Windsor Castle today, every piece of music, the readings, blessings and the vows will be available to listen to permanently on all streaming services in just a few hours: a first for a Royal Wedding. The physical album, on CD, will then be released into retail stores around the world from 1st June.
The musical highlight of the moving and joyous ceremony was British cellist, Sheku Kanneh-Mason, one of the most exciting musicians of his generation, who was personally asked by the bride and groom to perform at their wedding. The 19-year-old musician took centre stage for the all-important signing of the register. Dressed in a black Paul Smith suit with vibrant pink tie, Sheku played three beautiful pieces: "Sicilienne" by von Paradis, Schubert's "Ave Maria," and "Après Un Rêve" by Fauré. He was accompanied by orchestra*, as the Royal Couple officially became husband and wife. Knowing he was performing not only for the Royal Family, 600 invited guests in the Chapel, and an estimated global audience of up to three billion people, the talented teenager was thrilled to be involved in the occasion:
History was written in 2000 BC, and 2018 marks the 150th anniversary of Brahms' Lullaby, so this precious musical tradition has deep cultural and emotional roots. These personal songs bring people together, span generations, and tell stories about where we come from, who we are now, and our hopes for the future. The legacy continues with the release of Hopes and Dreams: The Lullaby Project on Decca Gold (Verve Label Group). The recording is inspired by the Lullaby Project, a program of Carnegie Hall's Weill Music Institute which pairs pregnant women, new mothers, and family members with professional artists to write and sing personal lullabies for their babies, supporting maternal health, aiding child development, and strengthening the bond between parent and child. Hopes and Dreams: The Lullaby Project features fifteen lullabies written by parents from across New York City, as performed by Fiona Apple, the Brentano String Quartet, Lawrence Brownlee, Rosanne Cash, Joyce DiDonato, Janice Freeman (The Voice 2017), Rhiannon Giddens (Nashville), Angélique Kidjo, Patti LuPone, Natalie Merchant (10,000 Maniacs), Dianne Reeves, Gilberto Santa Rosa, Pretty Yende, and Catherine Zeta-Jones.
The second installment of the Jazz Loves Disney series, Jazz Loves Disney 2: A Kind of Magic features guest artists including Angélique Kidjo, Laura Mvula, Jamie Cullum, Jacob Collier, George Benson, Madeleine Peyroux and more, taking on beloved melodies from the Disney canon. The album will be released on Verve Records on November 10. The Jazz Loves Disney series celebrates the nostalgia and universal appeal of the music of Disney films. The rich catalogue of Disney songs that span genres and generations inspired producer Jay Newland and arranger Rob Mounsey to continue the series.
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The Passion of Charlie Parker is a new album from producer Larry Klein that tells the story of Charlie Parker using his music as inspiration for new songs that narrate his life. Guest artists include Gregory Porter, Madeleine Peyroux, Kandace Springs, actor Jeffrey Wright, and more. The album will be available on impulse!/ Verve digitally on June 16, with physical release to follow on June 30. Larry Klein says, "With this album I've endeavored to do something new and different in an effort to illustrate who ‘Bird' was as an archetypal character, and to draw attention to the huge impact that his work had on Jazz." Rather than create another tribute of traditional bebop tunes, Klein partnered with lyricist David Baerwald to create a musical play that tells the story of Charlie Parker's life while still playing with the jagged melodic nature of Charlie Parker's compositions.
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