This Saturday, April 4, 2020 at 8pm ET/7pm CT/5pm PT, OurConcerts.live, a new online channel and streaming service, will bring together some of the industry's biggest stars for a virtual benefit concert. All proceeds will go to the Artist Relief Tree, a fund created in the past few weeks to financially support artists who are affected by cancellations due to COVID-19.
The concert will feature pianists Emanuel Ax and Jon Kimura Parker, mezzo-soprano J'Nai Bridges, violinist Rachel Barton Pine, clarinetist Anthony McGill, and harpist Bridget Kibbey. Tickets are available on the OurConcerts.live website (http://www.ourconcerts.live), with contributions beginning at $5.
"The COVID-19 pandemic has profoundly affected all of our lives, classical musicians and audiences among them. We're thrilled and grateful to be working with this wonderful group of artists, who are all generously donating their time, to bring live music to viewers everywhere while raising much needed funds to support the classical musicians who currently lack the ability to earn a living," says John Zion, Managing Director of MKI Artists and OurConcerts.live co-founder.
OurConcerts.live is a new online channel and streaming service that promotes the creation and widespread distribution of high quality, live classical music by uniting artists, presenters, and audiences. It allows performers to share their art from almost any setting, whether from home using a computer or smartphone, or from a studio or venue with a professional, multi-camera set-up. Performances can be viewed on a computer, tablet, mobile device, or cast to a television. In the near future, they will also be available via services like Roku or Amazon Fire.
"Our hope is that this venture will give performers and presenting organizations an income doing what they do best – enriching the lives of their audiences," says OurConcerts.live co-founder Gregory Pine. In contrast to free streaming events, which rely on advertising for revenue, OurConcerts.live, in collaboration with presenting organizations, sells tickets to live events. The service intends to offer subscriptions that will include access to multiple live concerts as well as on-demand content. The revenue from ticket sales and subscriptions will then be shared with both artists and presenting organizations.
OurConcerts.live was co-founded by John Zion – who helms the leading classical music management agency MKI Artists – and experienced tech entrepreneur Gregory Pine.
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Angele Dubeau's new album; 'Pulsations' brings together works that evoke strong images and possess a profound emotional intensity. "A pulsation marks time, it infuses its rhythm in it and also evokes the heart. Just like those composers whose music calls out to me and who, with their unique signatures, mark time, our time. Features the music of; Olafur Arnalds, Jean-Michel Blais, Ludovico Einaudi, Alex Baranowski, Craig Armstrong, Peter Gregson, Yann Tiersen, Abel Korzeniowski, Johan Johannsson, Max Richter and Dala.
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.
LISTEN TO This week's 'Pulsation with Angele Dubeau' - 'Porz Goret' by Yann Tiersen
Carnegie Hall presents the world's leading artists virtually every night during its season; Lincoln Center's theaters are almost never dark. Then there are the dozens of smaller venues scattered throughout town. Planning a concert-going calendar, then, has always been a balancing act, full of disappointment that you can't be in multiple places at once.
Then came the coronavirus pandemic, which caused performances to grind to a halt earlier this month.
I haven't had the heart to delete events in my own calendar, even though in the coming week there's no chance I'll see the premiere of a Kate Soper opera in Montclair, N.J., or hear Mitsuko Uchida play Beethoven's "Diabelli" Variations at Carnegie.
But I also haven't had the time.
In-person performances have been replaced by a deluge of digital ones - live streams and recently unlocked archive recordings - that have made for a calendar hardly less busy than before concert halls closed. It's enough to keep a critic happily overwhelmed, yet also wondering whether the industry is making a mistake by giving away so much for free.
The live streams began immediately, with production values ranging from tinny iPhone videos to cinema-ready sophistication. On March 12, the day New York theaters shuttered, the pianist Igor Levit gave a lo-fi performance from his living room, while the Berlin Philharmonic and the Philadelphia Orchestra played to empty halls and audiences at home. (In retrospect, these groups of 100 or so musicians should probably have stayed as far apart as the rest of us.)
Since then, a day hasn't gone by without something to stream. In the past week alone, I've been able to watch older performances I missed; ones I had hoped to travel for this spring; ones that would otherwise seem unfathomable, like the pianist Maria João Pires coming out of retirement. If anything, I'm taking in more music than before; the only difference is that now I can be in multiple places - or at least multiple browser tabs - at once.
Many of these videos have had more charm than a typical classical concert, with banter, a casual dress code and imperfect production. Before a scorching streamed performance of Frederic Rzewski's "The People United Will Never Be Defeated!" for the 92nd Street Y - cut short because, hey, the technology isn't reliable - the pianist Conrad Tao worked through his feelings about the medium, talking to the camera in his apartment like a confessional vlogger.
On Monday, the publisher Boosey & Hawkes hosted a live score-reading of Stravinsky's "The Rite of Spring" on YouTube; alongside the video was a candid chat that included artists like the composer David T. Little and the conductors Teddy Abrams, Christopher Rountree and Marin Alsop. (Ms. Alsop was openly, hilariously critical of the often slow tempos in the chosen recording, Lorin Maazel and the Cleveland Orchestra.)
In breaks from live streams, you can watch archived films. The Industry, an experimental Los Angeles opera company, has made "Sweet Land," whose run was cut short by the closures, available on Vimeo for the more-than-worth-it cost of $14.99. (This is one of the few organizations putting a price tag on their work.)
Once you see how many operas are available online, your free time quickly evaporates. Beth Morrison Projects is putting one on its website every week; right now, you can watch Missy Mazzoli and Royce Vavrek's "Song From the Uproar." (Another Mazzoli-Vavrek piece, "Breaking the Waves," is streaming on SoundCloud.) Rai, the Italian public broadcaster, is playing Gyorgy Kurtag's widely hailed "Fin de Partie," filmed during its premiere run in Milan in 2018.
And a production of Beethoven's "Fidelio" at the Theater an der Wien in Vienna, originally planned for this month but then canceled, was thankfully recorded. The direction, by the actor Christoph Waltz, may be a bit chilly; but the sculptural set, by the architects Barkow Leibinger, is a subtle and mesmerizing reflection of the music, propulsive under the baton of Manfred Honeck.
Last weekend, live streams escalated to marathons. The cellist Jan Vogler organized a 24-hour event called Music Never Sleeps NYC, which coincided with Deutsche Grammophon's globe-trotting relay of solo performances for Piano Day. Never have I felt so productive spending hours on YouTube.
Among the Piano Day artists were Ms. Pires, out of retirement for an elegant and lucid reading of Beethoven's "Pathétique" Sonata; and Daniil Trifonov, both eerie and endearing in a mask and gloves as he introduced himself from the Dominican Republic with a selfie video. Music Never Sleeps was a feel-good miracle of coordination and collaboration across musical forms and genres. When it overlapped, at 7 p.m. Eastern time, with a moment for New Yorkers to applaud out their windows for those on the front lines of the pandemic, the conductor David Robertson and the pianist Orli Shaham cleverly offered Steve Reich's "Clapping Music." Later, Inon Barnatan gave an elegant, at times sublime performance of Schubert's Piano Sonata in B flat that I hope to one day hear in person.
The two marathons were studies in contrast. Music Never Sleeps was a soft fund-raiser - not quite a telethon, but presented with the suggestion that fans donate to the NYC Covid-19 Response & Impact Fund and the Local 802 Musicians' Emergency Relief Fund. Piano Day, however, was simply a celebration of top-shelf talent: artists who could - and have - sold out Carnegie, playing here at no cost to viewers.
Like almost every other live stream of the past month, Deutsche Grammophon's felt dangerously reminiscent of the internet's early days, when prestige journalism - including The New York Times - was available for free. Publishers later regretted not monetizing their work from the start; I hope the classical music industry doesn't end up in the same position.
Freelancers, whose incomes depend on live performance, are in crisis as even summer festivals begin to announce their cancellations. The New York Philharmonic is anticipating a loss of $10 million in revenue because of its closure; the Met Opera, up to $60 million.
And yet these are the same artists and organizations giving away their music for free. The Philharmonic launched a website of archived performances, NY Phil Plays On, and is broadcasting older concerts on Facebook every Thursday. The Met is digging into its collection of high-definition movie theater transmissions for nightly streams. It's heartening to witness, and the exposure may be helpful, but it doesn't even begin to cover lost revenue.
So if you like what you hear, donate. Think of the industry as a giant Central Park busker, happy to play but leaving that guitar case open and ready for tips.
The world of classical music has never been more accessible. Rarely, though, has it ever been so endangered. And it's up to all of us to decide just how much it's worth.
Joshua Barone is a senior staff editor on the Culture Desk, where he writes about classical music and other fields including dance, theater and visual art and architecture.
Shabaka Hutchings is known to many as a key player in The Comet is Coming and Sons of Kemet and his strength of delivery and presence in a line up is formidable. Shabaka & The Ancestors' first album ‘Wisdom of Elders' released on the Brownswood label unleashed a powerful force on the music world and showed an enlightened and aware musician willing to place his beliefs and tenets before the audience as well as his music. ‘We Are Sent Here By History' is released on Impulse and is a reflection of immense changes in society – and more to come. Shabaka has referred to the album as " meditation on the fact of our coming extinction as a species. It is a reflection from the ruins, from the burning."
Shabaka & The Ancestors came about after Shabaka visited Johannesburg to play with trumpeter/bandleader Mandla Mlangeni. Mandla connected Shabaka with a group of South African jazz musicians that Hutchings admired. After several sessions, their first album ‘Wisdom of Elders' was made. This follow-up record reunites the group, who recorded in Johannesburg and Cape Town. There is about this album a sense of urgency, an unrelenting darker energy and it is presented as a major social commentary in the context of ancient traditions. Shabaka explains this is, "what happens after that point when life as we know it can't continue."
'We Are Sent Here By History' mixes African and Afro-Caribbean traditions and takes an interesting concept - that of the griot. A griot is the holder of ancient aural traditions and the keeper of them. Therefore, an important aspect is the accompanying text to this album provided by South African performance artist Siyabonga Mthembu who chants and sings on this record and composed the lyrics. Shabaka chose song titles based on the lyrics and composed poems around each title.
Hutchings says, "'We Are Sent Here by History' is a meditation on the fact of our coming extinction as a species. It is a reflection from the ruins, from the burning; a questioning of the steps to be taken in preparation for our transition individually and societally if the end is to be seen as anything but a tragic defeat. For those lives lost and cultures dismantled by centuries of western expansionism, capitalist thought and white supremist structural hegemony the end days have long been heralded as present with this world experienced as an embodiment of a living purgatory." With that in mind, press play.
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Since the beginning of the rapid spread of the novel coronavirus in the United States and the world earlier this year, many, if not most, have put a stop to social gatherings. A shelter in place order directing all residents to stay inside until further notice went into effect in Sacramento County on March 20. A day later Governor Gavin Newsom announced a stay at home order for all of California.
In response to the call for social distancing to keep the virus at bay, arts organizations and presenters began canceling performances even before the stay at home orders were issued.
Artists and musicians know, however, that the idea of a life without music is inconceivable. Thus, like so many aspects of our "new normal," musicians took to the internet and social media to begin performing for the public virtually.
Virtually is how Sacramento resident and internationally acclaimed pianist Lara Downes will release her new album. In lieu of a live tour, Downes will host a livestream performance on Facebook, Friday, April 3 at 5 p.m. from her home in Sacramento, co-produced by CapRadio. You can watch directly on this page or tune in on Facebook Live at facebook.com/capradio/videos.
Other public radio stations across the country will be sharing the event in real-time on their respective Facebook pages.
Lara Downes' uplifting new album "Some of These Days" revisits freedom songs and spirituals, historic expressions of hope and courage that remind us - in this time of global unrest and chaos caused by the coronavirus - of our human capacity for optimism, activism, and unification in the face of crisis. "For me, the motivation in creating this record has always been the relevance and timelessness of these songs," says Downes. ‘There's the pain, reaction to oppression, always hope, always a vision of a better place. All of those things are relevant and current today.'
With her livestreamed concert, Downes will also raise funds for Feeding America in support of national relief efforts in response to the COVID-19 pandemic. We invite you to be part of this celebration of the power of art in time of crisis. Watch, listen and share this Friday April 3 at 5 p.m. Tune in on Facebook Live at facebook.com/capradio.
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In these times where everyone is stuck indoors, relaxing neo-classical and ambient music has seen a boom. Film, TV, advertising and music composer Michael Whalen released a new album Sacred Spaces earlier this month that captures the type of music needed now. Whalen for this project avoided presets, creating and programming his own sounds in fine detail-more than 800-over a period of four months. The result is a powerful and captivating album that is beatless, but still has loads of energy underneath tracks like on "In The Footsteps of the Blessed." The album combines flutes, strings, pianos and light percussion to create a lush soundtrack to your time indoors.
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Since first appearing on the scene in 2007, Toronto's Sultans Of String has never taken the easy road in terms of crafting their internationally acclaimed hybrid of folk, jazz and world music. Their latest album, Refuge, is their most ambitious yet, a collection of 13 songs that speak to the challenges facing the world's displaced peoples-their stories, their songs, their persistence and their humanity.
It features the group collaborating with over 30 artists, from the renowned banjo player Bela Fleck to Ojibway poet Duke Redbird and a string section from Istanbul, Turkey. However, all plans surrounding the release of Refuge on March 20 were put on hold because of the COVID-19 crisis, putting the band's expected earnings from touring in jeopardy and dampening what was supposed to be a celebration of the year of hard work put into making the album.
It is sadly a common story with many musicians who have had spring album releases scheduled. We spoke with Sultans Of String co-founder Chris McKhool about how he and the band are coping with our current reality, and how it could shape the future of the music industry. Refuge is available to purchase now physically and on all digital and streaming platforms. Find out more at sultansofstring.com.
fyi music news has 5 questions for Sultans Of String's Chris McKhool. Here they are
‘Love Letters' marks a different direction for the internationally celebrated artist; it offers a shift in intimacy and content and comes at a pivotal time in her career as she signs to her new record label, Mercury KX.
Milan Records today announces the February 28 release of WENDY (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by award-winning composer, songwriter and producer DAN ROMER and the film's award-winning director BENH ZEITLIN.
Wolfgang Muthspiel, whom The New Yorker has called "a shining light" among today's jazz guitarists, returns to the trio format with Angular Blues, the Austrian's fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut.
World-renowned guitar hero Al Di Meola welcomes a new decade with an ambitious follow-up to his 2013 studio recording All Your Life: A Tribute to the Beatles with a sophomore homage to the Beatles, entitled Across The Universe, due out on earMUSIC on March 13, 2020.
Jane Ira Bloom: Sixteen Sunsets makes textura: 'Best Jazz of 2013' List
Posted: December 28, 2013 12:00 AM
| By: Admin
Acclaimed soprano saxophonist Jane Ira Bloom brings thirty-plus years of experience to her fifteenth recording and first all-ballads album Sixteen Sunsets. She's covered standards before-Kurt Weill and Maxwell Anderson's "Lost in the Stars" on Art and Aviation and Hoagy Carmichael and Ned Washington's "The Nearness of You" on The Nearness, to cite but two examples-but does so even more plentifully on Sixteen Sunsets, which complements nine American songbook classics with five of her own compositions. But don't think for a moment that Bloom has phoned in, so to speak, these performances. Though she's no doubt played the pieces countless times, the material sounds startlingly fresh on this recording, and alive, too, due to the amazing multi-dimensional clarity the surround sound recording brings to her playing (the saxophone was literally surrounded by an array of microphones for the sessions), something especially audible in her solo saxophone treatment of Kurt Weill and Ira Gershwin's "My Ship."
Bloom less plays the melodies in the standard so much as caresses them and lovingly at that. In that regard, there's maybe no more exquisite moment on the recording than the sound of Bloom wrapping her voice around the heartfelt melodies in "I Loves You Porgy," and though she delivers the songs' themes with deep feeling, she goes deeper in the solos where it truly feels like she's trying to penetrate into the material to get at its heart (one example of many: her solo in Billie Holiday and Mal Waldron's "Left Alone"). One of the recording's great pleasures comes from observing how Bloom straddles the line between hewing closely to a given song's melodies and straying from it with soloistic embellishments. Put simply, her handling of the album content suggests not only an acquaintance of long-standing but one of deep affection, too, all of which makes Sixteen Sunsets noteworthy for presenting some of the most emotional playing of Bloom's on record.
Though she has become well-known for the application of live electronics to her playing, Sixteen Sunsets features her soprano saxophone playing in its pure form. Pianist Dominic Fallacaro, bassist Cameron Brown, and drummer Matt Wilson provide tasteful support, their relative unobtrusiveness not unwelcome in a date of this kind. Fallacaro stands out for the elegance of his playing, but so too do the others; consider the magnificent support the trio gives Bloom for her haunting rendition of Jimmy Van Heusen's "Darn That Dream" as evidence.
Highlights are plentiful, and from the first moments of "For All We Know," the tender side of Bloom's playing is on full display, and what a wonderful a thing it is to witness. Her own bluesy composition "What She Wanted" exudes such a classic ballad quality, it feels perfectly at home within such esteemed company, especially when the also-bluesy "Good Morning Heartache" and "Left Alone" are also featured. She covers a standard of her own in featuring a new version of "Ice Dancing (for Torvill & Dean)," which originally appeared on the late-‘80s Slalom and whose lilting swing and serpentine melodies sound as good today as they did then. Her breezy "Primary Colors" also adds a welcome moment of uptempo swing to a recording whose focus is otherwise on slow tempi.
One of the most well-known historical precursors to Sixteen Sunsets is, of course, Coltrane's Ballads, which likewise features a sax-led quartet interpreting an album's worth of timeless romantic standards. Fifty years after Coltrane's recording first appeared, Bloom perpetuates the tradition with a beautiful one of her own that can't be praised too highly.
TEN QUESTIONS WITH JANE IRA BLOOM The soprano sax has enjoyed a long and distinguished history in jazz, with figures such as Steve Lacy, John Coltrane, and Wayne Shorter having established clearly recognizable voices on the instrument. Jane Ira Bloom established her own voice on the instrument at a rather early stage in her career: by the time her third album, 1982's Mighty Lights, appeared (on which she was auspiciously joined by Charlie Haden and Ed Blackwell as well as pianist Fred Hersch, with whom she's enjoyed a long-standing musical partnership), Bloom's distinctive voice, both as a player and composer, had come into clear focus.
She certainly wasted no time in making a name for herself as both a composer and player. Her first solo album, We Are, a nine-song duet date recorded in March 1978 with bassist Kent McLagan, features seven Bloom originals, while her love for timeless standards was already evident in the inclusion of Strayhorn's "Chelsea Bridge" on her debut and Weill and Anderson's "Lost in the Stars" on Mighty Lights. There's a warmth and lyrical quality to her playing that's present on those early recordings, and such qualities blossom to an even greater degree on her latest, a beautiful set of ballads titled Sixteen Sunsets.
Bloom has also received a considerable number of honours and awards over the years. She was the recipient of the 2007 Mary Lou Williams Women in Jazz Award for lifetime service to jazz, is a six-time winner of the Jazz Journalists Award for Soprano Saxophone, and a winner of the Downbeat International Critics Poll for soprano sax. Currently a professor at NYC's New School for Jazz & Contemporary Music, Bloom has had such a huge impact that The 2009 Bloom Festival, a Brooklyn-based jazz festival devoted to cutting-edge woman artists, was named in her honour; she is also the first musician to have been commissioned by the NASA Art Program and even had an asteroid named after her by the International Astronomical Union (asteroid 6083janeirabloom).
01. Near the beginning of your recording career, you were joined by Charlie Haden and Ed Blackwell on 1982's Mighty Lights. What was the experience like for you playing with such revered figures?
It was an opportunity to play with my dream rhythm section. I was scared out of my mind but excited at the same time. You know like the Chinese definition of a crisis-it was "a dangerous opportunity." Playing with Charlie and Ed was like surfing an amazing rhythmic wave. They had a way of making anything you played sound right.
02. Was it intimidating or did you feel at home, so to speak, in such company? And was there anything in particular you took away from the recording experience that was especially valuable?
I was so lucky to have had the experience of playing with them. The kind of feel that they created is completely unique. That recording also marked the beginning of my collaboration with pianist Fred Hersch, which continues to evolve to the present day. Looking back at that recording reminds me of what a creative nexus the whole experience was.
03. You also seemed to find your voice at a preternaturally early stage in your career. How did you manage to do so when other artists sometimes take years to do so?
It's really been a journey. I suppose choosing the soprano-an instrument that you could develop a sound on with the luxury of being stylistically under-influenced had something to do with it. I also think "having a sound" is something that was ingrained in my thinking from the time I began studying the saxophone with woodwind virtuoso Joe Viola. The saxophone is one of the instruments that is closest to the human voice and so making a sound on it should be as personal and unique as your own voice.
04. Obviously most of the standards you've included in Sixteen Sunsets are ones that have been played and recorded countless times, and I'm presuming you've played them many times as well. Having said that, your performances of them on the recording strike me as so fresh they sound like performances by someone almost new to them. How did you manage to make the renderings of the songs sound so fresh, given that you've played many times before the recording sessions?
If you're in a relaxed frame of mind, the best way to play anything is completely fresh to the moment so that every sound you make is a discovery to your imagination. As improvisers we practice this kind of spontaneity-a provocative juxtaposition of concepts, don't you think? With the album, I picked songs that really resonated with me and then tried to record them in a way that was conducive to relaxation. We never really recorded in the studio for more than three or four hours at a time, which helped keep everything fresh.
05. The other thing that strikes me about the performances of the ballads on Sixteen Sunsets is how powerfully emotional your playing is, especially in your solos. Were you consciously setting out to dig deeper into these songs to get to their emotional core or is that simply something that naturally comes out when you're playing such melodically rich material?
You know as you get older, you just get more comfortable with yourself and eliminating all the things that get in the way of singing in your natural voice. I've learned a lot from listening to vocalists. I'm very happy that the emotional reach of the music is audible. It's one thing to play that way in concert and another thing to let yourself go in the studio. I think great melodies do most of the work for you.
06. One of the things that comes through clearly as I listen to Sixteen Sunsets is the unqualified joy it seems to me I hear when you playing something as magnificent as "I Loves You Porgy" and "The Way You Look Tonight." Am I correct in assuming that as a musician one of your greatest satisfactions is simply the experience of having such exquisite material speak through you?
It's like an exquisite synchrony. There's something in feeling and thinking about the lyrics of a song and what they're saying and then transforming that through your own voice. It's such a simple concept for an instrumentalist to play a song thinking about what that song means but you'd be surprised how quickly the transformation to an instrument can confuse that.
07. In 1996, Herbie Hancock released The New Standard, his attempt to argue on behalf of songs like The Beatles' "Norwegian Wood" and Nirvana's "All Apologies" as contemporary standards. Those covered on Sixteen Sunsets, on the other hand, are classics of decades-long standing like "Darn That Dream" and "Good Morning Heartache." Can you think of any contemporary standards that hold up next to the ones you covered or is there some truth to the cliche "They don't write'em like that anymore"?
There are great songs in all eras of music. In addition to the American songbook, I grew up listening to Laura Nyro, Joni Mitchell, etc... Who knows, maybe someday I'll revisit that music. My students interpret the music of their time in 2013 in a way that is completely natural to them because it's of their generation.
08. In a Dec. 7th, 2013 review of new biographies on Charlie Parker and Duke Ellington in the Canadian newspaper The Globe and Mail, Martin Levin states that jazz is "widely thought a dying art form" (even though at the close of the paragraph he writes, "one hopes, that rumours of the death of jazz are highly exaggerated"). What's your own take on jazz's current state of health?
Looking at the wallpaper in his bedroom near the end of his life Oscar Wilde was quoted as saying "One of us has got to go." Maybe it's the critics and their dire predictions that need to take a rest. The music always has and always will continue to evolve and develop in its own way regardless of its observers.
09. No doubt you've attended a great many concerts in your life. Are there any that stick out as particularly memorable, even life-changing?
Listening to Sonny Rollins play a capella solos live is a life-changing experience. Hearing Aretha Franklin singing "Respect" at the Kennedy Center a few years ago was surreal and an experience I'll never forget.
10. As Sixteen Sunsets was recorded in early summer 2013, I'm guessing that you're currently pondering what your follow-up to it will be. Any thoughts as to what your next recording will be like and how it might differ from the latest one?
Not really. I tend to let more time go by between projects so that ideas can evolve in their own time and not according to when I would like them to happen. You never know where a good idea can come from or when it might appear so sometimes you just have to be patient with your own creative process.
American original Jane Ira Bloom does it again. This time the 21st-century soprano saxophonist reimagines the poetry of 19th-century visionary Emily Dickinson in two different settings. This new 2 CD pack, has the quartet (Dawn Clement (piano), Mark Helias (bass)& Bobby Previte (drums) interpretating Dickinson's poetry both instrumentaly and in spoken word settings that feature readings by popular stage & film actor Deborah Rush. After the success of her 2016 trio album release Early Americans, Bloom shifts gears with Wild Lines / Improvising Emily Dickinson. Bloom composed Wild Lines when she was awarded a 2015 CMA/ Doris Duke New Jazz Works commission. She was inspired to musically reimagine Dickinson when she learned that the poet was a pianist and improviser herself.
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You never know what American original soprano saxophonist Jane Ira Bloom is going to do next. After the success of her 2014 all-ballads release "Sixteen Sunsets" Bloom shifts into another gear showcasing the kinetic energy of her acclaimed trio playing with the musicians that she knows best on Early Americans (OTL142). It's her first trio album, sixteenth as leader and sixth recording on the Outline label. Her sound is like no other on the straight horn and she lets it fly on every track. She's joined by long-time bandmates Mark Helias on bass & drummer Bobby Previte and with over fifty years of shared musical history together the album is sure to be a winner. Bloom's collaboration with Helias dates back to the mid 70's in New Haven CT and her unique chemistry with Previte has been ongoing since 2000. She brought the group together in summer 2015 to Avatar Studio B in NYC to capture their breathtaking sound in both stereo and surround-sound with renowned audio engineer Jim Anderson. The album features twelve Bloom originals ranging from the rhythmic drive of "Song Patrol" and "Singing The Triangle" to the spare melancholy of "Mind Gray River." She closes the album with a signature solo rendition of the American songbook classic, Bernstein & Sondheim's "Somewhere." World-renowned portrait photographer Brigitte Lacombe contributes a stunning cover image of Bloom. "Playing in threes" has always held a special fascination for jazz artists - it offers the possibility that something can be slightly off balance and that's just what fires the imagination of players like Bloom, Helias, & Previte. With Early Americans Jane Ira Bloom stands in the vanguard of her generation carving out new territory in the heart of the jazz tradition. Don't miss this trio of "fearless jazz explorers who share a commitment to beauty & adventure."
"I grew up listening to these songs and knowing the lyrics. They were a part of my earliest listening experiences so playing them is like breathing to me. As time's gone by it's been easier to let the meaning of the songs come through the horn."- Jane Ira Bloom
Award winning soprano saxophonist Jane Ira Bloom has always had a special feeling for ballad performances. So much so that she has now finally released: Sixteen Sunsets, a beautiful new recording featuring expressive interpretations from the American Songbook along with five compelling slow tempo original compositions. With this her 15th album as leader and her first all-ballads album, Sixteen Sunsets pairs JIB with long-time colleagues Cameron Brown on bass and Matt Wilson on drums, along with an exciting new pianist we will all be hearing a lot more from: Dominic Fallacaro.
After thirty years, Award winning soprano saxophonist Jane Ira Bloom has returned to her original label, Outline Records, for a disc employing an electro-acoustic band which brings together fellow 70's New Havenite Mark Helias on bass, drummer Matt Wilson, and Seattle new comer Dawn Clement on keyboards for Mental Weather. After premiering the piece with the Doris Duke new jazz works program, Bloom then brought the band into Avatar Studio B in NYC with audio engineering legend Jim Anderson and laid down nine thrilling tracks.
4 New 'ON' this week: 198 'Total
SYND: NPR: Fresh Air PRI: All That Jazz, WFMT Net: Jazz with Bob Parlocha, CMJ & Jazzweek Charts Markets include: New York, Los Angeles, Chicago, Boston, Wash DC, Philadelphia, Seattle, Minneapolis, Miami, Atlanta, Cleveland, Baltimore, St. Louis, Detroit, Portland, Las Vegas, San Diego, New Orleans, Buffalo, Albuquerque, Berkeley CA, Louisville, Jacksonville, Orlando, Honolulu, Buffalo, Omaha, Raleigh, Toledo, Santa Fe, San Jose, San Antonio, Knoxville, Stanford CA, Puerto Rico CANADA: Toronto, Ottawa, Winnipeg, Quebec INTER: France, The Netherlands, Australia, Germany, Poland, Portugal, New Zealand, Russia, Austria, Columbia Charts: CMJ & Jazzweek Press includes: Downbeat, All About Jazz, JazzTimes
Whether adventuring into interior or outer space in her music, award winning soprano saxophonist Jane Ira Bloom continues to navigate her unique musical path with creative abandon. Wingwalker, her 14th album as leader and fourth album on the Outline label reunites Bloom with long-time bandmates Dawn Clement on piano, bassist Mark Helias, and drummer Bobby Previte. After two years since Bloom's last release "Mental Weather," she brought the band together in June 2010 to record new compositions written during time made possible by a Guggenheim Fellowship. Wingwalker was recorded in Avatar Studio B in New York City with renowned audio engineer Jim Anderson. The album features eleven Bloom originals and a solo sax rendition of Lerner & Lowe's classic "I Could Have Danced All Night." From the groove inspired "Life on Cloud 8" to the spare simplicity of "Adjusting to Midnight," Jane has journeyed further into jazz dimensions without a safety net. The CD also features an extra mp3 downloadable version of the music condensed into a 5 minute 49 second event.
8 New 'ON' this week: 336 Total
Synd: Voice Of America, PRI/Jazz After Hours
Direct: SiriusXM, Music Choice
Markets include: New York, Los Angeles, San Francisco, Chicago, Wash DC, Philadelphia, Seattle, Houston, Atlanta, New Orleans, Baltimore, Portland, San Diego, Detroit, Long Island NY, Austin, Milwaukee, Memphis, Albuquerque, Orlando, Tampa, Puerto Rico
International: Canada, UK, Australia, France, Germany, Italy, Portugal, The Netherlands, New Zealand, South Africa, Japan
Online: The Jazz Session, Moja, Live 365, Taintradio, Jazzweekly.com, All About Jazz, amazon, Aggie Radio, UKJazzRadio, Jazz Virtuosa, Hot House, Cory Weeds, Jazzreview.com, Jazz Police, PopMatters, Big Butter and the Eggman, IAJRC