Bettye LaVette's first single in 1963 was a major hit, but for the next 40 years, the R&B singer bounced between label deals and near-destitution as her peers such as Aretha Franklin, Marvin Gaye and Diana Ross became superstars. LaVette grew up in Detroit, the birthplace of Motown, but the label's founder Berry Gordy Jr. never brought her onto his roster.
But LaVette is having the last laugh. At age 74, she's now enjoyed five Grammy nominations and numerous lifetime achievement awards. LaVette's new studio album Blackbirds is the ninth record she's released since 2003, when she kicked off a late-career resurgence.
She brought The Who's Pete Townshend to tears when she performed Love Rain Over Me at the 2008 Kennedy Center Honors. It led to her performing at President Barack Obama's inauguration ceremony.
Her talent for finding new emotion in other people's songs is such that Justin Hayworth from the Moody Blues once told her that he'd written Nights in White Satin, but he never understood it until she sang it. Her voice, both on stage and in person, is what makes LaVette so extraordinary.
After all these years, she's in a lane of her own. Bettye LaVette is the last of the great women of R&B's golden era.
LaVette joined us for a conversation about her long career as the underdog of American blues.
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Data Lords is a new double-album by Grammy Award-winning composer and bandleader Maria Schneider. Inspired by conflicting relationships between the digital and natural worlds, the recording features Schneider's acclaimed orchestra of 18 world-class musicians.
Schneider says; "No one can deny the great impact that the data-hungry digital world has had on our lives. As big data companies clamor for our attention, I know that I'm not alone in struggling to find space – to keep connected with my inner world, the natural world, and just the simpler things in life," says Schneider. "Just as I feel myself ping ponging between a digital world and the real world, the same dichotomy is showing up in my music. In order to truly represent my creative output from the last few years, it felt natural to make a two- album release reflecting these two polar extremes."
In the latest, 89.9WUCF: Orlando FL Magazine - Bob Kelley reviews the latest from keyboardist and arranger Antonio Adolfo - we celebrate the birth of tenor saxophonist Sonny Rollins - and Maria Schneider lets us in on her take of two polarized worlds with "Data Lords". LISTEN TO THE SEGMENT
"Beauty will save the world." Those are the words of cellist Camille Thomas, whose new album, Voice of Hope, speaks to this very idea. This album concept, at first glance, might have been at risk of feeling overly saccharine. It turns out, it'll take no more than nine seconds before the opening Kaddish by Ravel pulls you in and you know this is no lightweight endeavor from Thomas. This is not a sweet, innocent beauty, but one of visceral yearning, colored with mesmerizing, sometimes hauntingly beautiful soundscapes.
Thomas delivers this, her second release on the Deutsche Grammophon label, alongside musical colleagues very much on her home turf - the Brussels Philharmonic and their French music director Stéphane Denève.
Hear Camille Thomas and Stéphane Denève discuss the recording of Never Give Up on 90.1WRTI: Philadelphia
Canada's most successful songwriters, composers and music publishers are will be honoured in the 31st annual SOCAN Awards, held for the first time online, with Shawn Mendes solidifying his place in songwriting royalty earning two of the most prestigious prizes, becoming the most-awarded SOCAN member in a single year.
Follow @socanmusic on Facebook, Instagram and Twitter (#2020SOCANawards) to join in the celebration of more than 50 award winners announced today through September 25th via special virtual presentation. Celebrations include Drake, LIGHTS, bülow, Andrew Lockington, Daniel Caesar, Laila Biali and more.
Biali has some new music for fall/winter including the release of Anthem by Leonard Cohen.
Laila Biali released her cover of 'Anthem' by Leonard Cohen last Friday, Sept 18, for Leonard's birthday celebration TODAY Sept 21.
The 2019 JUNO-Award winner covers her fellow Canadian and music icon with his relevant song that delivers a salient message for the times we find ourselves in: "Ring the bells that still can ring. Forget your perfect offering. There is a crack in everything, that's where the light gets in." Leonard would have turned 86 today.
This single releases on the heels of Laila's highly succsessful 2020 album release, Out of Dust, which came out on March 27 and features an expansive ensemble of instrumentalists and singers including GRAMMY Award winners and nominees Lisa Fischer, John Ellis, Larnell Lewis, and others.
CBC Radio 1 is premiering the track today along with the Quarantunes video. Watch the attached
In 1968, a 16-year-old jazz fan at Palo Alto High School in California decides to hold a concert in the school's auditorium to raise funds for its International Club-and convinces Thelonious Monk's manager that his client should be the headliner. (Not surprisingly, the student, Danny Scher, would soon become a major force in the live-music production world.) As concert day approaches, one of the school's janitors, an audio enthusiast, offers to tune the piano in exchange for recording the show, a deal that's quickly agreed to. On the afternoon of October 27, the Thelonious Monk Quartet gives its only known high-school performance. Afterward, the janitor (his name apparently lost to history, though researchers are no doubt still working on that) hands the young promoter a tape. It goes in a box, where it sits for the next 50 years. When its owner rediscovers it, he contacts Monk's son T.S., who-first tickled by the story, then impressed by the recording's quality-sanctions its release.
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UK singer and producer Labrinth just scored his first-ever Emmy Award for Outstanding Original Music and Lyrics thanks to his Euphoria soundtrack standout, "All For Us." The song, which ended the emotional rollercoaster first season, was nominated alongside Pharrell and Chad Hugo's "Letter to My Godfather" from The Black Godfather, Thomas Mizer and Curtis Moore's "One Less Angel" from The Marvelous Mrs. Maisel, and Trent Reznor and Atticus Ross' "The Way It Used to Be" from Watchmen. Reznor and Ross won the Emmy for the dramatically-titled Outstanding Music Composition For A Limited Series, Movie Or Special award.
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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.
Violinist Daniel Hope spent his period of social distancing by performing chamber concerts online from his living room in Berlin with specially invited guests including Christoph Israel, Till Brönner, Matthias Goerne and more.
World-renowned singer-songwriter Melody Gardot announces her long-awaited new album along with the release of a highly anticipated single which sees her join forces with 17-time Grammy Award winning music icon Sting.
Maybe like me, you love to escape by watching a good film. Violinist Daniel Hope believes that on many levels, Hollywood is the quintessence of escape.
After spending 15 years studying and exploring composers who didn't escape the Holocaust, on his latest release, Escape to Paradise, Daniel Hope takes a closer look at those who did. And for many of these composers, Hollywood was their escape and their exile. Daniel says this whole idea hits very close to home. His parents escaped South African apartheid and moved to Great Britain, after his grandparents had escaped Hitler from Berlin and lived in exile in South Africa.
"My maternal grandparents were living in Berlin in the 1930s," Daniel says. "They were kicked out of Berlin because of their Jewish heritage. And my grandfather was a lighting designer, a lighting engineer under Max Reinhardt. And Max Reinhardt offered him the chance to go to Hollywood with him in 1934 where he was going to do the Midsummer Night's Dream at Hollywood Bowl and then make the movie. But he'd been beaten up by Nazis on the streets in Berlin and he said he wanted to go as far as possible away from Germany. America was not far enough, so he chose South Africa.
"So this idea of escape and displacement has always played a strong role in my family, certainly for the last century. And on the album I wanted to, on the one side, show some of this music that these composers had created. But I also wanted to look at the development and creation of the so-called Hollywood sound and try to find out more about it - where it came from, what's left of it today, and to examine the journey it has taken over these 100 or so years.
"It's really amazing to think that there is a whole generation of music that was wiped out by the Nazis, that does not exist, at least officially, in our list of, let's call it '20th century music'. This whole era. And with the Hollywood composers, I find it equally fascinating because they were in this mindset of looking to the future. If you look at Korngold, the kinds of pieces he was writing in the 1920s and '30s, they were extremely ahead of their time. And yet when he arrived in Hollywood, the requirement was this big, symphonic music. So, in a sense he was sent back in his development. And yet Hollywood gave him such a fantastic opportunity at the same time. Not just an opportunity to write music, but also to save many of his relatives. And Korngold said, 'I will compose film music until Hitler is gone.' And the minute Hitler was gone, he sat down and wrote the Violin Concerto."
Erich Korngold's Violin Concerto was not initially well received. Over time, Daniel says it has earned the respect it deserves.
"'More Korn than Gold,' of course, is the famous quote that one of the critics gave as a pan after the performance, which I think is terribly, terribly unfair," Daniel says. "It's also interesting that people say it sounded like film music. I think it's actually the other way around - film music sounds like Korngold. And that's the role of Korngold in Hollywood, as with Max Steiner. I see them as the two great pioneers of the Hollywood sound - [and] let's not forget Waxman. As far as the Violin Concerto is concerned, of course the great Jascha Heifetz is the one who championed it and pioneered it. And yet then it went through a kind of lull for a certain period of time until Itzhak Perlman picked it up and did phenomenal recordings of it.
"The fact that the concerto is dedicated to Alma Mahler, to his old days of Vienna … there is very much this nostalgic feeling in the concerto, and the orchestration from beginning to end is absolutely masterful."
There's a big brass fanfare near the end of the third movement of this concerto, which Daniel says you may recognize for more than one reason. "That's a paraphrase from the film King's Row - a 1948 film, if I recall correctly. And that is almost exactly the same phrase that John Williams uses in Star Wars. There is a direct lineage somehow in this music: John Williams studied with Castelnuovo-Tedesco, another one of these exiled Hollywood composers. He was one of the reasons I had to have him on the CD, quite apart from the fact that I love his music. Schindler's List - this idea of escape which accompanies the album was very intrinsic."
There are also several chamber music arrangements on Escape to Paradise that caught my ear, including a piece titled, "Reminiscences from Franz Waxman's film, Come Back, Little Sheba."
"Waxman's music is so beautiful," Daniel says. "He was a master of styles - almost chameleon-like in styles, where he could adopt any style at a moment's notice. And yet the signature and the way in which he approached it were done with such wonderful technical means. This particular arrangement was one that had already been done - all the other arrangements on the album we actually made specifically. But this is one, Mr. Waxman Jr. told me about and sent to me. And as often with this music, I find, it has an element of nostalgia, an element of looking back."
Escape to Paradise is filled with nostalgia that will no doubt stir memories for you, just as it has for Daniel Hope. "I think being able to immerse oneself in this time - that, for me, is the greatest joy. Whether that was in the recording studio or discovering new pieces or having contact with the second generation. Both the son and daughter of Miklos Rosza wrote to me. I was able to interview people from that time who are still alive. I was granted access to Paramount Studios and their archives and was able to find manuscripts by Korngold that had not seen the light of day in 70, 80 years. I would say it was a combination of things. It was being able to find out more about a time that I find so fascinating. Being a film addict, it was also fantastic for me to go back and watch some of these glorious films in their over-the-top eccentric way in which they were made and yet they have such fantastic emotion and vision.
"And then also a connection to my grandfather, who could quite possibly have gone with Max Reinhardt. He decided not to, but he could have gone to Hollywood. He might have been there. And so that brought me, in a sense, closer to him."
Violinist Daniel Hope spent his period of social distancing by performing chamber concerts online from his living room in Berlin with specially invited guests including Christoph Israel, Till Brönner, Matthias Goerne and more. Deutsche Grammophon is proud to present Hope@Home the album, a selection from this series of livestream events which attracted a combined audience of 2.5M viewers. Every track is live, one take only. As Hope says, "There were no patches or editing, no second takes. Sometimes life doesn't allow for second takes. This was my world for six magical and highly unusual weeks. I hope you enjoy listening."
It was the age of the Lumière Brothers, Alexander Graham Bell, Karl Benz, the Wright Brothers and Louis Blériot, Marie Curie and Louis Pasteur – an age not unlike our own, marked by rapid scientific and technological development as well as intense literary, artistic and musical activity. The Belle Époque, the period between the end of the Franco-Prussian War in 1871 and the outbreak of World War One in 1914, was a time of apparent peace and prosperity but with a darker reality of social and economic deprivation lying not far beneath its gilded surface. This era of creativity and contradiction has long fascinated Daniel Hope: "I often wish I had a time machine to go back to the salons of Paris, indeed to that entire age," he says.
Belle Époque– Hope's 17th recording for Deutsche Grammophon – offers a panoramic snapshot of the music that came out of this world, capturing its mix of late-Romantic, Impressionist and Modernist styles. The violinist's double album places popular repertoire by Massenet, Debussy and Elgar alongside rarely heard miniatures by Rachmaninov, Charles Koechlin, Frank Bridge and members of the Second Viennese School.
Daniel Hope returns to core repertoire with Journey to Mozart, an intimate exploration of Mozart's world comprising both works by the titular composer and pieces by his contemporaries Gluck, Haydn, Mysliveček and Salomon. Performed with the Zurich Chamber Orchestra, Journey to Mozart features two popular violin concertos by Haydn and Mozart (both in G Major), the famous Adagio in E Major, K. 261 and more.
Concerned with nature's eternal cycle of decline and renewal, Daniel Hope's latest album for Deutsche Grammophon explores the creative relationship between music, art and the ever-changing calendar. For Seasons includes the violinist's first recording of Vivaldi's evergreen collection of seasonal concertos together with a dozen companion works associated with the months of the year. His choice of repertoire reveals the imaginative scope unlocked when composers turn for inspiration to the seasons and evokes our strength of attachment to the landmarks of passing time. Vivaldi's The Four Seasons leads the way in a program that spans everything from venerable compositions by Jean-Philippe Rameau, Johann Melchior Molter and Johann Sebastian Bach to recent works by Aphex Twin, Nils Frahm, Chilly Gonzales and Max Richter.
24 NEW 104 TOTAL
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2016 marks the centennial of Yehudi Menuhin, the violin legend whose playing Einstein once cited as a reason to believe in God. To honor this anniversary, on February 5, six-time ECHO Klassik Award-winning violinist Daniel Hope releases his tenth Deutsche Grammophon recording, titled My Tribute to Yehudi Menuhin. Having grown up within the Menuhin household, Hope went on to partner him in more than 60 concert performances, sharing a close association with the older violinist that was truly unique. His new album celebrates the rich diversity of his friend and mentor's musical tastes, combining works by Vivaldi, Mendelssohn, Elgar, Ravel, Bartók, Tavener, Enescu, Jo Knümann, Steve Reich, Hans Werner Henze, and Bechara El-Khoury.
8 NEW 66 TOTAL
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"Daniel Hope is a force to be reckoned with." Gramophone
Deutsche Grammophon releases Classical BRIT-Award-winner Daniel Hope's new recording, Escape to Paradise: The Hollywood Album, in the US (The album is released in Europe a day earlier.) The British violinist has a "thriving solo career" per the New York Times, which "has been built on inventive programming and a probing interpretive style." The new release draws on Hope's extensive research into European composers - among them Eric Wolfgang Korngold, Miklós Rózsa, Hanns Eisler, and Franz Waxman to name a few - who fled fascist persecution to relocate to Los Angeles where they penned some of the 20th century's most iconic film scores. Recorded with Alexander Shelley leading the Royal Stockholm Philharmonic and guest artists including vocalists Sting and Max Raabe, Hope's unprecedented new collection juxtaposes examples of the émigré composers' film and concert music with selections by those they influenced – like leading contemporary movie composers John Williams, Ennio Morricone, and Thomas Newman – in a nostalgic search for the quintessentially lavish "Hollywood sound.
40 NEW 48 Total
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