York Daily Record - Mike Argento writes......Robin Spielberg was looking forward to a good 2020. The pianist and composer was working on her 19th record and had a tour scheduled with legendary songwriter Jimmy Webb, who penned such iconic songs as "By the Time I Get to Pheonix," "Galveston," "Wichita Lineman," "Up, Up and Away" and countless other timeless tunes.
She had toured with Webb before – her husband, producer and talent agent Larry Kosson represents Webb, among other artists – and it was always a great time. "I'm Jimmy's driver, shoe-shiner, everything," Spielberg said. "I always joke with him in the car, telling him, ‘You're an icon." And he would say, ‘Say that one more time and I'll slap you in the face.' So then, I'd have to say it over and over again."
She was also eager to get back on the road to promote her new record, "Love Story," released Feb. 7, her 19th record and first to be pressed on vinyl - bright red vinyl at that.
They played one date of the 20-city tour and were scheduled to play in her adopted home, York County, on March 28. Then the pandemic began. And everything changed.
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The Korea Times - Kwon Mee-yoo writes.....Pianist Cho Seong-jin will premiere an unheard piece by Mozart in Salzburg on the occasion of the classical composer's 265th birthday. Cho will play Mozart's "Allegro in D K626b/16" at the Great Hall of the Salzburg Mozarteum Foundation, Wednesday, which mark's the Austrian composer's birthday as well as the opening date of the first-ever virtual edition of Mozartwoche, or Mozart Week, festival. "It is a great honor to be invited to give the premiere of a formerly unknown work by Mozart in the city of Salzburg, where the composer was born," Cho wrote on his Twitter, Friday.
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Multi Grammy & Emmy nominated recording artist, TV star and activist Jon Batiste announces a new single "I Need You" from his forthcoming ‘black pop' album WE ARE. The album is set for worldwide release on March 19 (Verve Records). On "I Need You" Batiste showcases his vocal range, accompanied by his once-in-a-generation musicianship. Produced and written in collaboration with songwriter Autumn Rowe and producer Kizzo, the song is communal and deceptively sophisticated. It fuses the sound of early 20th century black social music, with modern pop production and a hint of hip-hop storytelling. He expertly alternates between belting high notes in full voice, to singing harmony with himself on the choruses, to delivering the verses in a ‘farm rap' style. Batiste then dives into two killer instrumental breaks on both piano and saxophone - all in less than 3 minutes. Says Batiste, "This song is a vibe cleanse. After 2020, this is like a warm hug," says Batiste. "Let's bring the vibes back!"
Watch Batiste Lindy Hop his way through new single on the attached video. About the video, boingboing's GARETH BRANWYN writes.... "Jon Batiste everybody." One of the upsides of COVID-19 isolation has been getting to know Stephen Colbert and his musical director, Jon Batiste, a lot better. During the Trump Virus shit-show, Jon has been a little nightly dose of heartfelt music and unwavering positivity. In this video, the single to his forthcoming record, We Are, a group of Lindy Hoppers in a gallery photograph come to life and dance with him and another female patron. Sadly, upon seeing this, my first thought was: Where are their masks?
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textura writes.....A Quiet Madness is somewhat of a curious title for William Susman's latest release. The composer's music is seldom hushed, and neither is it deranged-not that there's any suggestion the title should be taken literally anyway.
The influence of classical minimalism on Susman's melodious music is undeniable, but he uses it as a foundation upon which to construct his own distinctive edifice. These settings enchant as they wend their way through different instrumental groupings, from the violin-and-piano serenity of the opening Aria on through the wholly transporting Seven Scenes for Four Flutes and beyond. Though its material was written between 2006 and 2013 and recorded on two continents, a cohesive impression forms due to the through-line of the composer's voice and the smart sequencing. By distributing three parts of the solo piano work Quiet Rhythms in amongst the other pieces, the album conveys a unified character capable of accommodating dramatic contrasts between the earthy and the ethereal.
For now, the forty-eight minutes of A Quiet Madness offer more than their fair share of listening rewards as a representative sampling of his artistry.
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Iconic NYC jazz club rallies to stay open amid pandemic.
WPIX11's Magee Hickey writes....Like so many jazz clubs and music venues across the city, 'Birdland' has been shuttered on West 44th Street since the pandemic began last March, except for a brief reopening last month. What better way to open the Save Birdland fundraiser than hearing the legendary Catherine Russell sing its anthem: the lullaby of Birdland. Birdland, the jazz corner of the world, has been around for longer than most of us can remember. It first opened in 1949 on 52nd Street with big names, including Count Basie, Dizzy Gillespie, Thelonious Monk, Miles Davis and Billie Holiday. They performed regularly with Billy Taylor as the house pianist.
Owner Gianni Valenti feared would have to close permanently until producer Tom D'Angora held a successful fundraising telethon to save the West Bank Café on Christmas Day. "After a very successful West Bank Café campaign, some of my friends said 'can you do the same for Birdland,'" D'Angira told PIX11 News. "Birdland can't close. We can't have a New York without Birdland. That's impossible."
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For Icelandic pianist Víkingur Ólafsson's debut album on Deutsche Grammophon, he is performing selections of Philip Glass's Piano Etudes. Ólafsson's fascination with reinterpreting the Piano Etudes grew as he toured and performed the works with Glass himself. Released for the composer's 80th birthday, the pianist says; "On the surface, they seem to be filled with repetitions. But the more one plays and thinks about them, the more their narratives seem to travel along in a spiral," he explains. "My approach to each of the etudes is to enable the listener to create his or her own personal space of reflection."
The Guardian's Killian Fox writes.....We got this as a Christmas present from my father-in-law, who's a pianist and musicologist, and I think it's one of his favourite records. Ólafsson is an Icelandic pianist and here he's playing works by Philip Glass, for whom repetition is a big thing. The album has a simplicity that for me becomes almost majestic in the end. It's so precise and so clear – it feels almost mathematical but also very soulful. You listen to it for a little while and new details keep emerging. I've been playing it all the time since we got it. Photograph: Antonio Olmos
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The Daily Freeman's Diane Pineiro-Zucker writes......The Ashokan Center has always focused on hands-on outdoor education and the environment, so when the COVID-19 pandemic struck in early March, 2020, it immediately became clear that things were about to change drastically, said Jay Ungar, the center's president and chief executive officer.
The Ashokan Center, at 477 Beaverkill Road in Olivebridge, has served about 5,000 schoolchildren annually during academic years since 1967 and has offered on-site dance camps for adults and families each spring and summer since 1980. But it saw enrollment drop and then disappear as the coronavirus pandemic and social distancing made it difficult if not impossible to continue business as usual.
"We leapt into the world of what's now called virtual programming," Ungar said. "I rebel against that word because virtual reality is not real, but online programming is real. It's the real thing, only it's online."
COVID "has been devastating to many non-profits and commercial businesses and small businesses. It's rewriting the world as we know it," Ungar said. "Who knows what the world will be like when we reach whatever the next step is? But for this particular organization, the Ashokan Center, while it's been a struggle and it's been difficult, it has opened possibilities that we never thought of before.
"So, our world is going to continue to include some of this virtual programming in the future and we never would have embarked on it if we hadn't essentially been forced."
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An ensemble that attracts rave reviews and sell-out crowds at prestigious venues everywhere from Vienna to New York, the sensational SIGNUM saxophone quartet are now set to present their first Deutsche Grammophon album.
Nicola Benedetti's Decca Classics album features premiere recordings of two works written especially for her by jazz musician Wynton Marsalis: Violin Concerto in D and Fiddle Dance Suite for Solo Violin. Benedetti performs Violin Concerto in D with The Philadelphia Orchestra under the baton of Cristian Măcelaru who has collaborated with the violinist to perform the work six times. The concerto was co-commissioned by the London Symphony Orchestra (LSO), Ravinia, LA Philharmonic, National Symphony Orchestra Washington, Gewandhausorchester Leipzig and Netherlands Radio Philharmonic. Benedetti performed the world premiere with the LSO under conductor James Gaffigan in London in November 2015.
GRAMMY award-winning Nicola Benedetti's new album on Decca Classics explores music by Britain's best loved composer, Edward Elgar. The centerpiece is his vast Violin Concerto in B minor. Op. 61 coupled with three short works for violin and piano: Salut d'Amour, Sospiri and Chanson de Nuit. The album will be released digitally worldwide on May 15, 2020.
Elgar's Violin Concerto is considered to be one of the most technically demanding violin concertos and is a marathon for the soloist at just under an hour in length. Premiered in 1910 by Fritz Kreizler, this concerto has a profound effect on those that give it the time it deserves. Benedetti performs the Violin Concerto with the London Philharmonic Orchestraconducted by Vladimir Jurowski.
Nicola Benedetti's new album on Decca Classics features premiere recordings of two works written especially for her by jazz musician Wynton Marsalis: Violin Concerto in D and Fiddle Dance Suite for Solo Violin.
Benedetti performs Violin Concerto in D with The Philadelphia Orchestra under the baton of Cristian Măcelaru who has collaborated with the violinist to perform the work six times. The concerto was co-commissioned by the London Symphony Orchestra (LSO), Ravinia, LA Philharmonic, National Symphony Orchestra Washington, Gewandhausorchester Leipzig and Netherlands Radio Philharmonic. Benedetti performed the world premiere with the LSO under conductor James Gaffigan in London in November 2015.
Released on Decca, Nicola Benedetti's new album, featuring the violin concertos of Glazunov and Shostakovich is a journey between two different, yet connected, concertos for the violin. Glazunov's glittering 1904 work is separated from his pupil Shostakovich's 1947 concerto, not only by 40 years, but also by several landmark events in history: the Russian Revolution, Stalin's Terror and the Second World War. Benedetti performs these two works with the Bournemouth Symphony Orchestra, under the baton of Kirill Karabits. This is the second album that Nicola Benedetti has recorded with BSO and Kirill Karabits and follows the hugely successful The Silver Violin.
21 NEW 34 TOTAL
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Combining the traditions of classicaland Scottish folk music, violinist Nicola Benedetti presents music from her native Scotland with the new album Homecoming: A Scottish Fantasy, available on Decca/Universal Music Classics. At the heart of the album is Bruch's much loved Scottish Fantasy, performed with the BBC Scottish Symphony Orchestra. The album also includes some of Scotland's best loved songs such as Loch Lomond, My Love is Like a Red Red Rose and features collaborations with leading Scottish folk musicians Phil Cunningham, Aly Bain and well-known folk singer Julie Fowlis (whose voice can be heard on the Disney/Pixar hit film, Brave).
12 New 'ON' - 61 Total
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