"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."
READ THE FULL AV CLUB ARTICLE & WATCH THE Late Show VIDEO
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."
READ THE FULL UNCUT ARTICLE
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).
READ THE FULL Mercury News ARTICLE
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.
Daniil Trifonov shows barbaric intensity at the Barbican / The Guardian
Posted: June 11, 2019 12:00 AM
| By: Admin
The centrepiece of Daniil Trifonov's residency with the London Symphony Orchestra this month was a solo recital. It was a well-packed, generous performance, which provided further confirmation that the 28-year-old Russian is one of the finest pianists today. Despite his celebrity, though, Trifonov is still revealing new aspects of his artistry. His reputation was founded on his sometimes astounding performances of Chopin, Liszt and Rachmaninov, but here, though his encore was Rachmaninov (an arrangement – perhaps his own? – of Vocalise) his programme was based upon substantial works by Beethoven, Schumann and Prokofiev. Photograph: Tristram Kenton/The Guardian
As a teenager, Daniil Trifonov absorbed lessons from the recordings of Sergei Rachmaninov, lessons that fed the creative process of his latest Deutsche Grammophon project, Destination Rachmaninov – Departure, the first of two albums comprising Trifonov's cycle of the great Russian composer's piano concertos. Destination Rachmaninov – Departure, set for release on October 12, 2018, features Concertos Nos. 2 and 4, along with Rachmaninov's solo piano transcriptions of three movements from Bach's Violin Partita in E major. Together with its upcoming October 2019 sequel Destination Rachmaninov – Arrival, which contains Concertos Nos. 1 and 3, Trifonov's new album documents a journey of artistic exploration made in company with the Philadelphia Orchestra and its music director Yannick Nézet-Séguin, who have a special, historical connection to Rachmaninov. Rachmaninov first performed with the Philadelphia Orchestra and its then Music Director Leopold Stokowski in 1913 as a soloist in his own Third Piano Concerto and returned many times as pianist and conductor before his death thirty years later.
Pianist Daniil Trifonov's latest Deutsche Grammophon album captures the magic of Chopin's music and traces its influence through the works of five other composers. Chopin Evocations is set for release on October 6, and Trifonov will perform in the United States throughout October and November. On this double-disc set, Trifonov performs Chopin's two piano concertos and a selection of some of his earliest and latest solo works as well as tributes to Chopin by Grieg, Mompou, Schumann, Tchaikovsky and Barber. This recording features world premiere recordings of new orchestrations of the Piano Concertos by Trifonov's fellow pianist-composer Mikhail Pletnev, who conducts the Mahler Chamber Orchestra in these renditions.
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Daniil Trifonov is one of the few pianists to have recorded Liszt's concert Études in one concentrated period and the first to record them in full for Deutsche Grammophon. He set down his visionary interpretations within the space of five days, a feat in keeping with the tireless energy and superhuman spirit of Liszt himself. Trifonov's approach to Liszt is informed by the legacy of the Russian school of piano playing in which he was raised and by his profound understanding of the composer's musical language. "Liszt's technical virtuosity is just a means to evoke extremes of emotion," observes Trifonov. "His daring harmonic and structural innovations revealed new horizons for emotional and psychological expression in music. His compositions can be described as dynamic depictions of the spiritual experiences of a Romantic soul."
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Daniil Trifonov's latest recording for Deutsche Grammophon, released on August 28, 2015, pays homage to his musical idol, Sergei Rachmaninov, as the 24-year-old Russian artist connects with the soul and spirit of his fellow countryman's art. Rachmaninov Variations, his first studio album, unlocks the romance, energy and sheer virtuosity of the fiendishly difficult Variations on a Theme of Chopin and Variations on a Theme of Corelli, both ideal showpieces for this young pianist's talents. By way of a perfect interlude between these two classics of the solo piano repertoire comes the world premiere recording of Trifonov's own Rachmaniana, created as a tribute to the legendary pianist-composer.
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For Daniil Trifonov, January 28 marks the U.S. release of Trifonov: The Carnegie Recital, his debut album as an exclusive Deutsche Grammophon recording artist. Last February – the day before his sold-out main-stage Carnegie Hall recital debut –the young Russian pianist signed with the illustrious label, and the first release of their new partnership is a live recording of that performance. Capturing his accounts of Liszt's formidable B-minor Sonata, Scriabin's "Sonata-Fantasy" in G-sharp minor, Chopin's 24 Preludes, and, as an encore, the second of Medtner's Four Fairy Tales, the new disc has already scored a multitude of rave reviews in Europe; Germany's Bayerischer Rundfunk spoke for many in observing: "At 21, Daniil Trifonov has already cultivated a pianistic freedom that…will probably remain out of most pianists' reach all their lives." The U.S. release is timed to coincide with Trifonov's return to Carnegie Hall on February 6, when he will play Schumann's Symphonic Etudes alongside works by Ravel, Debussy, and Stravinsky. The same program serves as the vehicle for his Symphony Center recital debut, presented by the Chicago Symphony, three days later (Feb 9).
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