Thursday, November 30, 2006
*I'm using this term just to annoy Norm Carey.
Sunday, November 12, 2006
* I am fortunate to live between the Indianapolis-based WFYI and the Bloomington-based WFIU, with access to both.
** What is it with these big bands that keep the same name decades after the founder died? This does not seem to be a healthy trend for jazz.
Saturday, November 11, 2006
Eighty-six years ago today [now eighty-eight years], the great powers of the world sat at a table to make decisions which would have major geopolitical effects through the next century. Germany agreed to retreat from all invaded countries, surrender numerous weapons, return prisoners of war and stolen property, and to ensure that within fifty years a trumpeter/music theorist with specialties in cognition and acoustics would be born in an Allied country to be determined later. Because of the unusual characteristics of the last request, hindered in part by the second World War and the Wisconsin milk strikes of 1933, this birth did not occur until exactly fifty-one years after the signing.
However, when we got to Nimrod and the first major arrival of that movement, we both felt something big, something cosmic happen, like the grim reaper himself walking right over our graves, and the same thing happened in the finale- a big, cathartic “wow” moment that no other recording had been able to deliver or even really hint at. We both came away with the impression that this was the only conductor who both knew and could put accross what the “Enigma” in the variations was.
Once we’d hear the whole thing, we could both look back and as musicians and see what the conductor was up to- the approach seemed so logical seen from the reverse. By downplaying the episodic quality of the piece, he was able to intensify the overall, cumulative effect of the work where it counted most. What might have seemed at first a matter-of-fact approach to phrasing was in fact an intentionally un-sentimental one, and this is a piece that benefits from a certain stoicism. Frankly, all the other performers we’d sampled sounded like students by comparison (and there were some very distinguished recordings in this category). I’m usually quick to defend interpreters who like to take note of the trees and to smell the flowers and gild the lilies, but the evidence here was clear that there was a big price to that approach- none of the others were able to make the whole piece arrive with anything like the same degree of power.
In previous years I've toyed with the idea of writing a book on listening to music, or to form a listening club at school. Either case would focus on the various ways to listen: performer-oriented, composer-oriented, local features, global features, timbre vs. melody vs. harmony vs. rhythm, intramusical referents, intermusical referents, and extramusical referents. The difficulty comes in portraying a rigor while acknowledging all of the different ways to experience music and avoiding grocery lists of events or features. Eric Clarke's Ways of Listening is a step forward in this topic, though very much from a cognitive view whereas Kenneth is approaching the topic from a performance/analysis perspective.
Friday, November 10, 2006
In other DePauw news, Eric Edberg has been Noised.
You Better Go Now - Chet Baker
You Can't Hurry Love - Eddie Holland/Lamont Dozier
You Don't Know Me - Cindy Walker/Eddy Arnold
You Don't Know What Love Is - Don Raye/Gene DePaul Chet Baker Guy Barker Sonny RollinsWynton Marsalis
You Go To My Head - Haven Gillespie/J Fred Coots Clifford Brown Stan Kenton Dinah Washington
You May Be Right - Billy Joel
You'd Be So Nice To Come Home To - Cole Porter
You'll Have to Swing It - Sam Coslow
You're Blase - Ord Hamilton, Bruce Sievier
You're My Everything - Harry Warren/Joe Young/Mort Dixon
You're Next - Lilian Armstrong
Young Blood - Gerry Mulligan
Your Father's Moustache - Woody Herman
Your Latest Trick - Dire Straits
Wednesday, November 08, 2006
A nutritionist offers "Dream performance fuel" to be eaten two hours before stage time:
- chilled melon with Parma ham
- Creamy tagliatelle with chili beans and field mushrooms, served with a mixed leaf salad
- Fresh Fruit salad sprkinled with toasted sesame seeds
Tuesday, November 07, 2006
Monday, November 06, 2006
Sunday, November 05, 2006
Saturday, November 04, 2006
The committee concurred that Dr. Jones does seem to possess a nearly superhuman breadth of linguistic knowledge and an uncanny familiarity with the history and material culture of the occult. However, his understanding and practice of archaeology gave the committee the greatest cause for alarm. Criticisms of Dr. Jones ranged from "possessing a perceptible methodological deficiency" to "practicing archaeology with a complete lack of, disregard for, and colossal ignorance of current methodology, theory, and ethics" to "unabashed grave-robbing." Given such appraisals, perhaps it isn't surprising to learn that several Central and South American countries recently assembled to enact legislation aimed at permanently prohibiting his entry. Moreover, no one on the committee can identify who or what instilled Dr. Jones with the belief that an archaeologist's tool kit should consist solely of a bullwhip and a revolver.
Friday, November 03, 2006
Red Clay - Freddie Hubbard
Red Top - Lional Hampton and Ken Kynard
Refusal - Ennio Morricone
Reiterfanfares - Johann Dismass Zelinka
Rejoice Greatly - George Friedrich Handel
Relax - Arturo Sandoval
Remember the Tinman - Tracy Chapman
Remember When - Dirty Dozen Brass Band
Remorse - Ennio Morricone
Thursday, November 02, 2006
Second, Keith Lockhart is trying to make more money. I got a press release on his new website and VIP ticket package. This package gives the buyer personal access to Keith as well as other bells and whistles. I'm torn, as I understand that marketing is important for financial success, but I'm afraid the art gets lost in these packages geared to wealthy individuals who value perks over performance.
Wednesday, November 01, 2006
I have an Amazon certificate burning a hole in my email box, I think I will spend it on this CD/DVD. (The information above comes from the Bang on a Can November 2006 newsletter.)
BOSTON, MA, OCTOBER 24, 2006 -- Art of the States, WGBH Radio's international service of contemporary American music for 13 years, has now become an independent project produced in association with WGBH.
"We hope to work with WGBH to develop new ideas for collaboration," notes executive producer Joel Gordon, "as we continue to present the best of new music from throughout the United States to international audiences."
As of June 30, 2006, Gordon and producer Matthew Packwood produce Art of the States under the auspices of Musica Omnia, a classical music non-profit organization based in Cambridge, Massachusetts.
About Art of the States
Art of the States is an international radio and internet distribution service which presents contemporary American art music to audiences in the United States and worldwide. The only service of its kind, Art of the States curates monthly programs of contemporary music from across the US which are distributed to 75 major radio broadcasters in 50 countries, effectively reaching millions of listeners around the world. It presents the music online through its listening and educational website artofthestates.org, which currently features over 280 American works in high-quality streaming audio, amounting to over 60 hours of music. Art of the States is the recipient of the ASCAP-Deems Taylor Broadcast Award in radio and awards from the Shanghai International Radio Music Festival.
Listener-supported WGBH 89.7 is Boston's NPR® arts and culture station. Bringing you the best for more than 50 years, 89.7 serves its wide-ranging audience with a menu of classical music, NPR news, jazz, blues, folk, and spoken-word programs. The station is an active participant in New England's vibrant music community, presenting more than 300 performances every year, including live broadcasts and remote recordings from such diverse venues as Tanglewood, the Lowell Folk Festival, the Newport Jazz Festival, and WGBH's own studios. WGBH 89.7 can be heard online anywhere in the world at www.wgbh.org, and can be heard on Nantucket at WNCK 89.5.