Evan Parker & AMM – Title Goes Here
Markus Stockhausen and Florian Weber – Alba
Leo Smith – Occupy the World
Leo Smith – Golden Quartet
Keith Jarrett – My Foolish Heart
Keith Jarrett – Carnegie Hall
Keith Jarrett – Rio
Keith Jarrett – Staircase
Keith Jarrett, Charlie Haden, Paul Motian – Hamburg ’72
Keith Jarrett – Sun Bear Concerts
Brad Mehldau – Where Do You Start?
Charlie Haden and the Liberation Music Orchestra – Time/Life
Charlie Haden and Kenny Barron – Live in Slovenia 1998
Herbie Hancock – the New Standard
Yo Yo Ma Plays Ennio Morricone
Leonard Cohen – the Songs of Leonard Cohen
loscil – First Narrows
George Grella on recent Stravinsky boxes – sounds good to me.
Richard Taruskin had the honor and privilege of writing booklet notes for not one, but two important collections of Stravinsky’s music that were released last year. In Deutsche Grammaphon’s Stravinsky: Complete Edition, he summed up the composer’s rare stature with the following anecdote and analysis. Tarsukin writes that Vladmimir Ussachevsky told him:
‘…after crossing [himself] and rising from [his] knees in front of Arnold Schoenberg’s death mask in [Schoenberg’s] working room, [Stravinsky] turned to Mrs. Schoenberg and said “Now I am alone.” Who, you, who can say that now?’
It was a haunting question. There were still composers one admired, even revered. But Carter, Berio and Boulez were honored in one camp. Copland, Shostakovich and Britten were honored in another. Stravinsky was honored in both: his music was indispensably a part of the academic canon and the performing repertoire alike. People both praised it in the classroom and paid…
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Kenny Drew – Winter Flower
Tim Hodgkinson – Sang
Still Blue Turning – Hurricanes
Robin Cox Ensemble
Peter Erskine – As It Was
Zsófia Boros – Musicbox
Wolfgang Muthspiel – Rising Grace
Mats Eilertsen – Rubycon
Ferenc Snetburger and Marcus Stockhausen – Streams
The Best of Teo Macero
Leo Smith – Spirit Catcher
Marilyn Crispell and Gerry Hemingway – Table of Changes
Marilyn Crispell and Gary Peacock – Azure
Joshua Redman & Brad Mehldau – Nearness
David Liebman, John Abercrombie – the Art of Respect
Charlie Haden and Gonzalo Rubalcaba – the Montreal Tapes
Leonard Cohen – You Want It Darker
Loscil – live at Fluister
Max Richter – the Blue Notebooks
Max Richter – Infra
Terry Riley and Amelia Cuni – COMTEMPORANEA 2005
Michael Harrison – Revelation
Don Patterson with Pat Martino – Four Dimensions
Don Patterson – Movin’ Up!
John Scofield – Country for Old Men
Nick Frasier – Too Many Continents
Norah Jones – Day Breaks
Thelonious Monk – Monk Alone
Thelonious Monk – the Complete Black Lion and Vogue Recordings
John Coltrane – Side Steps
John Coltrane – Interplay
Bobby Broom – Live at the Whiskey Lounge
Ravi Coltrane – Spirit Fiction
Marc Copland and John Abercrombie – Friends
Elton Dean, Paul Dunmall, Paul Rodgers, Tony Banco – Remembrance
The Rolling Stones in Mono
ZZ Top – Live Greatest Hits from Around the World
ZZ Top – Live at Montreux 2013
PFM – Cook
PFM – Chocolate Kings
I try not to post content from elsewhere, but I lost track of this blog post and the author and I want to make sure others see it too.
My thoughts: Terry Riley wrote a lot of other music. Perform it more often, listen to it more often.
It’s a curious and not always desirable thing when an artist becomes so closely identified with one canonical work that the rest of their work gets ignored.
On Friday, I had the honor of spending a little while in the company of composer Terry Riley up at his home on the Nevada border. (I didn’t file a blog entry on Friday because I was traveling all day; sorry, dear readers, usually I’m much better at letting you know in advance that I’ll be out of town.)
During the course of conversation over herbal tea on the soft-spoken composer’s rustic wooden wraparound porch, Riley talked about his seminal minimalism movement-inspiring ensemble work, In C. He touched upon everything from how the work came to be and what the legendary opening night performance at San Francisco’s Tape Music Center in 1964 was like, to his feelings about different performances and recordings over the years and the work’s reaction against the overly-intellectual serialist fashions of the mid-20th century.
With regards to a question about the potential future of In C, Riley, who has this Buddha-like presence about him, became slightly piqued for the one and only time in our interview. When I asked the composer: “what are your wishes for the future of In C?” he responded that he hoped people would start paying attention to some of his other music for a change.
As beloved as the work is — and as much as it has helped to pay the bills — I can imagine how frustrating it must be for the composer to mostly only ever get to talk about and hear this one work. There are dozens of recordings of In C on Amazon.com, (four pages worth!) but relatively few of Riley’s other works. Rainbow in Curved Air comes in second with two pages of CDs.
I imagine F Scott Fitzgerald had a similar problem with The Great Gatsby and George Lucas, similarly, with the original Star Wars trilogy.
I guess that’s where critics can make a difference. In cases where an artist deserves to be known for more than one project (which isn’t always the case, though it is when it comes to Riley) let’s try to expose our audiences to a broader variety of an artist’s output so that his or her legacy isn’t forever associated with just one canonical work.
photo: Terry Riley
Uppsala International Guitar Festival
Most important update:
- Harold Budd with Bradford Ellis & Jane Maru
Saturday, October 29 at 7:30 PM – 10 PM in PDT
P.O Box 416, Joshua Tree, California 92252
- Harrison House
- Harrison House on Facebook
- http://www.haroldbudd.com is now alive.
- a limited edition book: Harold Budd and Jane Maru – Aurora Teardrops
- a Sequenza 21 review of a August 21, 2016 concert at at Whittier College by Paul Muller
- new interview: Harold Budd: Show Me Where I Belong
John Taylor and John Surman – Ambleside Days
John Surman – How Many Clouds Can You See?
John Surman – Tales of the Algonquin
John Surman – Proverbs and Songs
John Surman – Stranger Than Fiction
Charlie Haden and John Taylor – Nightfall
Paul Bley – In the Evenings Out There
Ted Dunbar – Gentle Time Alone
Jimmy Lyons – Give It Up
Jimmy Lyons – Jump Up
Thelonious Monk Orchestra At Town Hall
Don Cherry and Ed Blackwell – El Corazon
Ed Bickert – Live at George’s
Thomas Köner – Tiento de la Luz
loscil – Triple Point
loscil – Stases
loscil – Submers
Sleep Research Facility – Deep Frieze
Sleep Research Facility – Dead Weather Machine
Aleksandra Vrebalov – the Sea Ranch Songs
Rockpile – Seconds of Pleasure
Carnegie Hall Kronos Quartet Workshop: Performance of Terry Riley’s “Salome Dances for Peace”
Participating string quartets, Ligeti, Argus, Friction Quartets and Kronos Quartet, perform movements of Terry Riley’s “Salome Dances for Peace” in Zankel Hall as part of the culminating performance of the Kronos Quartet Workshop presented by the Weill Music Institute of Carnegie Hall.
Visit http://bit.ly/2axvuGZ for more workshop videos.
Kronos Quartet led a weeklong workshop open to student and young professional string quartets to explore new works commissioned as part of Fifty for the Future: The Kronos Learning Repertoire. Fifty for the Future is a major commissioning initiative of Kronos Quartet, Carnegie Hall, and many other diverse partners and is devoted to the most contemporary approaches to the string quartet. The project is designed to present music as a living art form and to create a new trove of resources for the training of students and emerging professionals.