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  • richardmitnick 10:29 AM on October 19, 2011 Permalink | Reply
    Tags: , , Eighth Blackbird, , New York Times   

    From the New York Times: A Boost for Eighth Blackbird 

    This is copyright protected, so, New Music fans, I will just head you in the right direction.

    Steve Smith
    October 18, 2011

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    Eighth Blackbird From left, Yvonne Lam, Lisa Kaplan, Nicholas Photinos and Michael J. Maccaferri performing in Miller Theater at Columbia University on Saturday night as part of the SONiC festival.

    Eighth Blackbird is:

    Tim Munro, flutes
    Michael J. Maccaferri, clarinets
    Yvonne Lam, violin & viola
    Nicholas Photinos, cello
    Matthew Duvall, percussion+
    Lisa Kaplan, piano


    The full group.

    Eighth Blackbird, a polished, personable, routinely dazzling sextet [the graphic only includes four of the players], has never bound its repertory so rigidly; included in its swelling canon are staples by Schoenberg and Boulez…Still, the ensemble, which played on Saturday evening in Columbia University’s Miller Theater in the festival’s second event, has never lacked for fresh pieces by emerging artists.”

    See the full article here.

    You can hear Eighth Blackbird often on Q2 the 24 hour New Music stream from New York Public Radio.

     
  • richardmitnick 1:17 PM on October 8, 2011 Permalink | Reply
    Tags: , , New York Times   

    From the New York Times: “New Pilots at the Keyboard” 


    This is copyright protected, so just a few notes.

    Four young pianists on the rise in the Jazz scene

    By BEN RATLIFF
    Published: October 6, 2011

    “If drummers are the engines of jazz, then pianists are often its mapmakers.

    Fabian Almazan

    Next week the pianist Fabian Almazan, who is 27 and still unknown to most jazz listeners, will play his first headlining week at the Village Vanguard, opening the same day as the release of his first album, Personalities. He’s bringing a string quartet to play four pieces he’s arranged, as well as his trio, with the bassist Linda Oh and the drummer Henry Cole. That’s risky; it’s a lot at once. It’s not unlike him.
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    Fabian Almazan

    Kris Davis

    Kris Davis’s style is dry and blunt and authoritative, and still changing. At 31 she’s worked in a circle of musicians including the saxophonists Tony Malaby and Ingrid Laubrock, the bassists John Hébert and Eivind Opsvik, and the drummer Jeff Davis, her former husband. Her playing uses space and tension and contrast; it always has an interior plan and doesn’t leap at you to show you how hip it is. It’s very open, but it comes with rules.

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    Kris Davis

    Matt Mitchell

    Matt Mitchell, 36, who has been playing a lot recently with Tim Berne, John Hollenbeck, Rudresh Mahanthappa and, increasingly, his own bands, grew up in Exton, Pa., outside Philadelphia. He took theory and jazz lessons from the age of 12 at a local university; like Ms. Davis, he inhaled [Keith] Jarrett and [Herbie] Hancock, spending his weekends transcribing solos.

    mm
    Matt Mitchell

    David Virelles

    David Virelles, 27, arrived in New York in 2008 and seemed to go straight to the top of the class: playing gigs with Steve Coleman, Chris Potter and Mark Turner and generally making himself noticeable, breaking through with strong and hard-to-define patterns and sounds.

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    David Virelles

    See the full article for more information on each of these players and for appearance venues and dates.

     
  • richardmitnick 1:18 PM on August 15, 2011 Permalink | Reply
    Tags: , New York Times   

    From The New York Times: “Jazz Fusion Heroes of the 1970s Resurrect Their Intricate Dynamics” 


    This is copyright protected so just a few notes.

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    Return to Forever IV The jazz fusion ensemble, from left, Chick Corea, Jean-Luc Ponty and Stanley Clarke (the group also included Frank Gambale and Lenny White), performed on Friday night at the Beacon Theater.

    Return to Forever IV showed off every which way on Friday night at the Beacon Theater…Its lineup includes its two founders and main composers, the keyboardist Chick Corea and the bassist Stanley Clarke. Lenny White, on drums, guitar,guitarist Frank Gambale, violinist Jean-Luc Ponty…The sound is still deliberately 1970s…Mr. Corea played with a nimble transparency that turned every phrase into a puckish epigram, whether in solos or teasing at the edge of ensembles. Mr. Clarke was the group’s rock-star presence. He’s a die-hard 1970s-style thumb popper.”

    See the full article here.

     
  • richardmitnick 6:30 AM on June 25, 2011 Permalink | Reply
    Tags: , New York Times   

    From the New York Times: The Undead Jazz Festival 2011 

    This is copyright protected, so just a few riffs:

    By BEN RATLIFF
    Published: June 24, 2011

    “The Undead Jazzfest, in its second year, started on Thursday at half-capacity and double volume…Overwhelmed by thousands of names and minor stylistic differences, New Yorkers will often ask a reasonable question: where should I go see live jazz if I want to know what’s happening? In those terms, if you haven’t been checking in on what’s been sprouting in Brooklyn at Littlefield, Korzo and I-Beam, and what continues to develop in Manhattan at Cornelia Street Café, the Stone or 55 Bar, then Undead, running through Sunday, is your one-stop megamart. The best thing this festival can do — seems to want to do — is to lead you to spend some nonfestival nights at the little places.”

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    Andrew D’Angelo Big Band, with, from left, Josh Sinton, Nicole Federici, Mr. D’Angelo and Bill McHenry at Sullivan Hall

    See the full article here. And, a nod to Terry Teachout for making this all possible.

     
  • richardmitnick 7:16 AM on June 17, 2011 Permalink | Reply
    Tags: , , New York Times   

    LISA BIELAWA at the Opinionator in the New York Times: “In Berlin, Moved by Music, Place and Memory” 

    This is copyright protected, so,m just a few notes.

    In Berlin, Moved by Music, Place and Memory

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    Lisa Bielawa
    June 15, 2011

    “…My desire with Tempelhof Broadcast is to create a large-scale musical composition that can invite as many personal experiences of urbanity, memory, community or hope as possible. A musical experience in a place that is resonant with meaning, for so many people, can give structure to time spent in that space, inviting attendees to ritualize their own specific personal connections to it. Musical experiences that heighten a sense of a place can actually break through to that region of perception that transcends individual identity.”

    If you keep your computer or smart phone “tuned” to Q2, the 24/7 New Music web stream, you will surely have the opportunity to experience this new music.
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    Read Lisa’s full excellent article here.

     
  • richardmitnick 10:26 AM on June 11, 2011 Permalink | Reply
    Tags: , , , , New York Times   

    From The New York Times: “Paying Tribute to ‘Subversive’ Album” 

    This is copyright protected, so just a few notes

    By PHILLIP LUTZ
    Published: June 10, 2011

    “In a musician’s life, few moments reveal themselves to be genuinely subversive. But when the clarinetist Evan Ziporyn first heard Brian Eno’s Music for Airports in 1978, he knew such a moment was at hand. ‘ It upended certain ideas a lot of us were holding,’ Mr. Ziporyn said

    be
    Brian Eno

    ez
    Evan Ziporyn

    On Tuesday, Mr. Ziporyn’s sextet, the new-music group Bang on a Can All-Stars, will bring the first of four parts of Music for Airports, along with five other works, to Yale Law School as part of the courtyard concert series at the International Festival of Arts and Ideas in New Haven. He expects that some listeners will find the piece as provocative as he did when he first heard it.”

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    See the full article here.

    Also, see my previous post, https://musicsprings.wordpress.com/2011/05/19/cantaloupe-re-releases-brian-enos-music-for-airports/

     
  • richardmitnick 3:58 PM on May 28, 2011 Permalink | Reply
    Tags: , , , New York Times   

    From the New York Times: Innova at the Stone 

    This is copyright protected, so just a few notes:

    Violinists, Plugged in, Bow, Pluck and Twang

    By ALLAN KOZINN
    Published: May 27, 2011

    “For the final two weeks of May the programming at the Stone has been in the hands of Philip Blackburn, the director of the enterprising, polyglot record label Innova. Mr. Blackburn’s idea was to present 24 one-hour concerts by musicians who record for Innova, and on Wednesday evening he offered, as hours 13 and 14, what he called “the fiddler’s hoedown from hell”: back-to-back recitals by Ana Milosavljevic and Todd Reynolds, violinists for whom amplification and sound processing are integral to music-making. ”

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    Ana Milosavljevic

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    Todd Reynolds

    The Innova showcase continues through Tuesday at the Stone, East Second Street at Avenue C, East Village

    See the full article here.

    Please visit the Innova web site and explore this incredible production company.

    Don’t miss Philip’s two interview series, Measure for Measure and Alive and Composing.

     
  • richardmitnick 8:25 AM on May 26, 2011 Permalink | Reply
    Tags: , , New York Times   

    From The New York Times: “Pianists Embracing the New” 

    This is copyright protected, so just some notes:

    By ANTHONY TOMMASINI
    Published: May 25, 2011

    “Some contemporary-music festivals make a point of exploring a particular style or branch of composition. Not Keys to the Future, a festival of contemporary solo piano music, which opened its sixth mini-season on Tuesday night at the Abrons Arts Center on the Lower East Side. This embracing festival espouses no dogma…On Tuesday five impressive pianists played eight works. Some of the compositions were exciting and fresh; others did not particularly grab me. But I was delighted to spend an hour hearing committed artists play works they clearly believed in.”

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    Keys to the Future Stephen Gosling, foreground, and Blair McMillen in Joe Duddell’s “Vaporize” on Tuesday at the Abrons Arts Center.

    For a complete description of composers and artists, see the full article.

     
  • richardmitnick 4:28 PM on May 25, 2011 Permalink | Reply
    Tags: , , , New York Times   

    From the New York Times: “Celebrating Electronics And Energy” 

    By ALLAN KOZINN
    Published: May 24, 2011

    This is copyright protected, so just a few notes:

    “New music is hardly scarce during the main part of the New York concert season, and spaces like Issue Project Room, Galapagos and the Tank specialize in it year round. But spring and summer are a virtually nonstop parade of festivals celebrating the experimental. Recent weeks have featured the MATA, Look & Listen and Keys to the Future festivals in rapid succession, and on Monday evening the Tribeca New Music Festival opened its 10th season with a tightly packed program performed by Ethel, the string quartet, and devoted almost entirely to premieres…This is a group that spends much of its time traveling the modern Silk Road, where caravans of avant-garde, pop, jazz and world music barter riffs and techniques. And its approach to sound — its players use electric instruments, often with processing devices — gives it an extraordinary flexibility. It prizes grittiness and punch as absolute values, but these expert players can produce a conventionally warm, unified tone when the music demands it. ”

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    Ethel The string quartet, featuring, from left, Ralph Farris, Mary Rowell, Cornelius Dufallo and Dorothy Lawson, performed at Merkin Concert Hall on Monday as part of the Tribeca New Music Festival.

    Mr. Kozinn is the consummate critic. Read his full article about this band and these premiers.

     
  • richardmitnick 1:51 PM on May 23, 2011 Permalink | Reply
    Tags: , , , New York Times, , ,   

    From The New York Times: “Rock and Classical Collide With Bowie and a Score by Radiohead Star” 

    This is copyright protected, so just some notes.

    By ALLAN KOZINN
    May 22, 2011

    Wordless Music, the concert series run by Ronen Givony when he is not overseeing the classical and new-music programming at Le Poisson Rouge, is devoted to showing fans of indie rock and contemporary classical music that the two genres have a common appeal. That argument no longer requires special pleading, partly because Mr. Givony’s thoughtful juxtapositions have made the point so persuasively but also because so many young composers (and some of their elders) draw freely on both their classical and pop antecedents.

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    Ensemble Signal and Wordless Music Orchestra, led by the conductor Brad Lubman, at the New York Society for Ethical Culture on Saturday night. The program included work by Philip Glass and Jonny Greenwood.

    Mr. Givony’s latest offering, heard on Saturday evening at the New York Society for Ethical Culture (the program was also played on Friday), was built around two works with rock connections: Philip Glass’s “Heroes” Symphony (1996), which is based on themes from David Bowie’s 1977 album “Heroes,” and “Doghouse” (2010), the latest orchestral score by Jonny Greenwood, who is best known as a member of Radiohead. Gyorgy Ligeti’s Chamber Concerto (1970), a study in energy and texture that prefigures some of Mr. Greenwood’s work, was interposed between them.”

    See the full glowing article here. Another celebration of New Music in New York City.

    If you want to hear the concert, jump over to Q2 and you will find the concert audio stream here, hosted by Q2’s Nadia Sirota


    Nadia Sirota

     
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