Krzysztof Penderecki/Jonny Greenwood Threnody for the victims of Hiroshima, Popcorn Superhet Receiver, Polymorphia, 48 Responses to Polymorphia
Aukso Orchestra, Penderecki, Marek Mos, conductors
Nonesuch 530223-2 (CD) Filip Berkowicz, Michal Merczynski, prods. Barbara Orzechowska, associate prod. Ewa Guziotek-Tubelewicz, Pitor Witkowski, engs.
For the past two decades, the "C" word in classical music crossoverhas been a bone of both hope and contention. Lured by the supposed riches that lurk amongst classical fans who want to slum it and popular music fans with upscale intellectual curiosities, artists from Caruso to Domingo to Joshua Bell have given in this concept in search of a success to mostly disappointing results. And then of course there's humble Gordon Sumner (aka Feyd Rautha Harkonnen) who blithely smeared his meager powers onto the work of poor John Dowland in Songs From the Labyrinthan apt title if ever there was. In 2010 the great Renee Fleming, no stranger to taking risks and a jazz singer during her college years, dipped her toes, fairly disastrously it turns out, into the classical/rock crossover pool with Dark Hope, a record whose title again seems to carry a less than promising message.
Many if not most of the world’s most admired albums attained their fame slowly. In the case of Exile on Main Street which was released forty years ago on May 12, 1972, it took years for its ragged, bluesy charms to percolate into the collective psyche and eventually emerge as if not the best, then one of the contenders in the Stones catalog.
Just the other evening, a friend, coworker and fellow old record enthusiast, Brian Laboe, and I were saddled up at our neighborhood watering hole, sipping overpriced craft beer and talking about funk bands from the 70’s which happens to be a passion we share.
Last week, I had the honor and the pleasure of interviewing Bill Frisell in front of an audiencein what’s called a “Jazz Conversation,”at this year’s edition of the Portland Jazz Festival. Held at the Art Bar in the Portland Center for the Performing Arts (PCPA), our chat was podcast by the Oregonmusicnews.com and can be heard here.
Anthony Wilson: Seasons
Anthony Wilson, Steve Cardenas, Julian Lage, Chico Pinheiro, guitars
Goat Hill Recordings 003 (CD/DVD). 2011. Anthony Wilson, prod.; Todd Whitelock, eng.; Damon Whittemore, asst. eng.; Kevin Gray, mastering; George Petit, live sound assistance; Steve Becker, Chris Scarafile, cameras. AAD? TT: 63:35
Halfway into the interview in his management company's offices, as Steve Earle literally squirmed in his seat, I got the distinct impression that he had somewhere else to go, something more important to do. Turned out he was anxious to get to the Metropolitan Museum of Art to see the exhibition Guitar Heroes: Legendary Craftsmen from Italy to New York. Suddenly, instead of talking about his career, he was rhapsodizing about the jazz-guitar luthiersJohn D'Angelico and James D'Aquistowhose work was being exhibited, and a display that featured one of the four guitars known to have been made by Antonio Stradivari.
Dusty Springfield: Dusty in Memphis
Atlantic/Analogue Productions APP 8214-45 (two 45rpm LPs). 1969/2011. Jerry Wexler, Tom Dowd, Arif Mardin, prods.; Ed Kollis, eng.; Kevin Gray, 45rpm mastering. AAA. TT: 76:40
Coaxing a singer to "stretch" always sounds like a good ideathat is, until the singer is standing in the same recording booth used by Aretha Franklin and Wilson Pickett, and suddenly her confidence, never brimming to start with, drops through the floor and she can't or won't sing a note. Add to this that Dusty Springfield was already a sticky perfectionist who'd self-produced most of her records and wasn't happy with the songs to be recordeddespite the fact that most of them were straight out of the Brill Buildingand you have the recipe for an all-time classic record, right?