Robert Baird

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Robert Baird Posted: Sep 16, 2011 0 comments
There are a lot of reasons to love Gotham—most of them having to do with humans `cause let’s face it there just aren’t many mountain vistas here—but the one that tickles my fancy the most is what Billy Joel (sorry) famously called, the “New York State of Mind.” Jay–Z would have it “Empire State of Mind,” but you get the idea. After a premiere showing of Sounds and Silence, Travels with Manfred Eicher, the new film about the ECM founder, owner and inspiration, there was a brief Q&A period chaired by WNYC's Julie Burstein (left in JA's iPhone photo). The first hand up was in the back of the IFC Center in the West Village.
Robert Baird Posted: Sep 15, 2011 0 comments
Big bands died out back in the 1950s, right? They went away when the jitterbug faded and folks began dancing to music other than swing? And then real jazz fans departed when the bebop soloists came along and made big-band players look clumsy and quaint?
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Robert Baird Posted: Sep 09, 2011 1 comments
They’re invisible. The person you never see onstage. The essential unseen force that even hardcore music fans have never heard of. In all music, arrangers are the secret weapon who never get the credit they deserve
Robert Baird Posted: Sep 01, 2011 0 comments
John Adams Son of Chamber Symphony, String Quartet
John Adams, International Contemporary Ensemble; St. Lawrence String Quartet
Nonesuch 523014-2 (CD). 2011. Judith Sherman, prod.; John Kilgore, John D.S. Adams, engs.; Chris Allen, Tom Gloady, Nathan Chandler, asst. engs. DDD? TT: 54:00
Performance ****½
Sonics ****

When John Adams was working on his Chamber Symphony (1992), he became aware that his son Sam was in the next room watching old American cartoons, presumably those by Warner Bros. that used music by the great Raymond Scott. Hyperkinetic borrowings from Scott's witty scores made their way into that earlier work, and now into its successor, a fact hinted at by its humorous title: Son of Chamber Symphony. There's even a moment early on in this new work when the distinctive rhythmic rumble of Scott's masterpiece, "Powerhouse," can be fleetingly heard in what is, overall, a short but very sweet triumph.

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Robert Baird Posted: Aug 19, 2011 29 comments
Michele Bachmann, who is now warning us about the rise of the USSR, vowing to padlock the EPA, and saying she will single–handedly bring back $2 a gallon gas. . .
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Robert Baird Posted: Aug 04, 2011 5 comments
Talk about the R.E.M. catalog with most music people and the conversation usually comes down to albums released during the years the band spent on its original label, the late, great I.R.S. Records.
Robert Baird Posted: Aug 03, 2011 0 comments
Bon Iver: Bon Iver
Jagjaguwar 52135 (CD). 2011. Justin Vernon, prod., eng.; Brian Joseph, eng.; Nate Vernon, Andy Immerman, asst. engs.; Greg Calbi, mastering. AAD. TT: 39:28
Performance ****
Sonics ****

Many, though certainly not all, musicians of most genres dream of composing, crafting, birthing a hit record—one they will forever be known for, and that will make them enough money that they'll never have to sleep on another hard floor or friend's stained couch as long as they live. Very few fulfill this dream, and those who do often don't know why or just how it happened.

Robert Baird Posted: Jul 08, 2011 1 comments
"Sometimes I can evoke the breathless rush of feeling that I experienced the first time that I ever really heard Robert Johnson's music. Sometimes a note will suggest just a hint of the realms of emotion that opened up to me in that moment, the sense of utter wonder, the shattering revelation."—Peter Guralnick, from Searching for Robert Johnson (New York: Dutton Obelisk, 1989)

It's an experience that all true blues fans need to savor. Fly into Memphis, drive south on US 61, into Coahoma County, Mississippi, down to the Delta, down to Robert Johnson country. There, on one of those steamy nights when the moon is full and fog, or maybe restless spirits, rise from the cotton fields, you can drive down to his two graves, in two churchyards nearly within sight of each other. You can sit in the dark and listen to the trains that were his constant mode of transportation. And on the way back to Clarksdale, the Delta burgh where Bessie Smith passed, you can go down to the crossroads and judge for yourself. Romantics say you can feel, smell, and even hear Robert Johnson's music, if not his desperate deal, still hanging in the humid Mississippi air.

Robert Baird Posted: Jul 06, 2011 2 comments
Paul Simon: So Beautiful or So What
Hear Music HRM-32814 (CD; the LP comes with a voucher for hi-rez downloads). 2011. Paul Simon, Phil Ramone, prods.; Andy Smith, eng. AAD? TT: 38:15
Performance ****½
Sonics ***½

"Love & Blessings"? "Questions for the Angels"? It seems that Paul Simon, who will turn 70 in October, has begun to ask life's Big Questions in preparation for his own exit. Yet in this case, seeming is not reality, and at 69, Simon has returned to his polyglot musical influences (that he may or may not have heisted...but that's an argument for another day) to fashion a startlingly powerful collection of songs that successfully mix the jaunty near-danceability of his world-music adventures with serious lyrics about impending death, the vagaries of love, and, especially, the many unknowables contained in the word God.

Robert Baird Posted: Jun 08, 2011 0 comments
Jordi Savall: Dinastía Borja
Music by Guillaume Dufay, Josquin Des Prez, Lluis del Mila and others Jordi Savall, viola da gamba, director; Hespèrion XXI, La Capella Reial de Catalunya
Alia Vox AVSA 9874A/C (3 SACD/CDs). 2010. Jordi Savall, prod.; Toni Figueras, recording coordinator; Aline Blondiau, Nicolas de Beco, Dominique de Spoolberg, Olivier de Spoolberg, recording assistants. AAD? TT: 3:43:19
Performance *****
Sonics *****

As is usually the case, a recent performance at New York's Lincoln Center by Jordi Savall, his instrumental ensemble, Hespèrion XXI, and his choir, La Capella Reial de Catalunya, was a triumph—his impeccably researched and realized early music had the crowd on their feet. In lesser hands, such exotica as old-world Spanish music influenced by indigenous forms from Mexico would have trouble drawing a paying crowd, let alone filling Alice Tully Hall; but Savall's unique vision has rescued and revitalized obscure musical forms aplenty, from the medieval, renaissance, and baroque periods. Along the way he's also managed to record notable versions of more popular works of the standard classical repertoire, such as the Mozart Requiem, and J.S. Bach's Brandenburg Concertos.

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