What jazz, classical, or folk music are you listening to?
With the "What are you listening to" thread dominated by rock/pop, thought it might be worth giving this a try.
For the purposes of this thread creative music (both improvised and composed) that grew out of jazz and classical are included. Music that grew out of rock/pop are excluded.
Clusone Trio "Love Henry"
Brad Mehldau "Elegiac Cycle"
Jeanne Lee and Ran Blake "The Newest Sound Around"
Duke Ellington "Such Sweet Thunder"
Chang/Davies/Drouin/Durrant/Patterson/Tilbury "Variable Formations"
For the purposes of this thread creative music (both improvised and composed) that grew out of jazz and classical are included. Music that grew out of rock/pop are excluded.
Clusone Trio "Love Henry"
Brad Mehldau "Elegiac Cycle"
Jeanne Lee and Ran Blake "The Newest Sound Around"
Duke Ellington "Such Sweet Thunder"
Chang/Davies/Drouin/Durrant/Patterson/Tilbury "Variable Formations"
Comments (244)
Be that as it may, I was just listening to "The Creator has a Master Plan" by Pharaoh Sanders.
Seems to be dominated by rock/pop regardless. Hopefully there'll be folks who have jazz and/or classical as their primary interest.
Had never listened to the Sanders. Thanks for posting it.
Jeri Brown enlisted Leon Thomas for a vocal duet version if you're interested.
Elliott Carter
Teodoro Anzellotti "Janacek"
Leos Janacek piano works arranged for accordion
Barbara Hannigan / Reinbert de Leeuw "Socrate"
Erik Satie compositions
Yuko Yamaoka "Diary 2005-2015"
Satoko Fujii compostional sketches
Maneri / Morris / Maneri "Three Men Walking"
Cecil Taylor "Celebrated Blazons"
William Parker
Tony Oxley
Horace Silver "The Jody Grind"
Leos Janacek "String Quartets / Violin Sonata"
Prazak Quartet
Max Reger "Cello Suites"
Guido Schiefen
GyΓΆrgy Ligeti: Requiem : II Kyrie
The other movements:
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Alfred Schnittke: Piano Quintet
(yeah, I am not in a cheery mood)
Nice selections.
Never thought about not being in a cheery mood to listen to the Schnittke piano quartet. Works for me in whatever mood.
William Parker
Craig Taborn
Luis Vicente / Vasco Trilla "A Brighter Side of Darkness"
Sonny Rollins "A Night at the Village Vanguard"
Benny Carter "Jazz Giant"
Max Reger "Sonatas for Solo Violin"
Ulrike-Anima Mathe
Urs Leimgruber "Statement of an Antirider"
Solo sax / flute
Grigori Frid "Piano Quintet / Phadra"
Elisaveta Blumina
Vogler Quintet
Quoting ThinkOfOne
I see you like Max Reger - or just exploring? Like most, probably, I am not very familiar with his quite voluminous output. Hadn't heard these works before. Bach's cello suites and violin sonatas and partitas are my favorites, so I was curious about Reger's take. I liked them a lot, especially the cello suites. But I must say, I like Reger best when he is writing more as Reger and less as ersatz Bach.
On a related note, one of my favorites from the same period:
And its companion piece: [hide]
And more early Ligeti:
Compared to jazz and its derivatives, my exposure to classical and its derivatives is fairly limited. Heavily weighted toward the 20th and 21st century. The modern ideas are more interesting to me. Earlier than that its mostly the various combinations of strings and strings plus piano. Especially like the Bach sonatas and partitas for solo violin and the Beethoven late string quartets. They seem to have modern elements. Reger for the same reason. Other particular favorites from prior to postmodernism are Satie, Bartok, Shostakovich and Weinberg. Less so, Tartini, Paganini, Ysaye and others. What about you?
Evan Parker / Eddie Prevost "Tools of imagination"
The Sealed Knot "Twenty"
Rhodri Davies
Mark Wastell
Burkhard Beins
John Cage "Sixty-Two Mesostics RE Merce Cunningham"
Everhard Blum voice
Michael Vincent Waller "Moments"
My exposure to jazz is pretty light. I like jazz circa 1950s-1970s, from Parker to Monk, but that's probably because I don't know much else.
Tom Chant
John Edwards
Tyshawn Sorey / Marilyn Crispell "The Adornment of Time"
Morton Feldman "Only: Music for Voice and Instruments"
Joan La Barbara
Sonny Rollins "The Sound of Sonny"
As a matter of curiosity, what Cage have you listened to? What do you think of Morton Feldman?
Since you come from a classical background, what recordings of the various combinations of strings or strings plus piano would you highly recommend?
I'd also be interested in hearing what modern classical has particularly impressed you.
Urs Leimbruber "Quartet Noir"
Marilyn Crispell
Joelle Leandre
Fritz Hauser
Nate Wooley "Mutual Aid Music"
Taku Sugimoto "Opposite"
Shostakovich Symphony 5
Poulenc Organ Concerto
William Parker
Jackson Krall
Michael Bisio "MBEK"
Eyvind Kang
Gyorgy Legiti "The Legiti Project II"
Michael Vincent Waller "The South Shore"
I don't remember TBH, but I did try a few works of Cage that came recommended (and I don't mean stunts like 4'33''), but nothing left an impression. Same with Feldman.
Quoting ThinkOfOne
That's not a fair question, is it? :) There are too many works in the classical repertoire that match the description. Personally, I love Schubert - quartets, quintets, trios.
Quoting ThinkOfOne
Well, let's see... There are the big 20th century names - don't know if you'd consider them modern: Bartok, Shostakovitch, Prokofiev, Satie, Messiaen, Britten... Stravinsky, the quintessential 20th century composer, spanning the gamut from late romanticism to modernism, neo-classicism, serialism. Hindemith, once ubiquitous, now semi-forgotten, I am not sure why. (There is an old man-walks-into-a-bar joke that I came across once, which you can tell must go back at least half a century, because the punch-line implies that Hindemith could be the greatest 20th century composer. It also involves Orff.)
Of the later generations of composers, I like Takemitsu (pretty much everything), Ginastera (the late period, but his nationalist period is also nice). Some things of Ligeti, Schnittke, Gubaidulina. The only Boulez that I have liked is Sur Incises. Steve Reich, Tom Johnson, GΓ©rard Grisey, Henri Dutilleux, Arvo PΓ€rt. Other odds and ends.
John Luther Adams: Canticles of the Holy Wind: The Hour of the Doves
Barry Guy
Paul Lytton
Tyshawn Sorey "Verisimilitudes"
Cory Smythe
Chris Tordini
Art Pepper "Modern Art"
William Duckworth "The Time Curve Preludes"
Dexter Gordon, Live at the Montmartre Jazzhus (Kenny Drew p, NHOP b, Tootie Heath d)
Duke Ellington, Black, Brown & Beige (The 1944-1946 Band) (studio recordings, on Bluebird)
Charlie Parker, Complete Dial Sessions
Duke Ellington, The Blanton-Webster Band (studio recordings 40-42, also on Bluebird)
Ornette Coleman, Something Else!!!!, Shape of Jazz to Come, Tomorrow is the Question, Change of the Century, This is Our Music, Ornette!, Free Jazz, Ornette on Tenor (most of the albums from 58-62, all of them because they're in a box set from Enlightenment, cost me maybe $15, worth it even duplicating a couple I already had)
Don't remember before that, was listening to a lot of Monk for a while. Don't know what I'll grab from the milk crates next.
Mal Waldron, Hard Talk
Mal Waldron, Quadrologue at Utopia
Mal Waldron, Crowd Scene
This is great.
Poulenc: Gloria
Thanks for this. Ginastera and Grisey are unknown to me. Had come across Gubaidulina and Dutilleux. I'll have to check them out.
Schubert I only have the late quartets, the string quintet and a couple of the late piano sonatas. As with Beethoven, the late works are what catch my ear.
Tom Johnson? Anything besides "An Hour for Piano" that I shouldn't miss?
George Lewis "Shadowgraph"
Guy Klucevsek "Stolen Memories"
Art Blakey "Mosaic"
Toru Takemitsu "Chamber Music"
Robert Aitken
The dark brooding nature of Waldron's music is imbued with a hypnotic quality that I find quite likeable.
Ran Blake Quartet "Short Life of Barbara Monk"
Stephen Scott "Aminah's Dream"
Ben Webster "Music for Loving"
Linda Catlin Smith "Ballad"
Apartment House
Nate Wooley
Ken Filiano
Pascal Niggenkemper
Harris Eisenstadt
Rodrigo Pinheiro "Red Trio"
Hernani Faustino
Gabriel Ferrandini
Daunik Lazro "Some Other Zongs"
Solo baritone sax
Dans Les Arbres "Canopee"
Xavier Charles
Ivar Grydeland
Christian Wallumrod
Ingar Zach
Linda Catlin Smith "Dirt Road"
Mira Benjamin: violin
Simon Limbrick: percussion
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Since you like chamber music, you may like Ginastera's quartets - I know I do. I also like his piano, cello and violin concertos. This is potent stuff.
I am not all that much into Grisey or Johson, but I like a few things. Grisey: Partiels and a couple of other things. Johnson: Combinations for string quartet, especially Tilework and Combinations V. Narayana's Cows (I don't much care about all this mathematical structure behind the music; I just find the music itself - complete with the reading of the text - hypnotically attractive). And this is just fun:
Thanks for this. Will take a closer listen to the Ginastera quartets, the Schubert piano trios and the Johnson quartets. Regarding the Schubert, is there a particular recording that rises above the others?
plus strings
John Surman "Adventure Playground"
Paul Bley
Gary Peacock
Tony Oxley
Lee Konitz and Red Mitchell "I Concentrate on You"
Art Blakey "Buhaina's Delight"
Christopher Fox "Topophony"
WDR Sinfonieorchester
Axel Dorner and Paul Lovens
John Butcher and Thomas Lehn
A Schoenberg VerklΓ€rte Nacht
Well, you can't go wrong with the Oistrakh / Knushevitsky / Oborin classic recording that I linked in my post (it is old, but very good sound quality). There are others of course.
Gotta listen to that. Which recording were you listening to?
A while ago I came across this interesting project: #BachUpsideDown
I remember listening to the first movement of Barbirolli's slow Mahler 6th from 1967 and thinking this is way too slow - I love it!
Have listen at Dan Tepfer's "upside-down" version then :)
I listened to the All of Bach recording - it's beautiful. Now of course I have an earworm or three. Oh well, it was worth it.
Quoting Tom Storm
I got my introduction to Schubert's great B-flat major sonata from Richter's classic recording, and instantly fell in love with it. I didn't know at the time how unusual that interpretation was in terms of tempo. Later a friend gave me Schnabel's recording of the same sonata - which goes about twice as fast. My first reaction was: How dare he! It sounded like a disrespectful parody. In time I learned to appreciate other interpretations, especially Clara Haskil's
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Fred Frith might be neither jazz nor classical, but his music has aspects of both. Today I've been listening to my favourite two of his albums. The first, the album Gravity, inspired by Eastern European folk music, has been called "avant-garde dance music", which gets the idea across; and the second, Traffic Continues, is a long multipart composition played primarily by the Ensemble Modern on oldy worldy orchestral instruments.
Also Pat Metheny's The Way Up
Jazz and/or classical music I listen to and appreciate when I'm in a certain mood or frame of mind.
The reason I've popped in. I've been listening to Liszt and I'd be grateful if anyone could answer my question below:
Liszt, La tombe et la rose, S. 285 (1844) - with score and subtitles
From the 'Poem meaning' thread: https://thephilosophyforum.com/discussion/13562/poem-meaning/latest/comment
Your thoughts would be appreciated :sparkle:
I've been getting myself back into jazz. I've always liked Wayne Shorter, not only for his playing but also for his composition. No matter how primary the improvisation might be in jazz, everyone likes a good tune, and the harmonic simplicity of the compositions in modal jazz just sounds great to me; I never really got into the busier styles of bebop (or hard bop), aside from Charlie Parker (for me, Miles Davis and John Coltrane come alive around the Kind of Blue era, when they move away from those crazy bebop changes).
This is from Shorter's album Juju and features McCoy Tyner, Elvin Jones, and Reggie Workman, all from John Coltrane's group. But in contrast with sixties Coltrane, to whom he was often compared at the time this album was recorded, Shorter doesn't have the desperate searching quality that can get a bit much if you're not in the mood. And I do love Elvin Jones's drumming. I can't really get my head around it but the mercurial, impressionistic, responsive way he plays is amazing.
A couple of years later Shorter played in McCoy Tyner's band on one of my favourite albums, Expansions. Again, it has a similar modal approach, and again with good tunes. Shorter's playing is fantastic throughout.
This is "Peresina":
The album begins with a classic, "Vision". It's heavier and faster than, e.g., "Peresina", but still has the expansive, open and soaring sound that I like in this kind of jazz.
Those solos by Shorter and Gary Bartz, not least because of the help of Freddie Watts's drums, are really something.
If you haven't heard it listen to Out of This World, the opening track of Coltrane's self-titled release on Impulse!
Mine for today is
Pharaoh Sanders, Heart is a Melody
Pharaoh, ts; William Henderson, p; John Heard, b; Idris Muhammad, d
and it's very special to me. (Got to to see Pharaoh in Atlanta a couple years ago.)
Many years ago, I used to live in the DC area and would sometimes listen to Jazz 90, knowing nothing about jazz but a little curious. One late night driving up Connecticut, I heard the opening track of this record and became a lifelong jazz fan. I was blown away.
But I didn't hear who the performer was, only that it was a performance of John Coltrane's composition OlΓ©.
Next day I went to Tower Records and bought a copy of that album, my first jazz record. As I learned about jazz and branched out - Eric Dolphy is on the record, under a pseudonym, and he led me to Mingus - I learned there was tenor player Coltrane knew (the west coast expert on mouthpieces, when Trane was having trouble with his) and later played with, in his free period and who also recorded on Impulse! in the 60s and 70s, so eventually I found my way back around to Heart is a Melody.
It's a beautiful record and the performance of OlΓ© has one of the most jaw-dropping moments in recorded jazz, far as I'm concerned.
Thanks for the recommendation, I hadn't listened to that album before.
Cool to read your personal jazz story.
I have mixed feelings about Sanders. Some of it I love (or loved; it was in my twenties and I'm now trying to remember the bits I liked), and some of it sounds weak and rambling. It could be that my expectations are wrong, as they were when I first listened to Ornette Coleman after having listened to Coltrane for a while.
Couple things about Elvin Jones: he told some interviewer that part of the secret of his style, the polyrhythmic thing, is that he always hits something on the beat, just not always the same thing. Also, when Mingus was forming a group in the late fifties, the only drummer he wanted was Elvin Jones, but Elvin was playing with someone else at the moment, so Mingus taught saxophonist Danny Richmond how to play drums, and Danny was his drummer for the rest of his life.
I think it might be the liner notes to the Coltrane I recommended where Trane says of Elvin, "Sometimes he's too much even for me."
I have limited understanding and appreciation of free jazz. I mostly know Pharaoh from later albums, not his Impulse! stuff. Coltrane's last couple years, I don't do. I've listened to lots of Cecil Taylor, and find him really interesting, but I there's a lot I don't really get. Ornette is easy compared to a lot of stuff out there. Understanding and loving the many varieties of free jazz (and fusion, for that matter) remains on my to-do list.
:cool:
Quoting Srap Tasmaner
I don't much like Ascension or the later stuff like Interstellar Space, but I like a few things from around 1965 and 1966, like Kulu Se Mama and Transition (which have some tracks in common).
The track "Welcome" is calm and beautiful. As a jazzhead you may know it already, but I'll put it here anyway:
But it was the track "Transition" that first really got me into jazz. As a teenage fan of thrash metal, I was looking for something even more heavy, and that did the trick (along with Stravinsky). I still love to listen to it, even though my appetite for that kind of intensity has waned. It's intense and dark, but driving and controlled. His playing is clear and strong, although at first I didn't like the altissimo explorations, which I felt detracted from the strength of his normal registers. I changed my mind about that, mostly.
I love how it starts, right in it.
Quoting Srap Tasmaner
Yeah, I feel I ought to try getting into Albert Ayler, who might be more akin to Ornette than to Coltrane. Anthony Braxton is another sax player who seems fascinating but who I can't get to grips with. Otherwise, I'm tentatively exploring non-idiomatic free improvisers, among whom I like Fred Frith and the fairly obscure Lol Coxhill, who seems to have been an outsider even in that scene.
But with both free improvisation and free jazz, I can't often listen to the large groups, so I don't feel much desire to get into the large group improvisations of Coleman and Coltrane (the former, Free Jazz, sounds like more fun to me though).
If you've listened to some other earlyish Ornette but not to Free Jazz, just spin it. There's just more players, but it's very listenable. I only finally got around to it in the past year, and it's nothing to be afraid of. (It used to be said there were two routes into free jazz (my music theory is almost non-existent, so grain of salt here): Ornette just passes right by the theory of harmony and frees melody from it; Cecil layers in more, augmenting traditional harmony, broadening it. Free Jazz the record is definitely still on Ornette's end of the spectrum.)
I'll certainly revisit late Coltrane, so thanks for your impressions.
I've got it playing now. Thanks :up:
Quoting Srap Tasmaner
Yes, that's how I see it.
Cecil Taylor is baffling. I guess I haven't given him enough of a chance.
My starting point was maybe his first record as a leader. He does a killer version of Bemsha Swing. Gets how Monk had already broken into, let's say, tactical atonality. Monk understands what can be done with a piano as a physical thing, not just as a manifestation of music theory.
For a sort of point between Monk and where Cecil ends up, don't miss the incredible Don Pullen.
Quoting Srap Tasmaner
Now that's someone I know absolutely nothing about.
He and George Adams (ts) were in Mingus's last quartet, and then carried on as a band.
Pullen had a unique technique that involved rolling his hand over the keys to get clusters of notes (and some otherworldly effects). There's a cute video on YouTube of his band appearing on a show Ramsey Lewis hosted, and Ramsey tells him, I tried it, tried to play like you do, and I ended up with bandaids all over my hands.
Here's a good place to start:
I took some time to explore Cecil Taylor and, rather than the early stuff, I've settled on the solo live album Garden, recorded in 1981, as a way in, because I liked it from the start (it's the re-issue split over two discs, Garden Set 1 and Garden Set 2).
I read that Duke Ellington was one of his heroes, but I couldn't see how his playing related to him at all. However, despite initially thinking the music was totally abstract, and closer to non-idiomatic free improv than jazz, I began to hear the jazz in it pretty strongly, and not only in the occasional blues phrases and inflections. The track "Pemmican" on Set 2 is almost close to being a conventional jazz ballad, and this is where I can see how his playing is an extension of the tradition (jazz is not dead, it just smells funny).
In a nutshell, I don't really know what he's doing, and although I can discern the repeating motifs and chords, I find it difficult to hear the carefully worked out structure that people say is there. But I like it. It's exciting, technically stunning, and somehow very precise and organized. And in this performance (Garden) he leaves quite a lot of space, which I appreciate.
Before finding that, I watched a video of him playing, and that's maybe why I was more interested in his solo work, because I dug it. I wondered why it should help to see him play, thinking that I ought to focus on the purity of the music, but on the other hand he was a kind of performance artist who liked to emphasize the physicality.
As a pianist, Ellington is thought of as having a percussive style, as opposed to say the fluidity of Art Tatum, the great pianist of the swing era. So there's a tradition that runs from this
through Monk to Cecil. Watch Monk play, oh my god:
Story behind this one, I believe, is that one of the Ertegun brothers suggested he do a whole record in the vein of Haitian Fight Song, from The Clown.
So here's that:
The first time I heard that, I didn't know the story behind it, but I found it fascinating and moving all the same, which is significant I think.
Yes yes yes.
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LOL, yeah!
I love that knifepoint between late romanticism and early modernism. I'd like to live there.
I've been thinking about this since you wrote it.
I woke up this morning with an earworm but not any dangling from the Prophet Bird.
And I wondered what is it about music that has that effect on our brain or mind.
I guess it's the recurrence of a motif. Is that all? Why does some music resonate more than others?
Does the impression depend on the listener's mental state or brain rhythm already going on?
What do you hear that I can't?
I've listened to Schumann's piece 3 times now. The first time, my ears didn't get it at all.
No idea how this could enter my skull and stick there. Nada.
I think I understood the lightness of the beginning as being that of the bird, then I heard a change at about 1:20. It reminded me of a hymn, and the repetition there is the bit that is going round my head right now.
So then I looked it up:
https://www.henle.de/us/music-column/schuhmann-jahr-2010/schumann-anniversary-2010/the-prophet-bird/
Most interesting with links to the score and Goethe no less:
Quoting Schumann - The Prophet Bird
... and this:
Quoting Schumann - The Prophet Bird
Pity the Carnegie Hall video is no longer available.
Thanks for the introduction. I might listen again...if it doesn't drive me crazy trying to think...
Any idea as to the hymn it reminds me of?
Best now just to listen without thinking. Simply to feel it :sparkle:
@SophistiCat
Found this. The Schumann piece comes in just after rapturous applause at 11:00. (if I hear right!)
Quoting Backhaus - 4 encores at Carnegie Hall, 1956
With nod and thanks to @tim wood for this introduction, about a year ago:
***
https://thephilosophyforum.com/discussion/comment/599220
Earworms are funny things. Often after listening to a number of pieces, such as Schumann's Waldszenen, what gets into my head is not what drew me most while I was listening. Other times I am only semi-aware of the music in my ears while I am occupied with something else. But then, after an incubation period of about 8-16 hours, some "little phrase" or entire pages worth of music hatch in my head and won't quiet down for the rest of the day (or night).
Quoting Amity
Thanks for this, I loved it! (Interesting how he improvises little transitions between the pieces, as if walking from one to the next.)
At about the same time (1900s) Ives asked a question that is now stuck in my head. Does anyone know the answer? ;)
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Thank you :sparkle:
Spare yourself the mental energy.
[hide=Berg - Violin concerto To the Memory of an Angel]
The conclusion is just heartbreaking.
Composed in the final weeks of the war, when the composer's world was crumbling around him. If the theme sounds vaguely familiar, listen carefully: about 3/4 of the way in, and then again at the very conclusion of the piece the source of the theme is revealed.
[hide]It is the funeral march from Beethoven's Eroica symphony[/hide]
The title track is awesome :love:
(Marcus Miller featuring Corinne Bailey Rae- Free)
Me too. I love it. Mine is a von Karajan recording. I heard it first in 1985 and used to drive through winding mountain roads to our country place with it on.
Also:
[hide=Edgard Varèse - Amériques]
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Nina Simone - I Am Blessed
classical:
Sergei Prokofiev - Troika from "Lieutenant KijΓ©"
https://thephilosophyforum.com/discussion/13826/nightmare-in-d-minor
Terry Riley - 'The Dream' for justly tuned piano - Live in Rome 1999
Commissioned by the Kanagawa Foundation, 'The Dream' is a lengthy improvisatory piece for solo piano in just intonation. It is something of a sequel to Terry Riley's 1985 cycle 'The Harp of New Albion', also for justly tuned piano. This recording is from the work's premiere performance where Riley joined Philip Glass, Michael Harrison, and Charlemagne Palestine in an evening concert of selections of each composer's music for piano.
Performed by the composer.
Recorded live at the Palazzo delle Esposizioni in Rome, Italy on November 20th 1999.
I'm still listening...it's wonderful. Amazing. God I love this place :fire:
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Also this:
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I challenge anyone to listen to this song all the way through without e.g. tapping your foot, bobbing your head, etc to the rhythm. Its just infectious.
What did I win? (Just kidding! I like it.)
Mingus Sextet- Take the A Train
I can think of a few guitarists who could challenge the "best electric guitarist in the world" bit, though.. but no question this guy can play. If you like insane axe-playing, you should check out the video I posted in the other music thread a week or two ago- Polyphia featuring Steve Vai, an absolutely loaded lineup playing one of the best guitar pieces I've heard in a long time ("Ego Death").
(Couldn't find anything about the second name he mentioned. Al Di Meola gives him a big rap too and featured him in a duo concert.)
Steve Vai is awesome, love that guy. And I agree with him, the level of guitar talent out there right now, esp in the prog rock/prog metal, fusion, math rock, etc. genres is insane- Tobin Abasi, Tim Henson, Yvette Young, some insanely talented musicians out there, and most of these people are all really young too.
Had you heard that Polyphia + Steve Vai song already? If not I strongly recommend it, some awesome (awesome, awesome, awesome) guitar playing in that song, and Steve plays an awesome whammy-bar solo (because Steve Vai is awesome, obviously). If you like guitar, you'll love "Ego Death".
Speaking of Youtube guitar players, ever watched any Ichika Nito? Guy is a monster, especially with tapping. And I honestly think that Youtube is a major reason why we're seeing such amazing guitar players at such young ages- Youtube is an incredible learning resource for musicians, I'm super jealous that we didn't have anything like it when I was growing up.
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My favorite Guthrie Govan video is this in which Hans Zimmer awkwardly watches him solo and doesn't know what to do with his hands:
I found Govan through one of Rick BeatoΒs shows:
The versatility is amazing although I tried a couple of GovanΒs albums and found them a bit too metallic for my tastes.
A while ago I was binging on Purcell and Handel, especially their lesser known keyboard works. These guys rock!
Purcell
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Handel
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These are Handel's best-known keyboard suites - the only ones he published, in two sets of eight. My favorite piano version:
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https://www.youtube.com/channel/UCAHNJvwXuaSzTliSAmna2TA
Sonny Rollins said about him: "HeΒs got a nice, big, fat sound, and heΒs got a lot of ideas. He doesnΒt sound like heΒs ever wanting to find something to play."
Cool. More melodic variation would help, but I always love watching an open-hand-lead drummer, as one myself. Actually I guess he's just playing half left-handed with his ride on his left, Carter Beauford style. So left-handed hands and "right-handed" feet. Anyway. I also would include Snarky Puppy as a comparison.
I liked it quite a bit. When it comes to current jazz, I tend to prefer the "spiritual" corners of the genre that are being explored; Like this. simpler and more repetitive, and not for everyone, but it does it for me. Hypnotic music.
Check out this amazing talent. One guy, one guitar, many, many layers.
I don't know much about Βnu jazzΒ and Βacid jazzΒ, but I like this. Will listen more!
The first time I listened to it, I just called it "jazz" like anyone else I guess. Because I am not so familiar with technical words and I am event an expert on jazz. But, somehow, the first time you listen to the album, you feel is something different and you like it and enjoy it. To be honest, I discovered that the album is considered as "nu" jazz and "acid" jazz because of Wikipedia. :joke:
I happy to know you liked it. Cheers!
You can recognize Glass right from the first measure from his trademark arpeggios, but you need to keep in mind that this work was composed before he settled into his neo-Romantic groove. And indeed, while instantly recognizable, it doesn't sound stale to my ear.
I had forgotten the movie, but somehow the tune impressed itself upon me. I had no idea what it was, and hadn't heard it since (except in my head once in a while). Until a couple of days ago, when I heard it on classical radio - this time with the title and composer's name attached.
And here it is, in all its Baroque ostinato glory:
Marin Marais - Sonnerie de Sainte-Geneviève (The Bells of St. Genevieve)
(Curiously, this recording is also from a movie soundtrack. I'm going to watch the movie when I get a chance.)
And a couple more affecting pieces by Marais, performed by the same stellar ensemble:
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Here's the original (oh, and I'm a Steely Dan tragic.)
Music from the young Arvo PΓ€rt, from around the time when he got into early music.
The buzzing tune heard at the beginning and throughout the piece is a slightly obfuscated B-A-C-H sequence (spelled out in German musical notation). The ending quotes a prelude from WTC 1.
Classic. This is one of my favorites. The title track is good, but the B-sides are my favorites:
That's a whole 'nother level. I've never seen anything like it.
Mario Lanza and Jussi Bjorling's performances of La Donna e Mobile are absolutely phenomenal.
Brick's "Dazz"
https://thephilosophyforum.com/discussion/comment/754042
"India" (14:10)
Impressions, 1963
composer John Coltrane, 1961
performers J. Coltrane, E. Dolphy, M. Tyner, J. Garrison, R. Workman & E. Jones
"Shhh/Peaceful" (16:16)
In a Silent Way, 1969
composer Miles Davis
performers M. Davis, W. Shorter, J. McLaughlin, C. Corea. H. Hancock, J. Zawinul, D. Holland & T. Williams
This version is also utterly incredible.
https://www.jazz24.org/
:up:
Quoting Olento
Is it that it lies in an uncanny valley or a liminal space between the pre-modern and the modern? That itΒs strange and familiar at the same time?
I think it's more about some specific quality of melancholy that I cannot find in other era's. It's special for me.
Clara Haskil :heart: (two takes)
Igor Kipnis (clavichord :heart:)
Ross's complete recording of Scarlatti I just don't love... I don't know why.
I am also skipping Horowitz (and a few others for that matter). His is the kind of Romantic (re)interpretation that is breathtaking and hard to un-hear once you have heard it. And granted, this peace positively invites it. But I would then prefer to go all the way and do something like what Vaughan Williams did with his dreamy take on Thomas Tallis:
This was the original inspiration - a severe, militant psalm, striking in its own right, with words like "Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel."
You can see (as in Scarlatti) what harmonies moved Williams and why he took it to such different places (without changing a note of the original!)
The organ version has become too cheesy to evoke -- that was a great rendition.
Swoooooooning.
Good stuff. I know little of Mendelsohn's lieder.
Google translates the title as "favorite cookies" :)
Thanks. This is what I could find that's co-written by Rob Amster. Yes, I like listening to that bass. I couldn't find just the instrumental.
https://youtu.be/YK_KTXb_Jrg?feature=shared
Thankyou, you can always rely on Philip Glass to take you out of yourself.
Welcome to TPF.
So sue me, poseurs. Watch on youtube.
Very nice. I've added folk to the thread title.
https://www.youtube.com/watch?v=_WkrTyrR-WQ
Peer Gynt by Grieg
The whole thing is a bit longer than the morning music
The subtleties and attention to detail are quite extraordinary.
He's wonderful to listen to.
https://www.youtube.com/watch?v=af9wHDrkjfk
A modern folk song penned by the wonderful Leon Rosselson Β a lesson from history.
As for Paganini - no one likes a showoff, Lucas.
Never learned to read or write music. When I used to see him, he would turn up and stand in as a guest artist, and he's just play anything whatever by ear, on the spot, often with little or no rehearsal. He's a true legend.
If this doesn't move you, I have literally no clue what could.
Lula was a girl from a humble town
She had a mean drunk daddy; liked to push her around
He sold what he called 'poor man's cocaine'
But the police called it methamphetamine
One night she sunk her knife in the small of his back
Ain't no one gonna find where she buried him at
She hopped a train up the river into Omaha
Did some dirty damn things and bought a broke-down car
She'd say 'I ain't getting younger, I just wanna feel good
I ain't gonna do what you want cause you tell me I should
I'm just gonna sit right down, have a smoke
Somebody buy me a beer; somebody tell me a joke
Now people do funny things to numb their pain
And Lula drank liquor to forget her name
She used to sleep it off under an old Oak tree
In the Pontiac she bought with her money from the streets
She'd say "I ain't getting younger, I just wanna feel good
I ain't gonna do what you want cause you tell me I should
I'm just gonna sit right down; have a smoke
Somebody buy me a beer somebody tell me a joke
She was crying for a life that she never knew
What could have been, how it was and what she oughta do
She wipe the tears from her eyes and shut her mouth
When her feet hit the river all the lights went out
She'd say "I ain't getting younger, I just wanna feel good
I ain't gonna do what you want cause you tell me I should
I'm just gonna sit right down; have a smoke
Somebody buy me a beer; somebody tell me a joke
Somebody buy me a beer; somebody tell me a joke
:party: I love the whole album.
I was inspired to relisten to Ground Zero - Consume Red by your song:
https://open.spotify.com/album/1PokAFXFycM6g47eIQ9jIn?si=UcL2cSGeR0G11PvYE74u6A
Quoting Moliere
I'm 25 minutes in and the drums have just entered the battle. :up:
I have a vertiginous feeling that I've heard it before, or even used to be kind of into it, and I've since forgotten it. :chin:
I found the Noto/Sakamoto album because I was having a look through the releases by the Ensemble Modern. Another one I liked:
Interesting. What was that about?
It was 5 years ago so it's been awhile.
Oh yeah! That was interesting. I even contributed a few posts myself, so maybe you're right and I heard it there.
Of course as almost always I never actually got to the part where I have an answer....
I expect I've posted this before, but it's been hitting hard tonight.
https://www.youtube.com/watch?v=jtokk3dj1Hk
Finnish web programmer friend of mine (Whom I never met, and I suppose don't really know ever existed) showed me this. Back when we were kids. Well, I was 15 or so. Think the person was 20. We both ran pretty successful sites at such a young age (nothing big or money-heavy just it's own niche community, not unlike this one..)
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Thankyou.
Young Hilary Hahn plays like an angel in a recording that also includes Beethoven's violin concerto:
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Another recording with the fiery Janine Jansen and the LSO:
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Rorem is better known for his songs. Here is a beautiful selection sung by Susan Graham:
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I think this qualifies as classical.