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Category: harp

Wednesday, 1/16/13

Toru Takemitsu (1930-1996), And then I knew ’twas wind (1992)
Aureole Trio, New Hampshire (Monadnock Music), 2011

My life sometimes seems to consist of a series of trips, back and forth, between the sublime and the wretched. Yesterday afternoon, for instance, I stumbled upon this—a piece I’d never heard before—during a break from work. What was I working on? An oral argument I’ll be presenting this morning before a three-judge panel of the federal court of appeals in Chicago, on behalf of a guy, now in his mid-50s, who spends each day, as he has for decades, in a cell about 45 miles southwest of the city, where he’s serving a sentence of “natural life.”

Tuesday, 9/18/12

Kaija Saariaho, Fall (1991, from the ballet Maa); Nuiko Wadden (harp), Ryan Streber (electronics); Mount Holyoke College (South Hadley, Mass.), 2010

One of the joys of having grown children is going out with them to hear live music, as I did the other night, meeting my older son Alex after work at a Chicago art gallery (Corbett vs. Dempsey) for a solo performance by this harpist.

Saturday, 9/8/12

Sometimes more is more.

Anton Bruckner (1824-96), Symphony No. 8 in C minor; Vienna Philharmonic (Herbert von Karajan, cond.), live, Austria (Abbey of St. Florian), 1979

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lagniappe

musical thoughts

Once upon a time, before the human attention span began to shrink, people could actually sit still and pay attention to something—a single thing—for over an hour.

Tuesday, 9/4/12

You don’t need to be asleep to be lost in a dream.

Maurice Ravel, Piano Concerto in G Major (1929-31); Martha Argerich, piano; Orchestre National de France (Charles Dutoit, cond.); live, Germany (Frankfurt), 1990

Saturday, 3/12/11

Have you heard of Brandt Brauer Frick?

Rachael Z., the 20-something stylist who cuts my hair

The Brandt Brauer Frick Ensemble, live (rehearsal), Germany (Berlin), 2010

Vodpod videos no longer available.

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lagniappe

reading table

Teenager

Me — a teenager?
If she suddenly stood, here, now, before me,
would I need to treat her as near and dear,
although she’s strange to me, and distant?

Shed a tear, kiss her brow
for the simple reason
that we share a birthdate?

So many dissimilarities between us
that only the bones are likely still the same,
the cranial vault, the eye sockets.

Since her eyes seem a little larger,
her eyelashes are longer, she’s taller
and the whole body is closely sheathed
in smooth, unblemished skin.

Relatives and friends still link us, it is true,
but in her world almost all are living,
while in mine almost no one survives
from that shared circle.

We differ so profoundly,
talk and think about completely different things.
She knows next to nothing —
but with a doggedness deserving better causes.
I know much more —
but nothing for sure.

She shows me poems,
written in a clear and careful script
that I haven’t used for years.

I read the poems, read them.
Well, maybe that one
if it were shorter
and fixed in a couple of places.
The rest do not bode well.

The conversation stumbles.
On her pathetic watch
time is still cheap and unsteady.
On mine it’s far more precious and precise.

Nothing in parting, a fixed smile
and no emotion.

Only when she vanishes,
leaving her scarf in her haste.

A scarf of genuine wool,
in colored stripes
crocheted for her
by our mother.

I’ve still got it.

—Wislawa Szymborska (trans. Clare CavanaghStanisław Barańczak; Here [2010])

*****

five desert-island poets

Wislawa Szymborska

William Bronk

John Berryman

Emily Dickinson

Kobayashi Issa

Thursday, 2/10/11

Some music circles back on itself, over and over, slowing time.

John Luther Adams
(not to be confused with the other John Adams)

“In the White Silence,” 1998 (excerpt)/The Oberlin Contemporary Music Ensemble, Tim Weiss, conductor (2003 recording)

Vodpod videos no longer available.

*****

“Red Arc/Blue Veil” for piano, percussion, and tape sounds (excerpt)/live, Kentucky (Lexington [University of Kentucky]), 2008/Clint Davis, piano; Charlie Olvera, vibraphone, crotales

Vodpod videos no longer available.

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lagniappe

musical thoughts

Adams talks about his music

Vodpod videos no longer available.

*****

I admire a radio station where you can’t be certain when you first tune in—as happened to me yesterday afternoon, while working, when I turned on WKCR-FM (broadcasting from Columbia University)—whether they’re playing a recording or having technical difficulties.

Saturday, 10/23/10

Your 16-year-old daughter dies, suddenly, in a car accident.

What do you do?

If you’re pianist/composer Kenny Werner, what you do is create music.

Kenny Werner, No Beginning No End (featuring Joe Lovano, tenor saxophone), recording session, New York (NYU), 2009

Monday, 10/11/10

Solomon Burke, March 21, 1940-October 10, 2010

Live (TV broadcast), England, 2003

“Everybody Needs Somebody To Love”

***

“None Of Us Are Free”

*****

“Cry To Me,” live, Spain (Vitoria), 2004

*****

“Don’t Give Up On Me,” live

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lagniappe

The best soul singer of all time.

—Jerry Wexler, Solomon Burke’s producer at Atlantic Records (also produced Ray Charles, Aretha Franklin, Wilson Pickett, et al.)

*****

Every day I’m on the phone ministering to people. I’ve had so many people say to me, “What should I believe in?” I tell  ’em, “Just believe in what’s real and makes you feel good. Whatever moves you, go there.”

***

Every day they had a service [at my grandmother’s House of Prayer for All People], and the music never stopped. There was always a band with two or three trombones, tambourines, cymbals, guitars, pianos. When I speak of music, I get choked up. It was a message to God, something you feel down to your bones and your soul and your heart.

***

I’ve learned to forgive Jerry [Wexler] . . . I’m also waiting for my check.

—Solomon Burke (in Charles M. Young, “King Solomon’s Sweet Thunder,” Rolling Stone, 5/27/10)

Thursday, 7/1/10

looking back

Today, celebrating our 300th post, we revisit a few favorites.

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3/12/10

Both Chicago blues artists. Both guitar players. Both influenced by other kinds of music.

Musical personalities? They could hardly be more different.

Buddy Guy, “Let Me Love You Baby,” live

*****

Fenton Robinson, “Somebody Loan Me A Dime,” live, 1977

***

Back in the 1970s, when I was at Alligator Records, I had the pleasure of working with Fenton, co-producing his album I Hear Some Blues Downstairs (a Grammy nominee). He didn’t fit the stereotype of a bluesman. Gentle, soft-spoken, serious, introspective: he was all these things. He died in 1997.

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3/3/10

What other pop star has made such stunning contributions as a guest artist?

Sinead O’Connor

With Willie Nelson, “Don’t Give Up”

*****

With the Chieftains, “The Foggy Dew”

*****

With Shane MacGowan, “Haunted”

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5/28/2010

two takes

“La-La Means I Love You”

The Delfonics, live, 2008 (originally recorded 1968)

*****

Bill Frisell, live, New York (Rochester), 2007

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lagniappe

musical thoughts

Music . . . carr[ies] us smoothly across the tumult of experience, like water over rocks.

Vijay Iyer, liner notes, Historicity (2009)

Thursday, 3/25/10

street music

Dublin

On Grafton Street