Vijay Iyer is probably best known as a pianist and bandleader in the African-American creative improvisational tradition — most say "jazz" for short — though he's also several other things in music. He's a composer of chamber, large-ensemble and mixed-media works; a Harvard professor; a student of Indian classical music; a father and New York City resident. Committed as he is to multiplicity, there's one place where you can see many of his interests distilled at once: in the trio he's led for nearly a dozen years.
Is there a modern-day equivalent to Duke Ellington? Or Ornette Coleman?
Who are the people today who think differently about jazz — who have created new forms, and expanded the musical vocabulary?
For 30 years, saxophonist Steve Coleman has been pushing the music forward, traveling the world to collect new sounds, rhythms and ideas. Along the way he's mentored many of the most exciting younger artists in jazz — musicians like Ambrose Akinmusire, Jason Moran and Vijay Iyer.
Originally published on Wed April 29, 2015 4:39 pm
Trumpeter Rolf Smedvig, praised for his beautiful tone and virtuosic style, died Monday afternoon at his home in West Stockbridge, Mass. The cause of death, according to his long-time manager Mark Z. Alpert, was a heart attack. Smedvig was 62.
Originally published on Thu April 23, 2015 11:05 am
Metropolitan Opera Chorus Master Donald Palumbo knows voices, and how to instruct singers to protect them.
Palumbo says that all singers have to monitor their voices while rehearsing during the day. The goal, he says, is to insure singers are at their "freshest" and "most solid" for the evening performance.
Originally published on Tue April 28, 2015 2:16 pm
The vocal ensemble Roomful of Teeth consists of eight classically trained singers incorporating Tuvan throat singing, Appalachian yodeling, operatic trills, rhythmic exhalations and whispered speech into music written by some of the most exciting young composers of the 21st century.
Percussionists back in Beethoven's day could be forgiven for feeling a little bored, waiting for the infrequent roll of the kettledrum or the occasional cymbal crash. But as orchestras grew bigger, percussionists got busier — even more so after World War I, when a new generation of composers began writing specifically for percussion.