I discovered Nina Simone through the back door. I would like to claim that I grew up on her classic songs, like "Don't Let Me Be Misunderstood," "Four Women" and "Mississippi Goddam." But I didn't. Like so many of my generation, I found her through hip-hop loops and samples.
Cassandra Wilson was once described by Time magazine as "America's best singer." Wilson was born in segregated Mississippi — also the birthplace of the blues — but she's always been on a journey to explore other sounds and influences.
This week, Gustavo Dudamel was in Scotland to visit Raploch, Stirling, the "former haunt of notorious crime-clan matriarch Big Mags Haney and once so educationally deprived it was dubbed a 'higher-free zone.'" It now is the home of Big Noise, a classical music project for kids run by Sistema Scotland.
Recently on A Blog Supreme, pianist and blogger Kurt Ellenberger expressed doubt that audiences for jazz can continue to grow, writing that audience development is "a tall order that seems insurmountable." Although this alarm bell has been sounded by jazz writers for at least seven decades, musicians stubbornly seem to keep on playing, and new fans keep on discovering the music.
The Philadelphia Orchestra has just wrapped up a 10-day visit to China, its seventh trip to the country over the past four decades.
But this trip was different.
The orchestra is preparing to come out of bankruptcy, and this tour was about its survival. It hopes to balance its books by building new audiences and new revenues in the world's second-largest economy.
Drummer Mike Reed put together his quartet People, Places and Things to play music by their 1950s forebears. But it makes sense that, after a few years together, they'd also play later pieces, tracking the evolution of Chicago jazz on a new album titled Clean on the Corner. One dividend of their repertory work is that it inspires Reed to write his own tunes in the same spirit, like "The Lady Has a Bomb."
Originally published on Tue September 18, 2012 4:51 pm
What would it be like if you were 10 years old and composed a piece of music that was played by the New York Philharmonic? For a few New York City school kids, including one fifth-grader, it's a dream come true, thanks to the orchestra's Very Young Composers program.
Composer Jon Deak, who played bass with the New York Philharmonic for more than 40 years, says the idea for Very Young Composers came when he and conductor Marin Alsop visited an elementary school in Brooklyn several years ago.