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Favorite Edition 2019 Year Final

[Sturgill Simpson - Sound and Fury]

I’m old enough now that I can no longer be mistaken for someone remotely connected to the zeitgeist. A phrase I would often employ was, “I know of them, but I’ve not heard from them.” These days, the first part of that phrase is a stretch.

That said, I’m surprised by the number of R&B titles that have crept into my playlist rotation. I’m still a rockist at heart, but rock is loosening its grip on my attention.

  1. Sturgill Simpson, Sound & Fury: How was Sturgill Simpson ever going to top A Sailor’s Guide to Earth? He didn’t. He veered so drastically in a different direction that the albums can’t be compared. None of his albums can be compared to each other.
  2. Torche, Admission: Torche can be found under the metal section of most music stores, but when I play their albums, I hear post-rock.
  3. Weezer, Weezer (Teal Album): It’s a karaoke album, but a painstakingly created one.
  4. Jeremy Denk, c.1300-c.2000: It’s a tall order to compile eight centuries of music into a single program.
  5. John Luther Adams, Become Desert: It was also stirring to hear this piece live.
  6. Cocco, Star Shank: We hear hints of clouds covering the sunniness of Cocco’s later work.
  7. BBMAK, Powerstation: I will not lie — I’ve anticipating this album for most of the year, and I do not care who knows.
  8. Shiina Ringo, Sandokushi: This album is a glorious mess.
  9. Solange, When I Get Home: Similar to Sound and Fury, this album is confounding and fascinating at the same time. There’s nothing on here that matches the tunefulness of A Seat at the Table, and it would be too disruptive to the album’s flow if there were.
  10. Jamila Woods, Legacy! Legacy!: “Basquiat” was playing on the in-store system at Sonic Boom, and it pretty much clinched my decision to get this album.

Other favorites of the year:

  • Kim Gordon, No Home Record
  • Michael Kiwanuka, KIWANUKA
  • James Blake, Assume Form
  • Sassyblack, Ancient Mahogany Gold
  • Anderson .Paak, Ventura
  • NUMBER GIRL, Kaiden no Kioku
  • The Drums, Brutalism
  • Ty Herndon, Got It Covered

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Concert Edition 2019

Perfume, Paramount Theatre, April 10, 2019
Perfume, Paramount Theatre, April 10, 2019

Jeremy Denk, Meany Hall, Jan. 15

Denk had yet to release his latest album, c.1300-c.2000, when he performed at Meany Centre. So he chose to focus mainly on Beethoven. The program did include John Adams’ I Still Play, which he wrote for retired Nonesuch Records president Bob Hurwitz.

Carolyn Shaw, Piano Concerto, Seattle Symphony, Benaroya Hall, Feb. 2

I think Shaw lost me in the second movement of her piano concerto, when the opening melody in the piano repeated. And repeated. And repeated. The first movement established this piece wasn’t minimalist, so why become one in the second movement?

Sergei Prokofiev, Symphony No. 7, Seattle Symphony, Benaroya Hall, Feb. 16

When I first started exploring classical music, I bought a cassette tape with Sergei Prokofiev’s Classical Symphony and Lieutenant Kije Suite. His Symphony No. 7 was tacked onto the album to fill out space, so I listened to it quite a lot. I haven’t explored other Prokofiev symphonies, but I have a fondness for the seventh.

Amadeus Live, Seattle Symphony, Benaroya Hall, Feb. 23

I had planned to attend the Seattle Symphony’s performance of Heiner Goebbels’ Surrogate Cities, but it was scheduled on the day I was flying back from London. The concert was rescheduled a day earlier, and I traded my ticket for Amaedus Live. I was glad to learn it was the theatrical cut.

Emerson String Quartet, Meany Hall, March 6

The program on this concert included the Barber Adagio, a Razumovsky quartet by Beethoven and the Britten’s String Quartet No. 3. I particularly looked forward to the Britten quartet, having stumbled across recordings of his quartets at the thrift shop.

Morsel Trio, Good Shepherd Center, March 8

My violin teacher (Luke Fitzpatrick) and my music theory T.A. (Daniel Webbon) had pieces on this program.

Michael Tilson-Thomas, San Francisco Symphony, Benaroya Hall, March 19

I’ve known about Michael Tilson-Thomas for years, and I even have a number of his recordings as a pianist. So I wanted to hear him with the San Francisco Symphony before he ends his tenure in July 2020. The centerpiece of the concert was Beethoven’s Eroica Symphony. I love the first movement of the piece, but I’ve never really internalized the remained of it.

untitled 2, Seattle Symphony, Benaroya Hall, March 22

Pierre Boulez never struck me as a person you’d really want to meet in real life, and that impression has spilled over into his music. So I don’t think I really heard a piece by Boulez until this concert. It wasn’t as grating as I was expecting it to be.

Perfume, Paramount Theatre, Apr. 10

I’m sure there were parts of this concert that were … prefabricated, but I didn’t mind. It was visually stunning, and Perfume were entirely gracious to Seattle fans. If I hadn’t gotten out of the hospital a few days before, I probably would have stood in the excessively long line at the merchandise table.

Joël-Françios Durand, Trope de:Bussy, Seattle Symphony, Benaroya Hall, Apr. 13

I listen to a lot of modern classical music, but I still sometimes feel odd listening to works from people I’ve met. Prof. Durand was my music theory instructor for one quarter back in 2016.

George Walker, Sinfonia No. 5, Seattle Symphony, Benaroya Hall, Apr. 20

When the orchestra finished playing the premiere of George Walker’s Sinfonia No. 5, one audience member didn’t even wait for conductor Thomas Dausgaard to signal for the applause. It was a pretty monstrous piece.

Alexander String Quartet and Joyce Yang, Meany Hall, May 22

Samuel Carl Adams has followed his father’s footsteps into the world of composition. His father is John Adams. Alexander String Quartet and Joyce Yang performed a piece by the younger Adams, and he sounds nothing like his father. In fact, I would like to hear more from Sam Adams.

untitled 3, Seattle Symphony, Benaroya Hall, June 7

A reimagning of Schubert and Schumann. ¯\_(ツ)_/¯

In the Spotlight: Bolcom, Jolley, Poteat & Hausmann, Octave 9, June 11

Seattle Symphony transformed its education space into a high-tech venue to showcase more experimental programming. I’m looking forward to attending concerts in this new space.

Torche, Highline, Sept. 15

Sturgill Simpson made me realize I was getting too old for rock shows, so I almost decided against seeing Torche, despite loving the new album. Then I saw they were playing at a venue that is a 6-minute walk from my apartment. I’m glad I went.

Bugs Bunny on Broadway, Seattle Symphony, Benaroya Hall, Oct. 5

I wasn’t going to miss hearing What’s Opera, Doc? performed live. Even the 3-d animated new shorts weren’t too bad.

untitled 1, Seattle Symphony, Benaroya Hall, Oct. 18

This first untitled concert of the 2019-2020 season showcased works for brass, and alternated between early and modern music. At the end of the concert, I was asked what I thought. I answered, “It was more conservative than I prefer.”

John Williams, Violin Concerto, St. Louis Symphony, Powell Hall, Nov. 3

I debated whether to take in a St. Louis Symphony concert while I was attending WordCamp US. A Sunday matinee seemed like a good option for someone navigating an unfamiliar city without a car. The light rail and bus system got me to the concert hall, which has a really nice sound. James Ehnes was the soloist for the Williams concerto, and yes, it’s unmistakably John Williams. For an encore, Ehnes did Ysaÿe’s Sonata No. 3.

Sleater-Kinney, Paramount Theatre, Nov. 23

I chose to sit in the mezzanine for this show because, yes, Sturgill Simpson.

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Favorite Edition 2019 Year Half

[Jamila Woods - Legacy! Legacy!]

One of these years, I’m not going to have a big enough pool from which to draw a mid-year Favorite Edition list. This year got close.

  • Weezer, Weezer (Teal Album): The big criticism of this cover album is the slavish reproduction of the originals, as if Weezer did nothing to inject its own personality in these songs. The studio geek in me, however, marvels at such a feat. It may be a karaoke exercise, but it’s a painstaking one, not unlike art students reproducing the masters.
  • Jeremy Denk, c.1300-c.2000: It’s a tricky proposition to distill seven centuries of music in a single program, but Denk takes an admirable stab at it. I have no objections to his choices.
  • James Blake, Assume Form: Blake’s previous album was lengthy and not terribly engaging. He rights the ship on this one.
  • John Luther Adams, Become Desert: Where Become Ocean explored the Seattle Symphony’s lower and middle registers, Become Desert hovers almost exclusively in the upper ends.
  • Shiina Ringo, Sandokushi: Shiina’s first three albums looms large over the rest of her work, Tokyo Jihen included. Sandokushi is a fascinating mess — lots of seemingly disparate songs threaded together as a single program. It’s jarring but coherent, and probably the best summation of her style thus far.
  • Jamila Woods, Legacy! Legacy!: Like Parquet Courts’ Wide Awake, Legacy! Legacy! was playing on a record store sound system and made me stop to find out who is Jamila Woods.
  • Solange, When I Get Home: There are no obvious singles on this album, which is fine because it’s not intended to be a singles album.
  • Madonna, Madame X: A quotation of Tchaikovsky’s signature work could have backfired, but when the Nutcracker interrupts “Dark Ballet,” it doesn’t feel forced. The singles preceding the release of Madame X didn’t hint at this kind of creative stretch.
  • The Drums, Brutalism: Jonny Pierce tones down the Joy Division influence and brings forth the beats.

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Purchase log picks, February 2019

[James Blake - Assume Form]

Boston, Boston

Sometimes, you just can’t argue with conventional wisdom.

Del tha Funky Homosapien, No Need for Alarm

There’s something about beats made around 1993 that I really dig.

James Blake, Assume Form

The Colour in Anything made me approach Assume Form with caution. It turns out this album is vying for a spot on the year-end Favorite Edition list.

James Tenney, Postal Pieces

It’s amazing how much music can be generated by scores that fit on postcards.

Jeremy Denk, c.1300-c.2000

This survey of Western classical music spanning seven centuries is another album vying for a spot on the year-end Favorite Edition list.

Lou Reed, Transformer

“Satellite of Love” and “Walk on the Wild Side” are obvious choices for why this album should be in my collection, but really, it’s because it has “Perfect Day”, which Duran Duran covered on Thank You.

Phoenix, Wolfgang Amadeus Phoenix

I dismissed Phoenix back in 2009 as that band in the car commercial. Thing is, “Listzomania” is damn catchy, as is the rest of the album.

Sly and the Family Stone, Greatest Hits

Most of this collection consists of tracks from Stand! It also includes “I Wanna Take You Higher”, which Duran Duran also covered on Thank You.

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Purchase log, 2019-02-12

[Atmostphere - God Loves Ugly]

I catalog my music purchases on Collectorz and Discogs, but they don’t give me a sense of change over time. So I’m noting them here weekly as well.

New releases

Format
  • Jeremy Denk, c.1300-c.2000

Catalog

CD
  • Atmosphere, God Loves Ugly
  • Built to Spill, There’s Nothing Wrong with Love
  • Del tha Funkee Homosapien, No Need for Alarm
  • Iron and Wine, The Shepherd’s Dog
  • Lou Reed, Transformer
  • Sly and the Family Stone, Greatest Hits
  • Talking Heads, More Songs About Buildings and Food

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Looking ahead, January-February 2019

[Jeremy Denk - c.1300-c.2000]

The site will take its usual January break starting next week, so this entry is my last chance to point out some upcoming releases.

Jeremy Denk, c.1300-c.2000, Feb. 8

I’ll be seeing Jeremy Denk in concert in a few weeks, but he won’t be performing the sprawling program of this two-disc set spanning seven centuries of music.

Vinyl

Mindy Smith, One Moment More, Jan. 29

Mindy Smith is so far the only country music singer whose voice reminds me of Harriet Wheeler of the Sundays.

Prince, Musicology, Feb. 8
Prince, 3121, Feb. 8

Musicology was heralded as a return to form, but I found it less interesting than 3121. But even 3121 was less interesting than The Gold Experience, which I would consider getting on vinyl. But really, when is the Love Symbol album getting reissued?

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Favorite Edition Rewind: 2012

[Cody ChesnuTT - Landing on a Hundred]

A decade ago, I wrote a series of entries ranking my favorite albums from 1985 to 2004. My collection has expanded greatly since then, particularly in the last five years. So I wanted to see what has changed in 10 years.

What I find most remarkable about the 2012 list is the number of albums listed under honorable mentions. The revised list has culled a lot of those titles. I probably listed so many because I didn’t feel passionate enough about any of them.

  1. Solange, True
  2. Santigold, Master of My Make-Believe
  3. Jeremy Denk, Ligeti/Beethoven
  4. … And You Will Know Us By the Trail of Dead, Lost Songs
  5. Frank Ocean, channel ORANGE
  6. Cody Chesnutt, Landing on a Hundred
  7. ASIAN KUNG-FU GENERATION, Landmark
  8. ZAZEN BOYS, Stories
  9. Tokyo Jihen, Shinyawaku
  10. Duran Duran, A Diamond in the Mind

Other favorites from the year:

  • Scissor Sisters, Magic Hour
  • Roomful of Teeth, Roomful of Teeth
  • Gossip, A Joyful Noise
  • Tokyo Jihen, Tokyo Collection
  • TOUMING MAGAZINE, TOUMING MAGAZINE FOREVER
  • OBLIVION DUST, 9 Gates of Bipolar
  • Gaytheist, Stealth Beats

Cody ChesnuTT dislodges Scissor Sisters from the original list, and Frank Ocean jumps up a few spots. Otherwise, there are no remarkable changes.

If anything, 2012 has turned out to be something of a dud year. When I review my purchases in subsequent years, 2012 releases are scant, and most of the albums I bought that year only garner no more than a 3-star rating.

 

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Concert Edition 2016

[Sturgill Simpson, Paramount Theatre, Nov. 11, 2016]

Sturgill Simpson posted a photo of the crowd at his Seattle show on Nov. 11, 2016. I was standing pretty close to the stage, and sure enough, I spotted myself in the pic. His show capped yet another active year of concerts, which included a trip to Portland and two weeks of modern American symphonic music.

Sō Percussion, Jan. 31, 2016

Like Kronos Quartet before it, Sō Percussion commissions original works that often push technological boundaries as much as musical ones. The first time I saw Sō in Austin, the quartet performed Dan Trueman’s neither Anvil nor Pulley, which required performers to use old game console controllers to manipulate a Bach keyboard piece.

For this concert, Bryce Dessner’s Music for Wood and Strings features the Chordstick, a custom instrument that combines a hammered dulcimer with an electric guitar.

Seattle Symphony, [untitled 2], Feb. 5

The big piece performed at this concert of mid-20th Century New York City composers was Rothko Chapel by Morton Feldman. 2016 would eventually find Seattle Symphony programming four Feldman pieces in various concerts. Crowd reaction, of course, ranged from the usual restlessness to outright departure.

Seattle Symphony, Berio: Sinfonia, Feb. 6

I hadn’t planned on attending this concert till my music theory professor devoted an entire class on the piece. The fact Roomful of Teeth performed with the symphony was another incentive.

Kronos Quartet, Feb. 20

Sorry, the live performance of Beyond Zero: 1914-1918 did not convince me to pick up the DVD, but it’s always nice to hear Franghiz Ali-Zade’s Mugam Sayagi.

Ty Herndon, Feb. 25

It was a sparse crowd at El Corazon, and Herndon played a stripped down set of his hits. He also previewed “If You” and mentioned his new album would be out in May. House of Fire arrived in September, albeit with a larger promotional splash.

Jeremy Denk, March 18

The Goldberg Variations and Ligeti Etudes in a single night. Yeah, it was a good concert.

John Adams, Scheherezade.2, March 19

Oh wow, did Leila Josefowicz bring her A-game. I picked up the Nonesuch recording of this work when it was released because it’s an amazing display of athleticism. I think I like this work more than Adams’ first Violin Concerto.

Stephen Sondheim, Assassins, Feb. 26

As much of a Stephen Sondheim fan that I am, I’ve so far only seen two of his works on stage. Honolulu Community Theatre did Sunday in the Park with George back in the early ’90s. ACT Theatre did Assassins. That’s a show that will test your startle response.

Rhye, Apr. 21

Seattle Theatre Group scheduled Rhye and Courtney Barnett for the same night, and I wanted to see both of them equally. I ended up going to Rhye because Barnett’s show sold out. Despite illness, Milosh sounded awesome.

Santigold, May 14

I couldn’t decide who I wanted to see more — Santigold or the SG1 Dancers. It turned out I loved them both.

Seattle Symphony, Beethoven and Gershwin, June 11

A scheduling conflict prevented me from attending the first [untitled] concert of the season, so I traded the ticket for a program of Beethoven and Gershwin works. The evening started with the Seattle premiere of Anna Clyne’s This Midnight Hour, which the crowd seemed surprised to enjoy.

Seattle Symphony, Tuning Up!, June 17-July 2

After years of attending SXSW, I decided I was going to stay away from Bumbershoot. Then Seattle Symphony announced a two-week summer festival of American modern works, and I couldn’t part with my money fast enough. The clerks at David and Co. thought I was a performer because I was there for every concert. George Perle, Morton Feldman, Philip Glass, Julia Wolfe — I was definitely the target market for this festival.

Matt Alber, June 26

A bout of pneumonia prevented me from seeing Matt Alber in 2014, so his show in June was a nice way to participate in at least one gay pride event this year.

Explosions in the Sky, Sept. 2

I thought it was odd Explosions in the Sky announced a whole bunch of Pacific Northwest dates without including Seattle, so I opted to travel down to Portland and catch them at the wonderful Crystal Ballroom. The day after I bought my ticket, the band announced its Bumbershoot date. Bullet dodged.

Sigur Rós, Sept. 20

The last time Sigur Rós performed in Seattle was in 2012, and the show sold out by the time I could access the Seattle Theatre Group site. This time, I got into the pre-sale. The amazing light show was equal parts Einstein on the Beach and TRON.

Seattle Symphony, Prokofiev and Beethoven, Sept. 24

For this concert, the symphony premiered a piece by Gabriel Prokofiev and included The Love of Three Oranges by his grandfather, Sergei. It had been so long since I listened to Three Oranges that I anticipated Peter and the Wolf instead.

Seattle Symphony, [untitled 1], Oct. 28

I’m not as versed in the works of Witold Lutoslawski, but then who is?

Sturgill Simpson, Nov. 11

Sturgill Simpson doesn’t do encores, and why should he when he plays two hours straight? That show pretty much made me wonder why I’m still going to rock concerts in my mid-40s. How could Simpson have the endurance to do those shows for six months, when just watching him exhausted me?

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