- Jason Isbell and 400 Unit, Reunions
- Perfume Genius, Set My Heart on Fire Immediately
- Timo Andres / Jeremy Denk / Brad Mehldau / Randy Newman, I Still Play
- Everything But the Girl, Temperamental
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.
Other favorites of the year:
Tags: anderson.paak, bbmak, cocco, favorite edition, james blake, jamila woods, jeremy denk, john luther adams, kim gordon, michael kiwanuka, number girl, sassyblack, shiina ringo, solange, sturgill simpson, the drums, torche, ty herndon, weezer
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.
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?
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.
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.
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.
My violin teacher (Luke Fitzpatrick) and my music theory T.A. (Daniel Webbon) had pieces on this program.
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.
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.
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.
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.
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.
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.
A reimagning of Schubert and Schumann. ¯\_(ツ)_/¯
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.
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.
I wasn’t going to miss hearing What’s Opera, Doc? performed live. Even the 3-d animated new shorts weren’t too bad.
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.”
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.
I chose to sit in the mezzanine for this show because, yes, Sturgill Simpson.
Tags: alexander string quartet, concert edition, emerson string quartet, jeremy denk, joyce yang, morsel trio, perfume, san francisco symphony, seattle symphony, sleater-kinney, st louis symphony, torche
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.
Sometimes, you just can’t argue with conventional wisdom.
There’s something about beats made around 1993 that I really dig.
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.
It’s amazing how much music can be generated by scores that fit on postcards.
This survey of Western classical music spanning seven centuries is another album vying for a spot on the year-end Favorite Edition list.
“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.
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.
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.
The site will take its usual January break starting next week, so this entry is my last chance to point out some upcoming releases.
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.
Mindy Smith is so far the only country music singer whose voice reminds me of Harriet Wheeler of the Sundays.
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?
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.
Other favorites from the year:
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.
Tags: and you will know us by the trail of dead, asian kung-fu generation, cody chesnutt, duran duran, favorite edition, frank ocean, gaytheist, gossip, jeremy denk, oblivion dust, roomful of teeth, santigold, scissor sisters, solange, tokyo jihen, touming magazine, zazen boys
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.
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.
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.
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.
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.
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.
The Goldberg Variations and Ligeti Etudes in a single night. Yeah, it was a good concert.
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.
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.
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.
I couldn’t decide who I wanted to see more — Santigold or the SG1 Dancers. It turned out I loved them both.
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.
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.
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.
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.
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.
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.
I’m not as versed in the works of Witold Lutoslawski, but then who is?
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?