- Torche, Live at Chicago Music Exchange
- Jason Isbell and 400 Unit, Live at Innings Festival – Tempe, AZ, 02/29/2020
- Jason Isbell and 400 Unit, Reunions
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
Seattle Symphony performed this piece as part of its [untitled] series, and I couldn’t stop thinking about it.
I’ve read a number of record guides, and very few of them recommend this album. They are wrong. Confusion Is Sex is probably the closest Sonic Youth has gotten to its modern classical roots, and I like it a lot.
On Facebook, I posted this controversial stance: Duffy > Adele. Maybe I like Rockferry because it’s not piped into every restaurant and waiting room.
I scored when I found a copy of this album with a DVD of the video for “Hurt” at the thrift store. Then I heard the rest of it, and … wow.
This album entered the Favorite Edition list on pretty much the first listen.
I had a copy of this album, but the booklet got water damaged in a refrigerator leak. So I gave it away. Welcome back.
Part of me wishes the cover of the album were homoerotic, but the music on it is great.
I’ve heard of Anderson .Paak but not from Anderson .Paak, so a $2 copy of this album at Goodwill, unopened, seemed like a low-risk way to find out who he is. I’m impressed.
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I’m not usually a sucker for fancy packaging, but the limited edition vinyl reissue looks gorgeous. Also, this album really is MONO’s best.
I’m not sure a recording will capture the surprise when a men’s chorus emerges from the texture of the orchestra — behind you. Perhaps in surround sound?
An album of Brahms, Schumann and Mahler. I’ll pass.
It took a while for me to warm up to the B-52’s rougher early work because my first exposure to the band was the slick and polished Cosmic Thing.
I have three of the band’s four albums, which gives me enough familiarity with their work to look forward this upcoming release.
Oh, so this was an actual new album? When I spotted it on Record Store Day, I assumed it was another one of their oddball projects.
A new live album! Or rather, raiding the archive to capitalize on the reunion.
Oh, man, was I ever glad to catch Midnight Oil live on The Great Circle tour.
Solage’s Blonde to the Endless that was A Seat at the Table. How’s that for a difficult analogy?
I’m surprised this album hadn’t been reissued on vinyl before now. Could we get a repress of Walking Wounded too?
The Jet Set Records vinyl reissues in 2015 were pretty much sold out before they hit the stores, so jump on these pre-orders if you want to hear NUMBER GIRL in glorious analog.