Rail Tracks, the podcast of the Brooklyn Rail music section, is up for September: we talk about the coming season with Melissa Smey of Miller Theatre, Thomas Crawford, the conductor of the American Classical Orchestra, Limor Tomer at the Metropolitan Museum, and Elliott Sharp stops in to describe his opera on Walter Benjamin’s last moments(…)
Elliott Sharp Aggregat Quintet: as good as last year’s great Aggregat trio album, but more so. The Soviet Experience, Volume 4, Pacifica String Quartet: this finished up their Shostakovich cycle, which has been great, and this set in particular is powerful, one of the best classical releases of the year. Bartók and Kodály: The Complete(…)
That’s right, you too can have Elliott Sharp in your very own home! For the low, low price of $1,000 coin for a private concert! Too much? Then scrape together $10, or anything else you’ve got, so he can record “Proof of Erdös” and complete his (hopefully) upcoming CD From Corlear’s Hook on Starkland records.(…)
There are times when you put a CD into your computer to rip it into iTunes, and it shows up in your library as the genre Unclassifiable. The databases behind iTunes are pop oriented so they’re easily confused by something that might need an artist and a composer in the tables. But there are times(…)
If not early enough for some editors … One of the polls I take part in an annual one for the Spanish site El Intruso, and since it covers a cross-genre range of creative music it’s one of my favorites (and also since it is made up of a pretty tiny pool of critics, my(…)
Once again Rhapsody is going to be hosting the annual poll of jazz critics that Francis Davis has been organizing for the previous six years, and I have voted in it for the third year running (results will be published January). Here’s the ballot I gave him, plus more. The nature of the list is(…)
p>This record has a gleeful, genial madness about it. It’s not the spawn of insanity, it’s the sensation of watching an autodidact demolish conventional wisdom and show the beauty and genius of what can be done by following one’s own path. Sharp’s brilliance as a musician has an obvious force but is unique and therefore(…)
The tinkering under the hood continues (it seems like it will never end, but it will, I promise, I think I’ve solved all my technical issues), and the music continues, so have some Friday links and miscellany: ‘“After tax, that’s like, what, $75,000?” an investment banker at a rival firm said as he contemplated Morgan(…)
The best musical events of the year, from operas, to experimental music of all kinds, and 9/11 commemorations.
There was enough sense of disorganization, real or imagined, so that the music that was in the clubs, on tapes, available at the New Music Distribution Service or the old Lunch For Your Ears, had a surprise to it, the feeling that the cats just happened to turn the corner of Avenue C and hey, what’s going on, we got this gig, you want to play too? … While other musicians with roots in the downtown scene have gone on to build conglomerations based in glibness, increasingly self-referential, gestural and jejune, on Abstraction Distraction, Sharp has done, almost casually, what many others try and do with great effort and never quite succeed at; he’s made a record of truly abstract funk, all by himself, using electronics to support his impressive tenor and soprano sax playing.