Listen, link or download to the May Rail Tracks, the podcast of the Brooklyn Rail music section. Two in-depth discussions on Robert Ashley and the Suoni per il Popolo festival in Montreal, and another great reading from Steve Dalachinsky.
What makes this so important is that Ra was both prolific and obscure, and there are bound to be recordings from the archives that are nowhere to be found via the direct or after-markets. Check the link above for schedule and listen as much as you can, because nothing and no one explains the weird, contradictory, insane and beautiful roots of American popular music like Sunny does. Here’s the essential primer, and I do mean essential, this needs to be in your music library.
UPDATE: The iTunes store has set up a page with a substantial collection of digital releases. (h/t Hank Shteamer)
Over at the Brooklyn Rail, my intrepid assistant editor and I have published the first of what we hope will be roughly monthly podcasts. Each episode will be tied to the contents of a particular issue (ten issues a year), and to go along with our April feature on Allen Lowe, and other content, here’s the April Rail Tracks:
This April is the cruelest month for anyone with seasonal allergies, which are the worst I can remember and so bad that people who have never had allergies, now have allergies! One of the minor inconveniences of the New York City climate moving towards sub-tropical, although having that lilac tree fully in bloom on the corner of Court Street and 2nd Place is a benefit.
I recommend you alleviate your suffering by finding shelter and distraction with these, sorry about all the conflicts, but didn’t the man say life was about making choices? Choose wisely:
April 13: Pianist Thomas Schultz is bring a fascinating program of older and futuristic, and fully pianistic, to Weill Recital Hall at 8pm. He will be playing Beethoven, Schubert, Schumann, Hyo-shin Na and John Cage’s “Two Pieces for Piano” from 1945.
April 14: A run of great looking live music begins at medici.tv, with a concert from Midori. The next day, Valery Gergiev celebrates Russian Easter with a series of four concerts of music by Prokofiev, all streaming live. Subscribe to view new on-demand additions, like Lohengrin and Robert Wilson’s mesmerizing Pelleas et Mélisande.
April 17 – April 21 Live, in front of your eyes or just in your ears at home, World’s Greatest Radio Station™ WKCR has made the wonderful decision to hold a Han Bennink festival. Starting precisely at the start of the 17th and running through the 21st, it will be Han Bennink radio — nothing but the best of a particular and important flavor of modern jazz. Bennink is one of the great drummers, and what makes him so is not just his skill and energy as a musician and his imagination and sensitivity as an improviser and accompanist, but his intelligent and warm sense of humor. He brings a sense of loving irreverence and iconoclasm to everything he does, and that’s something that jazz, often deathly self-serious about itself, sorely needs (and why musicians like Bennink, Rahsaan Roland Kirk and Lester Bowie have made listeners, critics and other musicians so often uncomfortable in the past). The festival should cover music from Eric Dolphy, Dexter Gordon, Peter Brötzman and Sonny Rollins to his great partnerships with the likes of Steve Lacy, Misha Mengleberg and Roswell Rudd. And if you like what you hear, you can see him live for his 70th birthday concert. The details:
April 21, 7:30pm, The Italian Academy of Columbia University, 1161 Amsterdam Avenue. $25 general admission tickets here.
April 18 & 19 The Austrian Cultural Forum has been producing excellent programs of music this year, and up next is composer and singer Agata Zugel. These free (FREE!) concerts feature a premiere of hers along with music by Kurtag, Sciarrino and other ultra-contemporary voices. For a taste of what an exciting performer Zubel is, go here.
April 19 Pianist Jenny Q Chai will be at Zankel Hall, at 7:30pm. Chai is a powerful and lucid player, already distinguished in the music of Debussy and Ligeti, and an important participant in the ongoing and welcome review of Liszt as a proto-Modernist. This recital program is dense with premieres — Marco Stroppa, Injyun Kim, Ashley Fu-Tsun Wang — and contemporary classics from Messiaen and the above composers, with Schumann’s Kreisleriana. Strongly recommended.
April 19 Just as strongly recommended, and upstairs in Carnegie Hall, the American Symphony Orchestra and the Brooklyn Youth Chorus will be celebrating the incomparable music of George Crumb, with performances of Variazioni, Echoes of TIme and the River, and Star-Child. That’s where I’ll be.
April 20 That I am Critic-in-Residence at Galapagos Art space, that I am a critic at all, means that I advocate for things that are worth you time and money. And the Prison Life concert from Ransom Wilson’s Le Train Bleu ensemble and Corey Dargel is something I am advocating for as what may be the single most exciting and stimulating concert program in NYC this year. Dargel is premiering songs from the last words of Texas death row inmates and will be handling the vocals for Fred Rzeski’s “Coming Together” and “Attica,” and the night is fully rounded out with Jacob TV’s “Grab It” and Michael Gordon’s seminal “Yo Shakespeare.” My column at Classical TV next week will be an interview with Dargel and Ransom, but plan ahead for this already.
April 20 Opening at the QUAD Cinema is the film “Downtown Express,” staring violinist Philippe Quint, paired with Nellie McKay. What sets this melodrama apart is how integral music, and the life of a musicians, with all its conflicts and difficulties and joys, is to the story.
Quint wil also be playing music at the Upper West Side Apple Store on April 26, at 7pm.
April 20 Music at First, one of the best performance values in NYC, continues their spring season with a double-bill of Florent Ghys and Face The Music. Ghys makes lyrical, dancing music with double-bass, electronics and looping, and Face The Music is a great new music ensemble of teenagers. They’re off the streets and out of the garages and playing Steve Reich and such. For $10!
April 20 More free music, and more Sciarrino, brought to you by the Talea Ensemble and your tax dollars. At the DiMenna Center, 450 West 37th, 8pm, hear Grisey, Adán and Sciarrino’s great Infinito Nero. FREE!
April 21 The final Early Music concert from Miller Theatre this season is the great group Stile Antico, at the Church of St. Mary the Virgin at 8pm. They will be singing English and Flemish Renaissance polyphony, and if you know what that means you’ll be buying tickets right now, and if you don’t be advised that it is beautiful music that, in these voices, is incredibly vibrant and human. They also have a fine new record out, Tune thy Musicke to thy Heart, a collection of English sacred music that they perform with the string ensemble Fretwork. This is a quietly lovely recording, the music comes in short pieces, with simple, direct expression, more like the songs we are used to hearing than the abstract beauity of liturgical music sung a cappella. A recommended disc for anyone interested in this era and style of music.http://rcm.amazon.com/e/cm?lt1=_blank&bc1=000000&IS2=1&bg1=FFFFFF&fc1=000000&lc1=0000FF&t=thbicibl-20&o=1&p=8&l=as4&m=amazon&f=ifr&ref=ss_til&asins=B00694VO92
April 25 Gil Morgenstern’s Reflections Series balances the head and the heart, the ears and the mind, and concludes this season with Shades of Ravel, which means Maurice, Bill Evans, Tallieferre, and Amy Beach. WMP Concert Hall, 7:30pm.
April 25 – 28 One of the major events of the year, Robert Ashley’s The Old Man Lives in Concrete four straight nights at Roulette. A previous version of this work was staged at LaMama in 2009, but it has now been reworked, and this is something of an antidote in conception, composition and staging to the Ring. Ashley has produced eight major new sections, and two will be performed each night. Self-evidently important, and self-recommending.
April 28 If you have the strength (I will likely not), get to Alice Tully Hall where Bang on a Can is putting on a show for their 25th year, and their strong new release, Big, Beautiful Dark and Scary. Punchy ideas, brilliant colors, bouncing beats, you know what to expect.
You can always sleep all summer …
American Mavericks is in full swing here in New York City. I have some mixed feelings about Monday’s San Francisco Symphony concert — I’m not sure what John Adams was thinking when he made Absolute Jest, and it’s hard to square Jessye Norman’s substantial career with a performance of John Cage’s Song Books — the audiences have come out, and the orchestra continues to impress me as the finest in the country. The precision, blend and weight of their sound in Ameriques was astonishing. The Tuesday program was one of the great events of the year, with Carl Ruggle’s Sun-Treader, Morton Feldman’s Piano and Orchestra and Henry Brant’s orchestration of Ives’ Concord Sonata. From weighty, dissonant Neo-Romanticism to spacious, still, delicate pointillism and the polyphonic riot of Ives, played with such musical expression — there’s no other orchestra that can do this. Top flight groups like this play the classics beautifully, but Tilson Thomas, his imagination, curiosity and his knowledge and understanding of the range of musical concepts means that a program like this not only works, but astonishes. Sun-Treader is a great work, and has been recorded exactly two times, both under this conductor’s baton. This group also made a tremendous recording the of Ives last year, and I have never heard a finer performance of the Feldman piece, with Emmanuel Ax at the keyboard, hauntingly shadowed by Robin Sutherland. When an orchestra can play the quietest sounds with a exactitude of attack and pitch and fullness of sound like this, the silent spaces in between grow broader, deeper, more profound. Rare playing and a truly rare program, all of us in the hall may never hear these pieces again in concert.
San Francisco is one of the pioneers in matching their content (their programming and playing) with digital media (their own record label, the Keeping Score program), and this festival has lots of extras for those who can attend and even for those who can’t. Go to Q2 for archived audio, check out the above documentary or one about MTT’s grandparents, who were leaders in Yiddish theater, and, if you’re patient, wait a few months, because the orchestral concerts are being recorded for release on the SFS Media label, meaning brilliant, beautiful discs of Adams, Ruggles, Cowell and more.