2010 was significant for me personally since I officially began working at The Box that year. Included in this post are links to favorite articles, inspiring composer interviews, and assorted tales from that year.
As you may have noticed, our artist interviews are a hugely important part of “The Box.” The variety of musicians and genres represented are why we coined the slogan, “Expect the unexpected!”
The albums featured this week include Glenn Kotche’s Adventureland, Troubadour Blue by Nils Bultmann, and Ryonen by Man Forever with So Percussion. Come have a listen!
This week features three hot off the press releases by Puppet’s Records, Cantaloupe, and New World Records.
“Write what you know” is a commonly heard piece for advice for artists, but composer Joel Puckett has taken to heart a slightly different version of this sentiment, which could be stated, “Write what you live.”
These three recordings have been sitting patiently and quietly in the pile on my desk without flash or fanfare, waiting to be listened to. Two of the discs are from just down the road in Washington, D.C., while another comes from San Francisco, and the music they contain couldn’t be more diverse.
Turning to music for comfort and solace is not a subject that is talked about much—not out loud, at any rate—in our community, even though it is a perfectly natural inclination, and something that many of us engage in regularly.
It is always a pleasure to encounter music that serves as a reminder of some basic creative ideas: that music is a physical thing, connected to the body and to breath; that simplicity is often the most satisfying option; that the present moment and all that it holds is important. All of these notions are present in composer Keeril Makan’s latest release on Mode Records, Afterglow.
For composer Andrew Norman, the process of composing feels like a tug-of-war between opposing forces. From start to finish, he is constantly questioning, and pushing back on his own ideas in his efforts to create meaningful musical experiences for performers and for audiences. He revels in the visceral experiences of music making, and thoughtfully challenges performers to bring their own ideas to the interpretation of his music.
I’m currently a bit obsessed with the upswing in available information related to creativity that has taken place over the past couple of years. Lately I feel as if the swell has become even larger, with a huge inflow of books and websites devoted to the why and how of creative process and creative thinking. I can’t help but wonder, why is all this material coming out now?