Miles didn’t make Bitches Brew by himself; it was the product of a unique compositional collaboration between the trumpeter and his longtime, essential producer at Columbia Records, Teo Macero (1925-2008), an in-house composer, arranger, and producer for Columbia Records who also shaped and directed essential albums by Thelonious Monk, Charles Mingus, Dave Brubeck, Johnny Mathis, and Tony Bennett as well as a recording of music by Alan Hovhaness plus the soundtrack to The Graduate.
After more than a decade of gorging on ones and zeros, the vinyl resurgence should be great for new music, right? Well, it’s complicated…
Most serious instrumentalists don’t like to sing onstage. They may have sung in chorus or solfege class, and may sing in the shower, but the spotlight is something else. Adding to the stress, stage direction may take the singer/instrumentalist away from his or her music stand, requiring that the instrumental parts be memorized.
If we want our collaborations to be satisfying for everyone involved, we need to come up with ways of working together that explicitly address two related questions: what is each of us willing to do, and what does each of us want to do?
Alsop’s final festival next year will be her 25th, leaving behind a deep legacy. Her successor will have giant shoes to fill, and multiple challenges.
New music musicians are generally left-leaning and pro-labor, yet much of the new music field is non-unionized. Why is that?
Musicians feel intense pressure to excel, but positive psychology offers strategies to help deal with and overcome the obstacles.
If that incendiary Spectator article actually had anything to teach us, it’s that there’s intense interest in female composers!
Composer Carolyn O’Brien calls on her ingenuity and strength to create through, and with, severe depression. Read her on the importance of formal structure, a sense of play, and a great husband.
Two composers sit down and talk about depression, PTSD, and how social media can increase isolation.