“Come, then, into the music room,” she said, and I followed her into an apartment finished, without hangings, in wood, with a floor of polished wood. I was prepared for new devices in musical instruments, but I saw nothing in the room which by any stretch of imagination could be conceived as such. It was […]
The American Composers Forum in partnership with So Percussion, have announced the finalists in the 2014 American Composers Forum National Composition Contest. Each of the three finalists, who were selected from over 250 applications based in 39 states, will receive a cash prize of $1,000 and be asked to compose an eight- to ten-minute piece for So Percussion.
Yusef Lateef’s art traveled in higher dimensions, transcending medium or style. His telescope of intuition ranged far into deep space, towards new galaxies of thought and musical processes. He was a prototype of the modern renaissance artist. He refused to let any outside force define him or his activities.
Thank baby Jesus for Weirdo Records. And not just for the Monday concert series (called, unsentimentally, “The Series on Mondays”), although the December 16 installment was the occasion for this particular redemption. An unusually paltry three-person audience—Sawyer, Michael Rosenstein (another Boston-area modular synth guru), and an interloper, me—was transformed by the tight quarters into something respectable; the music made its own multitude.
Chicago-based composer Carolyn O’Brien’s path to becoming a composer wasn’t a typical one. She taught in public schools for ten years before she took her first composition lesson at 32, disappointed with the contemporary music repertoire for public school students and imagining she might create music for that medium. She’s now is a doctoral candidate at Northwestern University
This fall, Other Minds released Sarah Cahill’s recording of works that have come out of her A Sweeter Music commissioning project, developed as a response to the Iraq War. Innova released High Art, a collection of pieces that San Francisco-based percussion/electric guitar duo The Living Earth Show has been performing regularly which were written for them by a younger generation of composers than those represented on Cahill’s disc.
Since I loved the way Jim Hall played, I called him to set up a time for a lesson. The thing I loved about him was how relaxed he made me feel. There was no ego there, no “look how great I am.” He gave you just what you needed and that has been his approach to his improvisations: just the right amount of notes, no more no less, played with impeccable style and a tone that leaves you wanting more and more.