Listening to Charlie Parker’s 1945 recording of “Now’s The Time” changed Sheila Jordan’s life, but hearing her sing “You Are My Sunshine” changed mine.
What if we technologists could be as rigorous about reinventing our creative processes as we are about reinventing software? And what if some of our time-tested best practices could be of use to new music makers, as they pave the way for new explorations of sound and performance?
Whatever Sheila Jordan sings she makes completely her own to the point that the line between composition and interpretation is extremely blurry. Now in her late 80s, Jordan is booked for the rest of the year with performances and masterclasses across the USA, as well in Germany, Austria, Italy, and Japan.
“What are you working on now?” Few—if any—composers are willing to admit when we’re not writing anything. It’s time to acknowledge that in a creative practice, a period of rest can be necessary.
What a jazz singer does with a melody is every bit as compositional as an improvised instrumental solo, and not only when those singers are scat singing. Over the course of the next three weeks, three extraordinary jazz vocalists who come from three very different backgrounds and span three generations—Sheila Jordan, Fay Victor, and Jen Shyu—will tell the story of why they sing, what they sing, and perhaps most importantly, why they sing what they sing.
The possibility for “new music” to find its way into advertising is there, it just needs to be the right sound for the right project.
Los Angeles writer and rocker October Crifasi remembers how the wild gang of Killsonic brought artists into its fold — and then launched them out into the world.
It’s no secret that there’s a student loan crisis in the United States. It’s also no secret that this crisis impacts the music community. With the 2016 elections on the horizon, it’s a good time to speak up about these issues and make sure that they’re on the table for consideration.
Earlier this month, Nouveau Classical Project premiered Vin Calianno’s Sororatorio: a Cuntata, which took as its text the famed, absurdly vulgar 2013 email lashing delivered by a Delta Gamma chapter president. So just how did he end up setting that much anger and profanity to music?
“It’s not your skill level, it’s how much you communicate,” cellist Erik Friedlander advises. “It’s how much you express that the audience really wants to hear. They come to hear you be real.”