One of the more endearingly paradoxical indications of compositional success is that interest gets piqued in music that even the composer had largely forgotten about. Unpublished works, unfinished works, juvenilia—when even that becomes fair game, you know you’ve (posthumously, usually) made it. The latest recordings from Florestan Recital Project pay that tribute to Samuel Barber (1910-1981).
Frank Zappa’s 200 Motels is a glorious mess. In some ways this makes it the perfect thing to put on to celebrate the 10th anniversary of LA’s Walt Disney Hall and its already turbulent history. As for the score itself, it is—how should I put this?—spectacularly over-orchestrated, bordering on near-cacophony with unsettling frequency. I mean this as a good thing.
New York City is Mecca to thousands of aspiring artists, especially jazz musicians. But, to twist a phrase into a Gordian knot, not everyone who makes it there, makes it there. When trumpeter Al Kiger decided life on the road wasn’t for him and resigned from the innovative George Russell Sextet, the jazz scene in Indiana welcomed him and he prospered.
An award-winning traditional performer and educator in her native country of Vietnam, Vo has found a particular freedom in the myriad genres and styles of music that surround her here in America—an influence that has filtered into both her musical ideas and the instruments and techniques she uses to communicate them.