Anya M. Wassenberg's Blog: Art & Culture Maven, page 121
November 9, 2014
Choral Evensong with the Riverside Choir feat.Laudes Organi by Zoltán Kodály November 23, 2014 in New York City
From a media release:
CHORAL EVENSONG
with The Riverside Choir
Featured music: Laudes Organi by Zoltán Kodály
November 23, 2014 at 5pm
In the Nave of the Riverside Church
Harlem, New York City
• The concert is free to attend, however free-will offerings benefitting the Riverside Food Pantry will be collected.
• For more information, call 212-870-6722 or email music@theriversidechurchny.org.
NEW YORK CITY - Sacred music and text will fill the soaring halls of The Riverside Church during its Choral Evensong celebration, an evening service of music and song. Laudes Organi by Zoltán Kodály will
be featured by The Riverside Choir on Sunday, November 23, 5:00 p.m. – 6:00 p.m. in the Church’s Nave, 490 Riverside Drive (bet. 120th & 122nd Sts.), Morningside Heights.
In honor of the great traditions of the Riverside Church music program, an evening service of music and word — once a weekly occurrence in the life of the Church’s diverse community of faith — will be shared. The Evensong celebration will have a decidedly “Riverside” flavor, with canticles and spirituals sung by The Riverside Choir and soloists, and evening hymns for all to sing.
ABOUT THE MUSIC
Laudes Organi (subtitled Fantasia on a XIIth Century Sequence for Mixed Chorus and Organ) by Zoltán Kodály was commissioned by the Atlanta Chapter for the 1966 National Convention of the American Guild of Organists. Kodály’s last published work, this piece is a celebration of the organ (its title translates from Latin to “In praise of the organ”) and is based on a fragment of text found in a 12th century manuscript at Switzerland’s Engelberg Abbey. The programmatic setting of the text references both medieval musical styles and Hungarian chromaticism. The work also pays homage to Guido d’Arezzo, the 11th-century Italian monk credited with the invention of modern musical notation.
ABOUT THE COMPOSER
Zoltán Kodály (1882-1967)
Like his countryman and lifelong friend Béla Bartók, Kodály became interested in the folk music of his Hungarian homeland at an early age and traveled to remote villages of Hungary to record songs on phonograph cylinders in his teens and twenties. Kodály began his university education in modern languages at the University of Sciences in Budapest, but later enrolled at the Franz Liszt Academy of Music to pursue studies in composition. After earning his PhD in 1906 with a thesis entitled “The Strophic Structure of Hungarian Folk Songs”, Kodály continued his musical education in Paris under famed composer and organist Charles Widor. Shortly thereafter, Kodály was appointed a professor at the Liszt Academy of Music, a post he kept for most of his life. In addition to his compositional output and contributions to the budding field of ethnomusicology, Kodály authored a set of principles for musical instruction that became known as the “Kodály Method,” much of which is still practiced today. The composer died in Budapest in 1967 and has remained one of the most significant and influential Hungarian artistic figures of the 20th century.
ABOUT THE RIVERSIDE CHOIR
The Riverside Choir is a semi-professional ensemble of fifty singers, a number of whom volunteer their talent and time. Like the church, The Riverside Choir is inter-denominational, interracial, and international. Many choristers are church members and active in other programs. As the Church’s principal choral group, The Riverside Choir is in session from September through June and participates in all Sunday morning and special worship events, as well as in several concert appearances throughout the season.
PROGRAM: CHORAL EVENSONG
LAUDES ORGANI BY ZOLTÁN KODÁLY
MAGNIFICAT & NUNC DIMITTIS BY HERBERT SUMSION
THE RIVERSIDE CHOIR
CHRISTOPHER JOHNSON, CONDUCTOR
CHRISTOPHER CREAGHAN, ORGAN
SUNDAY, NOVEMBER 23, 2014
5:00 P.M. – 6:00 P.M.
THE RIVERSIDE CHURCH, NAVE
Directions: To get to The Riverside Church by subway take the 1 to 116th St. and walk to 490 Riverside Drive (bet. 120th & 122nd Sts.) two blocks west of Broadway.
CHORAL EVENSONG
with The Riverside Choir
Featured music: Laudes Organi by Zoltán Kodály
November 23, 2014 at 5pm
In the Nave of the Riverside Church
Harlem, New York City
• The concert is free to attend, however free-will offerings benefitting the Riverside Food Pantry will be collected.
• For more information, call 212-870-6722 or email music@theriversidechurchny.org.
NEW YORK CITY - Sacred music and text will fill the soaring halls of The Riverside Church during its Choral Evensong celebration, an evening service of music and song. Laudes Organi by Zoltán Kodály will
be featured by The Riverside Choir on Sunday, November 23, 5:00 p.m. – 6:00 p.m. in the Church’s Nave, 490 Riverside Drive (bet. 120th & 122nd Sts.), Morningside Heights.In honor of the great traditions of the Riverside Church music program, an evening service of music and word — once a weekly occurrence in the life of the Church’s diverse community of faith — will be shared. The Evensong celebration will have a decidedly “Riverside” flavor, with canticles and spirituals sung by The Riverside Choir and soloists, and evening hymns for all to sing.
ABOUT THE MUSIC
Laudes Organi (subtitled Fantasia on a XIIth Century Sequence for Mixed Chorus and Organ) by Zoltán Kodály was commissioned by the Atlanta Chapter for the 1966 National Convention of the American Guild of Organists. Kodály’s last published work, this piece is a celebration of the organ (its title translates from Latin to “In praise of the organ”) and is based on a fragment of text found in a 12th century manuscript at Switzerland’s Engelberg Abbey. The programmatic setting of the text references both medieval musical styles and Hungarian chromaticism. The work also pays homage to Guido d’Arezzo, the 11th-century Italian monk credited with the invention of modern musical notation.
ABOUT THE COMPOSERZoltán Kodály (1882-1967)
Like his countryman and lifelong friend Béla Bartók, Kodály became interested in the folk music of his Hungarian homeland at an early age and traveled to remote villages of Hungary to record songs on phonograph cylinders in his teens and twenties. Kodály began his university education in modern languages at the University of Sciences in Budapest, but later enrolled at the Franz Liszt Academy of Music to pursue studies in composition. After earning his PhD in 1906 with a thesis entitled “The Strophic Structure of Hungarian Folk Songs”, Kodály continued his musical education in Paris under famed composer and organist Charles Widor. Shortly thereafter, Kodály was appointed a professor at the Liszt Academy of Music, a post he kept for most of his life. In addition to his compositional output and contributions to the budding field of ethnomusicology, Kodály authored a set of principles for musical instruction that became known as the “Kodály Method,” much of which is still practiced today. The composer died in Budapest in 1967 and has remained one of the most significant and influential Hungarian artistic figures of the 20th century.
ABOUT THE RIVERSIDE CHOIRThe Riverside Choir is a semi-professional ensemble of fifty singers, a number of whom volunteer their talent and time. Like the church, The Riverside Choir is inter-denominational, interracial, and international. Many choristers are church members and active in other programs. As the Church’s principal choral group, The Riverside Choir is in session from September through June and participates in all Sunday morning and special worship events, as well as in several concert appearances throughout the season.
PROGRAM: CHORAL EVENSONGLAUDES ORGANI BY ZOLTÁN KODÁLY
MAGNIFICAT & NUNC DIMITTIS BY HERBERT SUMSION
THE RIVERSIDE CHOIR
CHRISTOPHER JOHNSON, CONDUCTOR
CHRISTOPHER CREAGHAN, ORGAN
SUNDAY, NOVEMBER 23, 2014
5:00 P.M. – 6:00 P.M.
THE RIVERSIDE CHURCH, NAVE
Directions: To get to The Riverside Church by subway take the 1 to 116th St. and walk to 490 Riverside Drive (bet. 120th & 122nd Sts.) two blocks west of Broadway.
Check out the video for Rocky Dawuni's African Thriller
Check out the video for Rocky Dawuni's African Thriller
• Find out more about Rocky
Cumbancha and Entertainment Weekly have partnered to bring Rocky Dawuni's "African Thriller" video to life. The timing of the video launch occurred just a few days after the 40th anniversary of the legendary "Rumble in the Jungle" boxing match between Muhammad Ali and George Foreman, and the video draws inspiration from that momentous event. At a time when news about Africa is dominated by the Ebola crisis, "African Thriller" offers a positive message celebrating African strength, unity and indomitable spirit. Follow this link to view the video on Entertainment Weekly.
• Find out more about Rocky
Cumbancha and Entertainment Weekly have partnered to bring Rocky Dawuni's "African Thriller" video to life. The timing of the video launch occurred just a few days after the 40th anniversary of the legendary "Rumble in the Jungle" boxing match between Muhammad Ali and George Foreman, and the video draws inspiration from that momentous event. At a time when news about Africa is dominated by the Ebola crisis, "African Thriller" offers a positive message celebrating African strength, unity and indomitable spirit. Follow this link to view the video on Entertainment Weekly.
CD Release: Guitarist Alex Skolnick Rallies a Planetary Coalition (ArtistShare - November 11, 2014)
From a media release:
One Small Step, One Global Journey: Guitarist Alex Skolnick Rallies a Planetary Coalition to a Fleet and Nimble Guitar
Planetary Coalition (ArtistShare - November 11, 2014)
• Check out the website
• Buy the album
For Alex Skolnick, the step from metal and jazz guitar guru to world music instigator has proven remarkably small.
Skolnick had toured the world, connecting with fans and fellow musicians from Argentina to Turkey and beyond. Though he had cut his teeth in rock, he had a restless, passionate ear for other guitar settings, from the globally informed virtuosity of John McLaughlin and Shakti, to Django Reinhardt’s jazz manouche. Skolnick loved the sounds of the world’s buzzing, trembling strings, the sounds of the oud and the kanun, the kora and the pipa.
“A seriously cross-cultural acoustic album has long been on my bucket list,” states Skolnick, who forged a new sound for metal as the lead guitarist in Testament, went on to study jazz at the New School, and is often tapped as one of the world’s best players. “I wanted to pay tribute to the many diverse sounds from around the world that I loved.”
Finally, he knew he had to leap in and do it. The result, Planetary Coalition (Artist Share; release: November 11, 2014), honors the world’s music with original pieces and masterful performances. Skolnick gathered a stunning array of performers—from Rodrigo y Gabriela to Kiran Ahluwalia, from Adnan Joubran to Pablo Aslan, Horacio “El Negro” Hernandez and more—exploring the elegance and expressive potential of the culture-hopping guitar.
“Covering so much territory was irresistible,” Skolnick muses about his 14-track labor of love, “and the tunes came together very organically,” each a small window into some of the world’s most compelling musical styles and their respective regions
Though it may be a surprise to some, stealth influences abound among certain rock guitar virtuosos. Eddie Van Halen loved the work of flamenco pioneer Carlos Montoya, and you can hear it in his playing and a few of his tracks (“Spanish fly”). The late Randy Rhoads’ tribute to Cuban classical guitarist Leo Brouwer became an acoustic intro for Ozzy Osbourne (“Diary of a Madman”).
Yet Skolnick, inspired by the above examples, the acoustic work of Al Di Meola and others, took to these tendencies and ran with them. He even went so far as to leave a wildly successful career with one of thrash metal’s seminal bands to change coasts—and study jazz improv (The New School). As he dedicated years to perfecting a whole new set of chops—a whole new way of creating music—he slowly discovered his own fluid place where a technique forged in hard rock met the world’s many other sonic currents.
After graduation, Skolnick honed his sound over the course of several serendipitous runs as a touring sideman including a few global pop acts, such as Jewish folk singer Debbie Friedman, whose international band would also feature, when available, South African bassist Bakhiti Kumalo (of Paul Simon). Then there was Paris-based singer Ishtar, whose music required Skolnick to perform flamenco-influenced acoustic playing in front of large audiences. “For some reason, it just came naturally,” says Skolnick. “We had a few gypsy musicians in the band, and they would say, ‘Man, you can really play that stuff!’ The more I did it, the more comfortable I got.”
This kind of connection haunted him over the years, whether touring with the Alex Skolnick Trio (acclaimed for their jazzy arrangements of rock standards and quirky originals), with the reunited Testament, or as a hired player for various other acts. “Travelling as a musician, I’d hear great international artists in cafes and public squares. Often I’ve been affected by this music and wanted to jump in and play, too. I heard all sorts of ideas. Yet I’ve never had the right vehicle for it.” The commitment and nimbleness of Skolnick’s diverse
playing slowly gave these ideas form, as the graceful sway of “Sleeping Gypsy” and the smoldering yet upbeat “Django Tango” (featuring the bass work of Pablo Aslan) demonstrate.
In 2009, Rodrigo Y Gabriela tapped Skolnick for a guest appearance on their release 11:11 (coincidentally this album’s release date) and a concert tour. Soon after, he was inspired to finally create that elusive vehicle of his own, a collective of musicians from around the world.
First, the guitarist gathered a core group of A-List musicians in New York, top players who run in the eclectic Brooklyn global music scene. These included the intriguing choice of santoor (hammered dulcimer) played by Max ZT, who’d spent years in India as the star pupil of Shivkumar Sharma (santoor maestro and sometime Shakti member); tabla wizard Nitin Mitta - a collaborator of award-winning pianist Vijay Iyer - who’d relocated from India to New York (introduced to Alex by architect Maddy Samaddar, the project’s graphic artist and consultant); and Rachel Golub, a unique violin virtuoso trained in both Western classical and Indian classical styles (also a member of the Orchestra of St. Lukes and frequently seen backing pop stars on SNL and other shows). Next, additional artists were rounded up, many based in the NY Tri-State area, a few halfway across the world.
With the New York team in place, a studio was chosen and plans were made with a few of the musicians outside of the US to record remotely, beginning with Israeli percussionist Gadi Seri (of Noa) on “Negev Desert Sunset.”
Yet the journey toward the album was marked by distinct challenges, beyond the logistical complexities of getting busy, popular musicians in the studio at the right times. Skolnick often had his expectations expanded in unforeseen directions. Rather than the urban tango Skolnick had in mind, the Argentinean folk-rockers Raza Trunka suggested their collaboration should be in a folkloric rhythm (chacarera) reflective of their rural region, with indigenous percussion instruments (the intro for “Salto”). Adnan Joubran of Palestinian oud ensemble Le Trio Joubran gently nudged Skolnick to take out his electric guitar and distortion for the hard-driving “Rock of Ramalah.”
One of the most instructive moments: When Cuban pianist Jennifer Hernandez schooled Skolnick in the rhythmic feel required to play just right on “Mojito.” Without a clave or click track, “I had to guess where the one was. I was off by one subdivision,” Skolnick laughs, until Jennifer and her legendary drummer father, “El Negro” Hernandez, got the beat in his ear.
Though major figures in world music (Kiran Ahluwalia, “Passage to Pranayama,” or the New York Gypsy All-Stars) and guitar playing (Rodrigo y Gabriela, “Playa la ropa”) shine on several tracks, the moments when Skolnick engages with players of the kanun (Turkish zither, “Taksim Square”), the pipa (Chinese lute, “Return of the Yi People”), and kora (West African lyre; “Back to the Land”) reveal how deeply the guitarist has chosen to listen and learn from the world’s music.
And it’s not simply about virtuosic playing. It’s also about increasing awareness of people and places, their interlocking social, environmental, and musical worlds. Highlighting moments of connection and interaction in the music, Skolnick and his fellow coalition members speak to the message inherent in substantive cross-cultural collaboration. By coming together from diverse regional backgrounds over shared passions, musicians show what it means to work together for the common goal of making something meaningful and harmonious.
“That’s something that–in these times of such strife, violence and cultural dissonance–we could all use a lot more of,” believes Skolnick.
Group photo:
Row 1: Alex Skolnick, Kiran Ahluwalia, Rodrigo Sanchez, Yacouba Sissoko, Yihan Chen, Pablo Aslan, Tamer Pinarbasi
Row 2: Raif Hyseni, Gabriela Quintero, Adnan Joubran, Dario Boente, Gadi Seri, Jose Luis Terzaghi
Row 3: Horacio “El Negro” Hernandez, Moto Fukushima, Nitin Mitta, Rachel Golub, Jose Armando Gola, Vasko Dukovski, Juan Casanovas
Row 4: Jennifer Hernandez, Max ZT, Shane Shanahan, Luke Notary, Panagiotis Andreou,Engin Kaan Gunaydin, Fausto Nascimbene.
One Small Step, One Global Journey: Guitarist Alex Skolnick Rallies a Planetary Coalition to a Fleet and Nimble Guitar
Planetary Coalition (ArtistShare - November 11, 2014)
• Check out the website
• Buy the album
For Alex Skolnick, the step from metal and jazz guitar guru to world music instigator has proven remarkably small.
Skolnick had toured the world, connecting with fans and fellow musicians from Argentina to Turkey and beyond. Though he had cut his teeth in rock, he had a restless, passionate ear for other guitar settings, from the globally informed virtuosity of John McLaughlin and Shakti, to Django Reinhardt’s jazz manouche. Skolnick loved the sounds of the world’s buzzing, trembling strings, the sounds of the oud and the kanun, the kora and the pipa.“A seriously cross-cultural acoustic album has long been on my bucket list,” states Skolnick, who forged a new sound for metal as the lead guitarist in Testament, went on to study jazz at the New School, and is often tapped as one of the world’s best players. “I wanted to pay tribute to the many diverse sounds from around the world that I loved.”
Finally, he knew he had to leap in and do it. The result, Planetary Coalition (Artist Share; release: November 11, 2014), honors the world’s music with original pieces and masterful performances. Skolnick gathered a stunning array of performers—from Rodrigo y Gabriela to Kiran Ahluwalia, from Adnan Joubran to Pablo Aslan, Horacio “El Negro” Hernandez and more—exploring the elegance and expressive potential of the culture-hopping guitar.
“Covering so much territory was irresistible,” Skolnick muses about his 14-track labor of love, “and the tunes came together very organically,” each a small window into some of the world’s most compelling musical styles and their respective regions
Though it may be a surprise to some, stealth influences abound among certain rock guitar virtuosos. Eddie Van Halen loved the work of flamenco pioneer Carlos Montoya, and you can hear it in his playing and a few of his tracks (“Spanish fly”). The late Randy Rhoads’ tribute to Cuban classical guitarist Leo Brouwer became an acoustic intro for Ozzy Osbourne (“Diary of a Madman”).Yet Skolnick, inspired by the above examples, the acoustic work of Al Di Meola and others, took to these tendencies and ran with them. He even went so far as to leave a wildly successful career with one of thrash metal’s seminal bands to change coasts—and study jazz improv (The New School). As he dedicated years to perfecting a whole new set of chops—a whole new way of creating music—he slowly discovered his own fluid place where a technique forged in hard rock met the world’s many other sonic currents.
After graduation, Skolnick honed his sound over the course of several serendipitous runs as a touring sideman including a few global pop acts, such as Jewish folk singer Debbie Friedman, whose international band would also feature, when available, South African bassist Bakhiti Kumalo (of Paul Simon). Then there was Paris-based singer Ishtar, whose music required Skolnick to perform flamenco-influenced acoustic playing in front of large audiences. “For some reason, it just came naturally,” says Skolnick. “We had a few gypsy musicians in the band, and they would say, ‘Man, you can really play that stuff!’ The more I did it, the more comfortable I got.”
This kind of connection haunted him over the years, whether touring with the Alex Skolnick Trio (acclaimed for their jazzy arrangements of rock standards and quirky originals), with the reunited Testament, or as a hired player for various other acts. “Travelling as a musician, I’d hear great international artists in cafes and public squares. Often I’ve been affected by this music and wanted to jump in and play, too. I heard all sorts of ideas. Yet I’ve never had the right vehicle for it.” The commitment and nimbleness of Skolnick’s diverse
playing slowly gave these ideas form, as the graceful sway of “Sleeping Gypsy” and the smoldering yet upbeat “Django Tango” (featuring the bass work of Pablo Aslan) demonstrate.In 2009, Rodrigo Y Gabriela tapped Skolnick for a guest appearance on their release 11:11 (coincidentally this album’s release date) and a concert tour. Soon after, he was inspired to finally create that elusive vehicle of his own, a collective of musicians from around the world.
First, the guitarist gathered a core group of A-List musicians in New York, top players who run in the eclectic Brooklyn global music scene. These included the intriguing choice of santoor (hammered dulcimer) played by Max ZT, who’d spent years in India as the star pupil of Shivkumar Sharma (santoor maestro and sometime Shakti member); tabla wizard Nitin Mitta - a collaborator of award-winning pianist Vijay Iyer - who’d relocated from India to New York (introduced to Alex by architect Maddy Samaddar, the project’s graphic artist and consultant); and Rachel Golub, a unique violin virtuoso trained in both Western classical and Indian classical styles (also a member of the Orchestra of St. Lukes and frequently seen backing pop stars on SNL and other shows). Next, additional artists were rounded up, many based in the NY Tri-State area, a few halfway across the world.
With the New York team in place, a studio was chosen and plans were made with a few of the musicians outside of the US to record remotely, beginning with Israeli percussionist Gadi Seri (of Noa) on “Negev Desert Sunset.”
Yet the journey toward the album was marked by distinct challenges, beyond the logistical complexities of getting busy, popular musicians in the studio at the right times. Skolnick often had his expectations expanded in unforeseen directions. Rather than the urban tango Skolnick had in mind, the Argentinean folk-rockers Raza Trunka suggested their collaboration should be in a folkloric rhythm (chacarera) reflective of their rural region, with indigenous percussion instruments (the intro for “Salto”). Adnan Joubran of Palestinian oud ensemble Le Trio Joubran gently nudged Skolnick to take out his electric guitar and distortion for the hard-driving “Rock of Ramalah.”
One of the most instructive moments: When Cuban pianist Jennifer Hernandez schooled Skolnick in the rhythmic feel required to play just right on “Mojito.” Without a clave or click track, “I had to guess where the one was. I was off by one subdivision,” Skolnick laughs, until Jennifer and her legendary drummer father, “El Negro” Hernandez, got the beat in his ear.
Though major figures in world music (Kiran Ahluwalia, “Passage to Pranayama,” or the New York Gypsy All-Stars) and guitar playing (Rodrigo y Gabriela, “Playa la ropa”) shine on several tracks, the moments when Skolnick engages with players of the kanun (Turkish zither, “Taksim Square”), the pipa (Chinese lute, “Return of the Yi People”), and kora (West African lyre; “Back to the Land”) reveal how deeply the guitarist has chosen to listen and learn from the world’s music.And it’s not simply about virtuosic playing. It’s also about increasing awareness of people and places, their interlocking social, environmental, and musical worlds. Highlighting moments of connection and interaction in the music, Skolnick and his fellow coalition members speak to the message inherent in substantive cross-cultural collaboration. By coming together from diverse regional backgrounds over shared passions, musicians show what it means to work together for the common goal of making something meaningful and harmonious.
“That’s something that–in these times of such strife, violence and cultural dissonance–we could all use a lot more of,” believes Skolnick.
Group photo:
Row 1: Alex Skolnick, Kiran Ahluwalia, Rodrigo Sanchez, Yacouba Sissoko, Yihan Chen, Pablo Aslan, Tamer Pinarbasi
Row 2: Raif Hyseni, Gabriela Quintero, Adnan Joubran, Dario Boente, Gadi Seri, Jose Luis Terzaghi
Row 3: Horacio “El Negro” Hernandez, Moto Fukushima, Nitin Mitta, Rachel Golub, Jose Armando Gola, Vasko Dukovski, Juan Casanovas
Row 4: Jennifer Hernandez, Max ZT, Shane Shanahan, Luke Notary, Panagiotis Andreou,Engin Kaan Gunaydin, Fausto Nascimbene.
CD Review Paul Maged - Diamonds & Demons (Independent - September 23, 2014)
CD Review
Paul Maged - Diamonds & Demons
Independent - September 23, 2014
• Buy the CD
If you're looking for intelligent alt rock with a tough edge, then Diamonds & Demons, the sophomore release by New York City based Paul Maged is probably your cup of tea.
Produced by multi-platinum producer Sean Gill, this release follows in the tradition of straight ahead rock from NYC and features high level musicianship in a variety of styles from punk, grunge, classic rock, indie pop to ballads. Maged studied music at the Boston Conservatory and then attended the American Musical & Dramatic Academy in New York. He has appeared in several independent films including festival award winner “Bobby G. Can’t Swim,” and has performed stand-up comedy throughout the Tri-state. One of the songs from his debut record, "In My Time" appeared multiple times on MTV's long running show “Think Again Sex Myths Revealed.”
His second release offers a combination of radio friendly tracks and more idiosyncratic, oddball songs like Images, a meditation on society with a nice rhythmic complexity. His lyrics that talk about peace, haters, politicians and negative energy, freedom - a clearly contemporary sensibility, complete with nimble rock guitar licks and crashing cymbals.
Diamonds & Demons starts with a roar on Look At Me with tight harmonies and a catchy chorus. Paul has a voice that growls more easily than it croons but he does manage a nice, wavering soulful tone when it's required and also a strident tone for the politics and philosophy.
The title song is a favourite of mine with its kinetic energy and his voice at its raspy best. In the opening of Blind Faith he takes a piano-driven detour into a ballad that suits his plaintive tenor. Annastasia is a pretty acoustic guitar ballad, more standard singer/songwriter territory than most of the other tracks. Here his voice is expressive, backed up by string sounds in a slow country/folk vibe. From there the album goes straight into Human Warfare, a hard metalesque track with a nice harmony in the chorus that contrasts the snarly vocals.
Though he lists his influences primarily from the grunge/indie scene - Pearl Jam, R.E.M., Green Day - you can hear the Billy Joel in his vocals on occasion (notably Love & Loss in the Western World) and even flashes of prog rock here and there in the harmonic changes
He veers towards upbeat country rock on My Dear Love, a song that begins with an acoustic verse. Paradise Island is another stand out track with its upbeat energy. The appropriately titled Somber Song is a pretty piano ballad, an ode to loss. Paul goes through many moods and a range of styles through the tracks, from the definitely Billy Joel inspired piano track 64th and 1st to the stripped back punk attitude of Not Complicated. He can pull off the relentless energy of punk on other tracks like I'm Gone.
Along the great lawn in Central Park
What a beautiful day to forget who you are
Look into the sun for a fast resolve
That'll clear the spirit of its hazy thought
But it's the sound of punk without the nihilism - a more contemporary approach that's philosophical more than destructive. What is Peace is a choir-like exit refrain that seems a fitting closure to the New Age flavoured smorgasbord.
The first single released from the album called “Look At Me” has quickly found success, earning non-exclusive licensing on a UK television show that debuts in Winter 2014. Look At Me is a sarcastic view of ego and elitism in today’s ME society, encased in a punk rock/grunge skeleton.
Words & Music By Paul Maged
Electric, Acoustic, Bass Guitar: Ari Friedman; Drums: Marc Hoffman; Piano, Keyboard, Vocals: Paul Maged; Accordion (Annastasia): Sean Gill; Trumpet (Paradise Island): Ari Friedman
Paul Maged - Diamonds & Demons
Independent - September 23, 2014
• Buy the CD
If you're looking for intelligent alt rock with a tough edge, then Diamonds & Demons, the sophomore release by New York City based Paul Maged is probably your cup of tea.
Produced by multi-platinum producer Sean Gill, this release follows in the tradition of straight ahead rock from NYC and features high level musicianship in a variety of styles from punk, grunge, classic rock, indie pop to ballads. Maged studied music at the Boston Conservatory and then attended the American Musical & Dramatic Academy in New York. He has appeared in several independent films including festival award winner “Bobby G. Can’t Swim,” and has performed stand-up comedy throughout the Tri-state. One of the songs from his debut record, "In My Time" appeared multiple times on MTV's long running show “Think Again Sex Myths Revealed.”His second release offers a combination of radio friendly tracks and more idiosyncratic, oddball songs like Images, a meditation on society with a nice rhythmic complexity. His lyrics that talk about peace, haters, politicians and negative energy, freedom - a clearly contemporary sensibility, complete with nimble rock guitar licks and crashing cymbals.
Diamonds & Demons starts with a roar on Look At Me with tight harmonies and a catchy chorus. Paul has a voice that growls more easily than it croons but he does manage a nice, wavering soulful tone when it's required and also a strident tone for the politics and philosophy.
The title song is a favourite of mine with its kinetic energy and his voice at its raspy best. In the opening of Blind Faith he takes a piano-driven detour into a ballad that suits his plaintive tenor. Annastasia is a pretty acoustic guitar ballad, more standard singer/songwriter territory than most of the other tracks. Here his voice is expressive, backed up by string sounds in a slow country/folk vibe. From there the album goes straight into Human Warfare, a hard metalesque track with a nice harmony in the chorus that contrasts the snarly vocals.Though he lists his influences primarily from the grunge/indie scene - Pearl Jam, R.E.M., Green Day - you can hear the Billy Joel in his vocals on occasion (notably Love & Loss in the Western World) and even flashes of prog rock here and there in the harmonic changes
He veers towards upbeat country rock on My Dear Love, a song that begins with an acoustic verse. Paradise Island is another stand out track with its upbeat energy. The appropriately titled Somber Song is a pretty piano ballad, an ode to loss. Paul goes through many moods and a range of styles through the tracks, from the definitely Billy Joel inspired piano track 64th and 1st to the stripped back punk attitude of Not Complicated. He can pull off the relentless energy of punk on other tracks like I'm Gone.
Along the great lawn in Central ParkWhat a beautiful day to forget who you are
Look into the sun for a fast resolve
That'll clear the spirit of its hazy thought
But it's the sound of punk without the nihilism - a more contemporary approach that's philosophical more than destructive. What is Peace is a choir-like exit refrain that seems a fitting closure to the New Age flavoured smorgasbord.
The first single released from the album called “Look At Me” has quickly found success, earning non-exclusive licensing on a UK television show that debuts in Winter 2014. Look At Me is a sarcastic view of ego and elitism in today’s ME society, encased in a punk rock/grunge skeleton.
Words & Music By Paul Maged
Electric, Acoustic, Bass Guitar: Ari Friedman; Drums: Marc Hoffman; Piano, Keyboard, Vocals: Paul Maged; Accordion (Annastasia): Sean Gill; Trumpet (Paradise Island): Ari Friedman
CD Review: Cold Blue Water (Independent - September 27, 2014)
CD Review:
Cold Blue Water
Independent - September 27, 2014
• Check it out/download here and here
If you like your rock bluesy and authentic, old school, vintage or all of the above, then Cold Blue Water's eponymous release will be a real treat. This is vintage rock blues at its best- with a genuine groove and performed by vets who - you can tell - live the music. They're the kind of musicians who make those endless
solos worth listening to.
Cold Blue Water is the brainchild of guitarist/singer/songwriter Andy BS and based in Eureka, Cali. They first performed at Mateel Summer Arts and Music Festival in Benbow, CA in 2013 and it turned into an ongoing collaboration with Doors drummer Ty Dennis and Bassist Steve Carvalho, opening for Everyone Orchestra featuring Steve Kimock, Dan Lebowitz, Sunshine Garcia.
When it came time to record in late 2013, the line-up featured Drummer TY Dennis, bassist Brad Cummings, and Hammond B3 legend Mike Finnigan (Hendrix, CSN, Bonnie Raitt). Other special guests include Duane Betts and Pedro Arevalo (Dickey Betts and Great southern) as well as some of Northern California's best rock and blues musicians.
Blue Rain is an instrumental track that builds and builds, only to veer off into another direction.
Naturally the music will appeal to fans of old school 1970's blues rock - not surprisingly, since many of the musicians seem to have been around that long. Andy BS even plays vintage guitars for that genuine sound. Fans of good musicianship might just agree with the assessment. In just five tracks, they manage to run a gamut from straight up blues to rock to modern jazz.
In So High...
My baby left me , early this morn'
she walked out that door, left me all alone
I been drinking all day, and smokin' every night
Now i'm So high , So High that im Low
The gist of the words and the 12-bar blues patterns are familiar but when they're done this well it all sounds fresh - especially uncredited vocals that really smoke on this track and Brian Swislow who makes that B3 bend the notes.
Catfish Blooz is a great track - all sexy B3 and slowed down groove with the perfect blues vocals, growling and strident by turns. Led Boots rocks out with a horn section - another instrumental track that navigates through an interesting chord progression.
Da Doodle has a real groove to it - more jazzy than strictly blues. It's a contemporary jazz track with a flying trumpet line that trades the lead with the Hammond.
All in all, good for a party or just for a good listen.
Members: Andy Bs - Guitar, vocals Ty Dennis - drums, Brad Cummings - Bass, Brian Swislow Keyboards and Hammond organ, Don Hammerstedt - trumpet, Russ Thallheimer - Sax
Track Listing:
01- Catfish Blooz
02 - Da Doodle
03 - So High
04 - Led Boots
05 - Blue Rain
Cold Blue Water
Independent - September 27, 2014
• Check it out/download here and here
If you like your rock bluesy and authentic, old school, vintage or all of the above, then Cold Blue Water's eponymous release will be a real treat. This is vintage rock blues at its best- with a genuine groove and performed by vets who - you can tell - live the music. They're the kind of musicians who make those endless
solos worth listening to.Cold Blue Water is the brainchild of guitarist/singer/songwriter Andy BS and based in Eureka, Cali. They first performed at Mateel Summer Arts and Music Festival in Benbow, CA in 2013 and it turned into an ongoing collaboration with Doors drummer Ty Dennis and Bassist Steve Carvalho, opening for Everyone Orchestra featuring Steve Kimock, Dan Lebowitz, Sunshine Garcia.
When it came time to record in late 2013, the line-up featured Drummer TY Dennis, bassist Brad Cummings, and Hammond B3 legend Mike Finnigan (Hendrix, CSN, Bonnie Raitt). Other special guests include Duane Betts and Pedro Arevalo (Dickey Betts and Great southern) as well as some of Northern California's best rock and blues musicians.
Blue Rain is an instrumental track that builds and builds, only to veer off into another direction.
Naturally the music will appeal to fans of old school 1970's blues rock - not surprisingly, since many of the musicians seem to have been around that long. Andy BS even plays vintage guitars for that genuine sound. Fans of good musicianship might just agree with the assessment. In just five tracks, they manage to run a gamut from straight up blues to rock to modern jazz.
In So High...My baby left me , early this morn'
she walked out that door, left me all alone
I been drinking all day, and smokin' every night
Now i'm So high , So High that im Low
The gist of the words and the 12-bar blues patterns are familiar but when they're done this well it all sounds fresh - especially uncredited vocals that really smoke on this track and Brian Swislow who makes that B3 bend the notes.
Catfish Blooz is a great track - all sexy B3 and slowed down groove with the perfect blues vocals, growling and strident by turns. Led Boots rocks out with a horn section - another instrumental track that navigates through an interesting chord progression.
Da Doodle has a real groove to it - more jazzy than strictly blues. It's a contemporary jazz track with a flying trumpet line that trades the lead with the Hammond.
All in all, good for a party or just for a good listen.
Members: Andy Bs - Guitar, vocals Ty Dennis - drums, Brad Cummings - Bass, Brian Swislow Keyboards and Hammond organ, Don Hammerstedt - trumpet, Russ Thallheimer - SaxTrack Listing:
01- Catfish Blooz
02 - Da Doodle
03 - So High
04 - Led Boots
05 - Blue Rain
November 5, 2014
Contemporary Shakespeare: The Tragedy of Macbeth December 6 to 20 2014 in Toronto
From a release:
The Tragedy of Macbeth
December 6 - December 20 - 8:00pm
The Theatre Machine
376 Dufferin Street, Toronto
• ONLINE TICKETS
• A limited number of audience members will be part of the show by selecting the $15 INTERACTIVE SEATS
A limited amount of interactive seats are up for grabs. What does this entail? You will need to arrive at the theatre no later than 7.45pm, you will be given something to wear over your clothes and will be ushered in before everyone else. These tickets gets you right in on the action; be prepared to drink, eat and interact with certain characters.
TORONTO - Sterling Theatre Company proudly presents their first show of the 2014/15 season, now housed at The Theatre Machine: 376 Dufferin St (formerly Unit 102), William Shakespeare’s MACBETH from December 6 – 20, 2014.
When THE TRAGEDY OF MACBETH meets Stanley Kubrick's EYES WIDE SHUT you get the inaugural show of the season directed by Sterling’s Founding Artistic Director Sophie Ann Rooney Burn This, The Glory of Living, Danny and the Deep Blue Sea. This ‘new world where secret societies reign’ production of MACBETH, stage managed by Tamara Vuckovic, is sure to be atmospheric, contemporary and daring, with renowned Canadian Talents;
TV/Film/Stage veteran William MacDonald - Zadie’s Shoes Factory Theatre, Taming of the Shrew Jessie Nomination and most recently in Atom Egoyan’s The Captive, Rookie Blue, Bomb Girls, XFiles, Cold Squad - will be MACBETH
TV sensation Oluniké Adeliyi currently recurring as Tammy Jenkins on Saving Hope, notably known for her portrayal of Leah Kerns in Flashpoint and Hayley Denief in Republic of Doyle will be LADY MACBETH
Theatre darling Tim Walker most recently voted Best of Fringe PUNCH UP by Theatre Brouhaha’s Kat Sandler will be MACDUFF
State of Syn’s Jimi Shlag will be BANQUO, Jesse Nerenberg fresh off the Banff Citadel Professional Program will be MALCOLM, indie theatre guru Scott McCulloch Time Stands Still will be DUNCAN, Artistic Director Danka Scepanovic Red Bill, Anton in Showbusiness will be ROSS, in her sterling debut Suzannah Moore will be LENNOX, Sailor’s Song siren Jessica Kennedy will be ANGUS, Chris Hapke Reign will be DONALBAIN, in her Toronto debut Leia Warren will be FLEANCE and Sterling’s Melissa Robertson Natalie in Where’s My Money? will be LADY MACDUFF.
MACBETH runs from Saturday, December 6 – Saturday, December 20, 2014 (Sundays and Mondays dark) - 8pm shows
$20 evening performance - $15 interactive ticket
$15 student fee (with student ID) on Tuesday, December 16, 20141014
MACBETH William MacDonald
LADY MACBETH Oluniké Adeliyi
MACDUFF Tim Fitzgerald Walker
BANQUO Jimi Shlag
FLEANCE Leia Warren, MALCOLM Jesse Nerenberg, DUNCAN Scott McCulloch, DONALBAIN Chris Hapke, ROSS Danka Scepanovic, LENNOX Suzannah Moore, ANGUS Jessica Kennedy, LADY MACDUFF Melissa Robertson
Directed by Sophie Ann Rooney
Stage Managed by Tamara Vuckovic, Hecate song by Oliver Pigott, Photos by Joe Marques, Media by Ashleigh Rains, Art by Alana Pancyr, Apparitions by Phoebe & Regan RooneyMatthews
Sterling Artistic Directors Sophie Ann Rooney, Kyle Labine, Danka Scepanovic
Photos by Joe Marques Insta @thejoeiknow
The Tragedy of Macbeth
December 6 - December 20 - 8:00pm
The Theatre Machine
376 Dufferin Street, Toronto
• ONLINE TICKETS
• A limited number of audience members will be part of the show by selecting the $15 INTERACTIVE SEATS
A limited amount of interactive seats are up for grabs. What does this entail? You will need to arrive at the theatre no later than 7.45pm, you will be given something to wear over your clothes and will be ushered in before everyone else. These tickets gets you right in on the action; be prepared to drink, eat and interact with certain characters.
TORONTO - Sterling Theatre Company proudly presents their first show of the 2014/15 season, now housed at The Theatre Machine: 376 Dufferin St (formerly Unit 102), William Shakespeare’s MACBETH from December 6 – 20, 2014.
When THE TRAGEDY OF MACBETH meets Stanley Kubrick's EYES WIDE SHUT you get the inaugural show of the season directed by Sterling’s Founding Artistic Director Sophie Ann Rooney Burn This, The Glory of Living, Danny and the Deep Blue Sea. This ‘new world where secret societies reign’ production of MACBETH, stage managed by Tamara Vuckovic, is sure to be atmospheric, contemporary and daring, with renowned Canadian Talents;TV/Film/Stage veteran William MacDonald - Zadie’s Shoes Factory Theatre, Taming of the Shrew Jessie Nomination and most recently in Atom Egoyan’s The Captive, Rookie Blue, Bomb Girls, XFiles, Cold Squad - will be MACBETH
TV sensation Oluniké Adeliyi currently recurring as Tammy Jenkins on Saving Hope, notably known for her portrayal of Leah Kerns in Flashpoint and Hayley Denief in Republic of Doyle will be LADY MACBETH
Theatre darling Tim Walker most recently voted Best of Fringe PUNCH UP by Theatre Brouhaha’s Kat Sandler will be MACDUFF
State of Syn’s Jimi Shlag will be BANQUO, Jesse Nerenberg fresh off the Banff Citadel Professional Program will be MALCOLM, indie theatre guru Scott McCulloch Time Stands Still will be DUNCAN, Artistic Director Danka Scepanovic Red Bill, Anton in Showbusiness will be ROSS, in her sterling debut Suzannah Moore will be LENNOX, Sailor’s Song siren Jessica Kennedy will be ANGUS, Chris Hapke Reign will be DONALBAIN, in her Toronto debut Leia Warren will be FLEANCE and Sterling’s Melissa Robertson Natalie in Where’s My Money? will be LADY MACDUFF.
MACBETH runs from Saturday, December 6 – Saturday, December 20, 2014 (Sundays and Mondays dark) - 8pm shows$20 evening performance - $15 interactive ticket
$15 student fee (with student ID) on Tuesday, December 16, 20141014
MACBETH William MacDonald
LADY MACBETH Oluniké Adeliyi
MACDUFF Tim Fitzgerald Walker
BANQUO Jimi Shlag
FLEANCE Leia Warren, MALCOLM Jesse Nerenberg, DUNCAN Scott McCulloch, DONALBAIN Chris Hapke, ROSS Danka Scepanovic, LENNOX Suzannah Moore, ANGUS Jessica Kennedy, LADY MACDUFF Melissa Robertson
Directed by Sophie Ann Rooney
Stage Managed by Tamara Vuckovic, Hecate song by Oliver Pigott, Photos by Joe Marques, Media by Ashleigh Rains, Art by Alana Pancyr, Apparitions by Phoebe & Regan RooneyMatthews
Sterling Artistic Directors Sophie Ann Rooney, Kyle Labine, Danka Scepanovic
Photos by Joe Marques Insta @thejoeiknow
Soundstreams presents VESPERS November 25, 2014 at 8:00 pm, Trinity-St. Paul’s Centre Toronto
From a media release:
Soundstreams presents
VESPERS
November 25, 2014 at 8:00 pm, Trinity-St. Paul’s Centre
Monteverdi’s Vespers is paired with Gilles Tremblay’s version in this transcendent evening of choral music featuring soprano Shannon Mercer
Toronto, ON – Soundstreams continues its 2014/2015 season withVespers at Trinity-St. Paul’s Centre on November 25 at 8:00 pm. Ancient meets modern in this glorious back-to-back celebration of universal spirituality juxtaposing selections from Claudio Monteverdi’s Renaissance masterpiece Vespro della Beata
Vergine with Canadian composer Gilles Tremblay’s recent Les Vêpres de la Vierge. Soprano Shannon Mercer joins Choir 21 and two chamber orchestras (one made up of period instruments, the other contemporary) conducted by the Toronto Consort’s David Fallis.
Nearly four centuries separate Monteverdi’s monumental Vespro della Beata Vergine from Tremblay’s Les Vêpres de la Vierge, commissioned to celebrate the 850th anniversary of France’s Notre Dame de Sylvanès Abbey in 1986. Yet despite the striking differences in period and instrumentation, these two magnificent choral works—both taking their titles and texts from Vespers, the Catholic Church’s sunset prayer service—express the same profound spirituality and reimagine ancient styles in their own ground-breaking ways.
Famed as one of the most significant collections of sacred music ever written, Claudio Monteverdi’s Vespro della Beata Vergine is known for its thrilling rhythms, grand choruses and beautiful solo movements. Recognized as a musical innovator, Monteverdi embraced revolutionary techniques and brought new developments in secular music to church forms. Similarly, Montreal-based composer Gilles Tremblay was exhilarated by the affinities he noticed between ancient and modern styles, declaring his intent with his
Vespers to “quote and refresh, uncovering striking common features each nourishing the other.” Both pieces are performed by Toronto’s Choir 21, with Shannon Mercer joining for the conclusion of Tremblay’s work.
Two chamber orchestras put together for the occasion (one made up of period instruments, the other contemporary) are conducted by frequent Soundstreams collaborator, David Fallis (Artistic Director, Toronto Consort; Music Director, Opera Atelier), one of Canada’s leading interpreters of operatic, choral and orchestral repertoire from the Renaissance, Baroque, and Classical periods.
Soundstreams’ free Salon 21 at the Gardiner Museum on November 21 at 7:00 pm features members of The Toronto Consort performing on ancient instruments in contemporary and experimental ways. Get Tickets
Vespers
Tuesday, November 25, 2014 at 8:00 pm
Trinity-St. Paul’s Centre, 427 Bloor Street W.
Pre-concert chat at 7:00 pm
David Fallis, conductor
Shannon Mercer, soprano
Choir 21
Period Chamber Orchestra
Contemporary Chamber Orchestra
Gilles Tremblay: Les Vêpres de la Vierge / Claudio Monteverdi: selections from Vespro della Beata Vergine
Tickets range from $20-$67.50 and are available through The Royal Conservatory Box Office at 416-408-0208 or online at soundstreams.ca.
Thanks to the generosity of BMO Financial Group, nearly 100 tickets to all 2014/2015 Soundstreams concerts are available for just $20.
This concert will also be streamed live at soundstreams.ca.
ABOUT SOUNDSTREAMS
Led by Artistic Director Lawrence Cherney and Executive Director Susan Worthington, Soundstreams is a Toronto-based music presenter that commissions, develops, and showcases the work of contemporary Canadian composers and their international counterparts. These innovative collaborations are performed by the finest artists from Canada and around the world, and are presented in an annual concert series, our monthly Salon 21 series at The Gardiner Museum, in national and international tours, and through a variety of education and outreach activities.
soundstreams.ca / soundmakers.ca / Join our online communities on Facebook and on Twitter @soundstreams
A taste of Shannon Mercer singing Francesca Caccini's O chiome belle
Soundstreams presents
VESPERS
November 25, 2014 at 8:00 pm, Trinity-St. Paul’s Centre
Monteverdi’s Vespers is paired with Gilles Tremblay’s version in this transcendent evening of choral music featuring soprano Shannon Mercer
Toronto, ON – Soundstreams continues its 2014/2015 season withVespers at Trinity-St. Paul’s Centre on November 25 at 8:00 pm. Ancient meets modern in this glorious back-to-back celebration of universal spirituality juxtaposing selections from Claudio Monteverdi’s Renaissance masterpiece Vespro della Beata
Vergine with Canadian composer Gilles Tremblay’s recent Les Vêpres de la Vierge. Soprano Shannon Mercer joins Choir 21 and two chamber orchestras (one made up of period instruments, the other contemporary) conducted by the Toronto Consort’s David Fallis.Nearly four centuries separate Monteverdi’s monumental Vespro della Beata Vergine from Tremblay’s Les Vêpres de la Vierge, commissioned to celebrate the 850th anniversary of France’s Notre Dame de Sylvanès Abbey in 1986. Yet despite the striking differences in period and instrumentation, these two magnificent choral works—both taking their titles and texts from Vespers, the Catholic Church’s sunset prayer service—express the same profound spirituality and reimagine ancient styles in their own ground-breaking ways.
Famed as one of the most significant collections of sacred music ever written, Claudio Monteverdi’s Vespro della Beata Vergine is known for its thrilling rhythms, grand choruses and beautiful solo movements. Recognized as a musical innovator, Monteverdi embraced revolutionary techniques and brought new developments in secular music to church forms. Similarly, Montreal-based composer Gilles Tremblay was exhilarated by the affinities he noticed between ancient and modern styles, declaring his intent with his
Vespers to “quote and refresh, uncovering striking common features each nourishing the other.” Both pieces are performed by Toronto’s Choir 21, with Shannon Mercer joining for the conclusion of Tremblay’s work.Two chamber orchestras put together for the occasion (one made up of period instruments, the other contemporary) are conducted by frequent Soundstreams collaborator, David Fallis (Artistic Director, Toronto Consort; Music Director, Opera Atelier), one of Canada’s leading interpreters of operatic, choral and orchestral repertoire from the Renaissance, Baroque, and Classical periods.
Soundstreams’ free Salon 21 at the Gardiner Museum on November 21 at 7:00 pm features members of The Toronto Consort performing on ancient instruments in contemporary and experimental ways. Get Tickets
Vespers
Tuesday, November 25, 2014 at 8:00 pmTrinity-St. Paul’s Centre, 427 Bloor Street W.
Pre-concert chat at 7:00 pm
David Fallis, conductor
Shannon Mercer, soprano
Choir 21
Period Chamber Orchestra
Contemporary Chamber Orchestra
Gilles Tremblay: Les Vêpres de la Vierge / Claudio Monteverdi: selections from Vespro della Beata Vergine
Tickets range from $20-$67.50 and are available through The Royal Conservatory Box Office at 416-408-0208 or online at soundstreams.ca.
Thanks to the generosity of BMO Financial Group, nearly 100 tickets to all 2014/2015 Soundstreams concerts are available for just $20.
This concert will also be streamed live at soundstreams.ca.
ABOUT SOUNDSTREAMSLed by Artistic Director Lawrence Cherney and Executive Director Susan Worthington, Soundstreams is a Toronto-based music presenter that commissions, develops, and showcases the work of contemporary Canadian composers and their international counterparts. These innovative collaborations are performed by the finest artists from Canada and around the world, and are presented in an annual concert series, our monthly Salon 21 series at The Gardiner Museum, in national and international tours, and through a variety of education and outreach activities.
soundstreams.ca / soundmakers.ca / Join our online communities on Facebook and on Twitter @soundstreams
A taste of Shannon Mercer singing Francesca Caccini's O chiome belle
Dimestore Prophets: Be Yourself (Indie - April 5th 2014)
Dimestore Prophets
Be Yourself
(Indie - April 5th 2014)
Ray Glover: Vocals, Guitar; John Wilson: Drums; Eric Groff: Bass
• Buy the EP
With their melodic, catchy pop songs and clever lyrics, it's hard not to like Dimestore Prophets and their avowedly positive take on pop. Their six song EP Be Yourself came out last spring but only recently crossed my inbox.
Based in central Washington. DSP has been bringing "Feel Good Music" to the Pacific Northwest since the end of 2009 playing over 200 shows since then.The band in is made up of guitar player and vocalist Ray Glover, drummer John Wilson, and bassist Eric Groff. Dimestore Prophets came together as band in 2009 after studio collaboration together.
Ray Glover has a flexible, expressive voice with a variety of moods that keeps it interesting. Hey Darlin' has a reggae beat with the energy of the genre, albeit indiefied.
You look pretty in those shoes
But you don't seem so pleased
There's nothing earthshaking here, but the tracks are genuinely upbeat with lots of energy put into well crafted songs - accomplished pop in other words. The tracks feature instrumentation that keeps it interesting - guitar rounded out by keyboards in a a variety of modes from fat organ to thin, reedy synth.
Good Lovin is a fast paced, danceable tune and my own favourite is Our Story with its irresistible beat. In Draw for Love, the mood turns more dramatic. The vocals are less pop friendly, stronger in a guitar-heavy rock rhythm. Sunny Day is another Caribbean flavoured pop confection - they do it, as with all the tracks, with a nice energy and swing to the songs. Positive pop will either work or be cloying and out of touch; Dimestore Prophets manage it with a convincingly upbeat vibe.
Tracks: Be Yourself, Hey Darlin’, Our Story, Good Lovin’, Draw For Love, Sunny Day / Website: www.dimestore-prophets.com
Be Yourself
(Indie - April 5th 2014)
Ray Glover: Vocals, Guitar; John Wilson: Drums; Eric Groff: Bass
• Buy the EP
With their melodic, catchy pop songs and clever lyrics, it's hard not to like Dimestore Prophets and their avowedly positive take on pop. Their six song EP Be Yourself came out last spring but only recently crossed my inbox.
Based in central Washington. DSP has been bringing "Feel Good Music" to the Pacific Northwest since the end of 2009 playing over 200 shows since then.The band in is made up of guitar player and vocalist Ray Glover, drummer John Wilson, and bassist Eric Groff. Dimestore Prophets came together as band in 2009 after studio collaboration together.Ray Glover has a flexible, expressive voice with a variety of moods that keeps it interesting. Hey Darlin' has a reggae beat with the energy of the genre, albeit indiefied.
You look pretty in those shoes
But you don't seem so pleased
There's nothing earthshaking here, but the tracks are genuinely upbeat with lots of energy put into well crafted songs - accomplished pop in other words. The tracks feature instrumentation that keeps it interesting - guitar rounded out by keyboards in a a variety of modes from fat organ to thin, reedy synth.
Good Lovin is a fast paced, danceable tune and my own favourite is Our Story with its irresistible beat. In Draw for Love, the mood turns more dramatic. The vocals are less pop friendly, stronger in a guitar-heavy rock rhythm. Sunny Day is another Caribbean flavoured pop confection - they do it, as with all the tracks, with a nice energy and swing to the songs. Positive pop will either work or be cloying and out of touch; Dimestore Prophets manage it with a convincingly upbeat vibe.Tracks: Be Yourself, Hey Darlin’, Our Story, Good Lovin’, Draw For Love, Sunny Day / Website: www.dimestore-prophets.com
October 29, 2014
Polaris Prize Winner Tanya Tagaq November 15, 2014 at Molson Canadian Studio at Hamilton Place
From a media release:
Hamilton World Music Series #2
Polaris Prize Winner Tanya Tagaq
November 15, 2014
at Molson Canadian Studio at Hamilton Place
• Tickets: $30 regular / $25 seniors & students / $20 members
• Buy them online
• In person at Bryan Prince Booksellers (1060 King Street West)
• Email info@matapa.ca
“… [Tagaq] made it (Inuit throat singing) sound fiercely contemporary, futuristic even. Recalling animal noises and various other nature sounds, she was a dynamo, delivering a sort of gothic sound art while she stalked the small basement stage with feral energy.” —Jon Caramanica, The New York Times
Check out her electrifying performance at the Polaris Prize Gala:
What do free improvisation, Inuit throat singing, and hair-raising passion have in common? Add descriptors like mesmerizing, intimate and ‘pushing the edge’ and you begin to understand the endlessly inventive quality of Tanya Tagaq’s sonic equation.
Born and raised in Cambridge Bay, Nunavut in Canada’s high arctic, Tanya grew up surrounded by Inuit and western culture. It wasn’t until her teenage years that she began experimenting with Inuit throat singing, developing her signature solo style. Her first professional gig at a festival in Inuvik won the admiration of friends of Bjork, eventually leading to an appearance on the Icelandic artist’s 2004 CD, Medulla and a chance to accompany her on tour.Tanya has released four critically-acclaimed albums, Sinaa (2005), Auk/Blood (2008), anuraaqutuq, a live recording (2010) and 2014's Animism, the stunning release which recently garnered her the Polaris Prize.
In his introduction of Tanya during the Polaris Prize ceremony, presenter Geoff Berner had this to say about her latest release,
"Animism is a masterpiece because it transcends opposites. Dizzyingly complex and sophisticated in structure, it also completely hits you in your guts, in your soul.
"It takes traditions that are tens of thousands of years old, and makes truly innovative music, music that could not have existed without Tagaq and her brilliant collaborators, violinist Jesse Zubot, drummer Jean Martin and DJ Michael Red."
Join us on November 15 as we bring this unique and innovative musician to Hamilton. Here's the trailer for Animism:
GRAMMY-WINNING COMPOSER MARIA SCHNEIDER AND HER ORCHESTRA NOVEMBER 25 - 30 2014 in 10th ANNUAL THANKSGIVING WEEK PERFORMANCES AT THE JAZZ STANDARD NEW YORK CITY
From a media release:
GRAMMY-WINNING COMPOSER MARIA SCHNEIDER AND HER ORCHESTRA
NOVEMBER 25 - 30 2014 in 10th ANNUAL THANKSGIVING WEEK PERFORMANCES
AT THE JAZZ STANDARD NEW YORK CITY
Maria Schneider's Collaboration with David Bowie
Sue (Or In A Season Of Crime)� - To Be Released November 17, 2014
The Thompson Fields, the First CD in Seven Years from the Maria Schneider Orchestra, to be released April 21, 2015
• You can participate here
The Grammy-winning composer Maria Schneider and her Orchestra perform Tuesday, November 25 to Sunday, November 30, 2014 at The Jazz Standard, 116 East 27th Street, NYC. Sets nightly at 7:30 and 10 p.m. with an 11:45 p.m. set on Friday and Saturday.
• Tickets are $35.
• Call 212-576-2232 or log on to http://jazzstandard.net/
In addition to composing for and recording The Thompson Fields, the first CD in seven years from the Maria Schneider Orchestra (to be released April 21, 2015 via ArtistShare), Schneider has been involved in a myriad of activities. In the spring, she was approached by David Bowie to collaborate on a new work. The
resulting song, “Sue (Or In A Season Of Crime),”� will be released on a 10-inch Bowie record on November 17, as well as on his new greatest hits 3-CD and 2-CD compilations as the only new song. As Maria says: “I am thrilled with the results.”�
In addition, she testified before Congress about music creators' rights and the need for change in copyright laws. 'It's now or never time for music creators to make our voices heard,'� says Schneider. 'Free music is a relatively new concept, and it's just so ridiculous, almost as ridiculous as everyone being convinced they should pay for water in plastic bottles. I say, let's pay for music as we always did, and drink water for free from the tap, just like we used to.'
Maria Schneider's music has been hailed by critics as 'evocative, majestic, magical, heart-stoppingly gorgeous, and beyond categorization.'� She and her orchestra became widely known starting in 1994 when they released their first recording, 'Evanescence.' With that recording, Schneider began to develop her personal way of writing for her 17-member collective, made up of many of the finest musicians in jazz today, tailoring her compositions to distinctly highlight the uniquely creative voices of the group. Subsequently, the Maria Schneider Orchestra has performed at festivals and concert halls worldwide. She herself has received numerous commissions and guest conducting invites, working with over 85 groups from over 30 countries spanning Europe, South America, Australia, Asia and North America.
Schneider’s music blurs the lines between genres and she is on a very short list of those who have received GRAMMY Awards in both "jazz" and "classical.”� Her long list of commissioners are quite varied and range from the Carnegie Hall Jazz Orchestra, to Peter Sellars' New Crowned Hope Festival (Vienna’s Mozart Festival), Jazz at Lincoln Center, Los Angeles Philharmonic Association, The American Dance Festival, Kronos Quartet, The Metropole Orchestra, the Danish Radio Orchestra, The Saint Paul Chamber Orchestra and most recently, the Ojai Festival, the Australian Chamber Orchestra and Cal Performances ('Winter Morning Walks'), featuring soprano, Dawn Upshaw, and three musicians long associated with Schneider: pianist, Frank Kimbrough, bassist, Jay Anderson, and multi-instrumentalist, Scott Robinson.
Schneider's latest fan-funded recording with Dawn Upshaw ('Winter Morning Walks') earned three 2014 GRAMMY Awards: Best Contemporary Classical Composition ('Winter Morning Walks'), Best Classical Vocal Performance (Dawn Upshaw), and Best Engineered Recording/Classical (David Frost, Brian Losch, Tim Martyn).
Schneider and her orchestra have a distinguished recording career bringing her a total of ten GRAMMY nominations and three GRAMMY awards. Unique funding of projects has become a hallmark for Schneider through the trend-setting company, ArtistShare®. For these projects, she documents her creative process for participating fans, who "fan-fund" her recordings through pre-orders. She's now composed four works for her own orchestra with the participation of commissioners coming directly from her ArtistShare® website fan base. Her album, 'Concert in the Garden' (2004) became historic as the first recording to win a GRAMMY with Internet-only sales. Even more significantly, it blazed the "fan-funding" trail as ArtistShare's® first release. In 2012, her alma mater, the University of Minnesota, awarded Schneider an honorary doctorate.
GRAMMY-WINNING COMPOSER MARIA SCHNEIDER AND HER ORCHESTRA
NOVEMBER 25 - 30 2014 in 10th ANNUAL THANKSGIVING WEEK PERFORMANCES
AT THE JAZZ STANDARD NEW YORK CITY
Maria Schneider's Collaboration with David Bowie
Sue (Or In A Season Of Crime)� - To Be Released November 17, 2014
The Thompson Fields, the First CD in Seven Years from the Maria Schneider Orchestra, to be released April 21, 2015
• You can participate here
The Grammy-winning composer Maria Schneider and her Orchestra perform Tuesday, November 25 to Sunday, November 30, 2014 at The Jazz Standard, 116 East 27th Street, NYC. Sets nightly at 7:30 and 10 p.m. with an 11:45 p.m. set on Friday and Saturday.
• Tickets are $35.
• Call 212-576-2232 or log on to http://jazzstandard.net/
In addition to composing for and recording The Thompson Fields, the first CD in seven years from the Maria Schneider Orchestra (to be released April 21, 2015 via ArtistShare), Schneider has been involved in a myriad of activities. In the spring, she was approached by David Bowie to collaborate on a new work. The
resulting song, “Sue (Or In A Season Of Crime),”� will be released on a 10-inch Bowie record on November 17, as well as on his new greatest hits 3-CD and 2-CD compilations as the only new song. As Maria says: “I am thrilled with the results.”�In addition, she testified before Congress about music creators' rights and the need for change in copyright laws. 'It's now or never time for music creators to make our voices heard,'� says Schneider. 'Free music is a relatively new concept, and it's just so ridiculous, almost as ridiculous as everyone being convinced they should pay for water in plastic bottles. I say, let's pay for music as we always did, and drink water for free from the tap, just like we used to.'
Maria Schneider's music has been hailed by critics as 'evocative, majestic, magical, heart-stoppingly gorgeous, and beyond categorization.'� She and her orchestra became widely known starting in 1994 when they released their first recording, 'Evanescence.' With that recording, Schneider began to develop her personal way of writing for her 17-member collective, made up of many of the finest musicians in jazz today, tailoring her compositions to distinctly highlight the uniquely creative voices of the group. Subsequently, the Maria Schneider Orchestra has performed at festivals and concert halls worldwide. She herself has received numerous commissions and guest conducting invites, working with over 85 groups from over 30 countries spanning Europe, South America, Australia, Asia and North America.Schneider’s music blurs the lines between genres and she is on a very short list of those who have received GRAMMY Awards in both "jazz" and "classical.”� Her long list of commissioners are quite varied and range from the Carnegie Hall Jazz Orchestra, to Peter Sellars' New Crowned Hope Festival (Vienna’s Mozart Festival), Jazz at Lincoln Center, Los Angeles Philharmonic Association, The American Dance Festival, Kronos Quartet, The Metropole Orchestra, the Danish Radio Orchestra, The Saint Paul Chamber Orchestra and most recently, the Ojai Festival, the Australian Chamber Orchestra and Cal Performances ('Winter Morning Walks'), featuring soprano, Dawn Upshaw, and three musicians long associated with Schneider: pianist, Frank Kimbrough, bassist, Jay Anderson, and multi-instrumentalist, Scott Robinson.
Schneider's latest fan-funded recording with Dawn Upshaw ('Winter Morning Walks') earned three 2014 GRAMMY Awards: Best Contemporary Classical Composition ('Winter Morning Walks'), Best Classical Vocal Performance (Dawn Upshaw), and Best Engineered Recording/Classical (David Frost, Brian Losch, Tim Martyn). Schneider and her orchestra have a distinguished recording career bringing her a total of ten GRAMMY nominations and three GRAMMY awards. Unique funding of projects has become a hallmark for Schneider through the trend-setting company, ArtistShare®. For these projects, she documents her creative process for participating fans, who "fan-fund" her recordings through pre-orders. She's now composed four works for her own orchestra with the participation of commissioners coming directly from her ArtistShare® website fan base. Her album, 'Concert in the Garden' (2004) became historic as the first recording to win a GRAMMY with Internet-only sales. Even more significantly, it blazed the "fan-funding" trail as ArtistShare's® first release. In 2012, her alma mater, the University of Minnesota, awarded Schneider an honorary doctorate.
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