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Date

June 13, 2019

Dave Thompson Scorcese, Dylan and the Rolling Thunder Review

A wraith, a witch, a gypsy princess, a Cottingley queen.  Scarlet Rivera haunts Bob Dylan’s Desire like desire haunts a lover’s dream.  Mystery cloaked in enigma draped in black, but only if you saw the shows, watched the movie, or …

The post Scorcese, Dylan and the Rolling Thunder Review appeared first on Goldmine Magazine.

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Unheard Miles Davis studio album set for release

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Sean Cannon I’m With Her Explore Vinyl Mastering And Production Process In Mini-Documentary

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In 2018, the folky supergroup I’m With Her released their critically-lauded debut album, See You Around. The vinyl pressing of the record was a collector’s dream, with four different editions (black, white, blue, and maroon, all on 180 gram wax) to track down out in the wild.

With the continued growth of vinyl as a format, some are cashing in with shoddy, slapdash pressings or releases billed as “limited edition” even though they run numbers into the thousands. This wasn’t the case for I’m With Her. They wanted to honor the format and create something special, because vinyl is important to them.

For Aoife O’Donovan — one third of I’m With Her and an accomplished singer-songwriter in her own right, just like the rest of the band — a love of the format was practically baked into her DNA. “When I was first getting into music, I was fascinated by my dad’s room of records in our basement,” she recounted. “He was, and still is, a radio DJ, so he had quite the collection.”

He got rid of the entire collection in the ’90s like so many folks, but that didn’t stop O’Donovan from rekindling her love of vinyl in college. “I received the Abdullah Ibrahim album Water From An Ancient Well from a friend,” she said. “It quickly became a staple in my tiny Boston apartment. I’d rush over to the record player as side A was coming to a close, not wanting to have any dead air.”

That immersive experience connected with her in a deeply philosophical way. “I loved the concept of two sides, something that I feel has gotten lost as we got into CD territory, and especially now in the digital age. Records tell stories in a different way.”

O’Donovan’s bandmate Sarah Jarosz feels that same sense of loss with digital listening. “I realize that most of the world doesn’t listen to music via physical platforms anymore, but it’s been heartening to see a wave of vinyl lovers re-emerge,” she said. “It truly offers a sonic experience that’s superior in quality and detail to that of streaming music online.”

I'm With HerThe different editions of See You Around, alongside the various singles from I’m With Her, showcase the band’s love of vinyl.

With such a reverence for wax, I’m With Her didn’t want to skimp on production. They asked legendary engineer Bernie Grundman to handle the mastering and lacquering, and went to the venerable Record Technology Incorporated for plating and pressing.

The trio also decided to document the entire process in a short film, directed by award-winning New York Times Op-Docs filmmaker Genéa Gaudet. You can watch it above.

“Vinyl holds a meaningful place in so many people’s lives, we thought it would interest people to see a bit of how it’s made,” said Sara Watkins, who’s also a member of Nickel Creek when not doing solo work or collaborating with I’m With Her. “It certainly interested us!”

Watkins serves as the de facto star of the mini-doc — alongside the vinyl, of course — as she tours Grundman’s studio. “This was the first time I was able to witness the vinyl mastering happen, and now having seen it I appreciate listening to vinyl even a little bit more,” she said. “It’s fascinating to see isn’t it? Bernie was so kind to go into some depth of his process.”

In the wake of the documentary’s release, I’m With Her are meeting up with Watkins’ Nickel Creek comrade Chris Thile for the June 15 episode of public radio powerhouse Live From Here, and they’ll be on tour throughout the summer.

The post I’m With Her Explore Vinyl Mastering And Production Process In Mini-Documentary appeared first on Discogs Blog.

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CAS An Evening With John Grant at Classic Album Sundays

Classic Album Sundays presents An Evening With John Grant at The British Library for an in-depth look into the music that has influenced his incredible career featuring music from ABBA, Ministry, Kate Bush, Talk Talk, Black Devil Disco Club and more.

You can hear the full audio podcast from the event which contains all of the music here.


Watch: Lisa Stansfield on ‘Affection’
Read: The Story of Kate Bush’s ‘Hounds of Love’

The post An Evening With John Grant at Classic Album Sundays appeared first on Classic Album Sundays.

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Artists announced for the Songlines Music Awards 2019 Ceremony at EartH

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“I was very comfortable around musicians and it maybe helped that I looked like them. I never felt…

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letters@jazzwise.com (Mike Flynn)

Rubberband, a previously unissued 1985 album by Miles Davis, is to be released on 6 September on Warner Bros. Featuring 11 tracks, the music has been completed by its original producers and Davis’ nephew Vince Wilburn Jr, with new vocal contributions from Lalah Hathaway and Ledisi.

Rubberband sleeveDavis had just made the shock move of leaving Columbia Records, his label of 30 years, shifting to Warners, where he would subsequently take a bold new approach embracing electronic sounds and the latest production techniques. The Rubberband sessions began in October 1985, with Davis working alongside producers Randy Hall and Zane Giles at LA’s Ameraycan Studios.

They were something of a departure from the gritty jazz-funk of his final Columbia albums, with a newly formed studio group of keyboardists Adam Holzman, Neil Larsen and Wayne Linsey, percussionist Steve Reid, saxophonist Glen Burris, and Vince Wilburn, Jr. on drums. Collectively they explored funk and soul grooves, while there were also plans to feature powerhouse vocalists Al Jarreau and Chaka Khan on the sessions. However, the album was shelved, Davis subsequently recording Tutu, with the Rubberband tracks lost in the vaults for the best part of 30 years.

Davis’ fans finally got a taste of the long-lost album last year with the release of a four-track Rubberband EP for Record Store Day. Now Rhino/Warner Records will release the entire 11-track Rubberband album on CD, LP and digitally.

Mike Flynn

For more info visit www.milesdavis.com and listen to ‘Rubberband Of Life’ featuring Ledisi here via Spotify

 

 

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CAS An Evening With John Grant at The British Library

Classic Album Sundays presents An Evening With John Grant at The British Library for an in-depth look into the music that has influenced his incredible career featuring music from ABBA, Ministry, Kate Bush, Talk Talk, Black Devil Disco Club and more.

You can see the full video from the event here.


Read more: The Story of Talk Talk ‘Spirit of Eden’
Read more: Lisa Stansfield on Dusty Springfield ‘Dusty in Memphis’

The post An Evening With John Grant at The British Library appeared first on Classic Album Sundays.

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Seven of the best works by Rachmaninov

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Rachmaninov's compositions were the last representations of the Romantic Style in Russia. Rachmaninov was born into a musical family and studied the piano at the Conservatoire in St Petersburg from the age of nine. Despite the enormous span of his hands, his technique was precise and clear. His incredible skills as a pianist make his compositions some of the most difficult for virtuoso pianists.

We take a look at seven, of many, great works composed by Rachmaninov.

 

Prelude in C sharp minor Op. 3 No. 2 

Although less assertive than his later works, the Prelude in C sharp minor won Rachmaninov much of his early popularity and became a frequently requested encore in concert. With its attractive 'dark-hued' disposition, it is impressive that this work was composed even before his graduation from the Conservatoire in St Petersburg in 1891. 

 

 

 

Piano Concerto Op. 18 No. 2

Rachmaninov composed his second piano concerto after a particularly low period, professionally and emotionally, spurred by the difficult reception of his first symphony. The piece is notoriously difficult to play (not everyone can span 12 piano keys with one hand!), and was dedicated to his therapist, Dr. Nicolai Dhal, who encouraged him to start composing again despite bouts of depression. 

 

 

 

Prelude Op. 23 No. 5 

One of 24 movements in this cycle, No. 5 is a brief, melodic and delicate Prelude. The floating melody, which gradually gains momentum, shows something of Rachmaninov's idiomatic piano writing and perhaps even subtle evocations of Debussy's piano music. 

 

 

'Bogoroditse devo' from his All-Night Vigil 

This painfully evocative movement is set to the well-known Ave Maria text taken from the Russian Orthodox All-Night Vigil ceremony. The texture is dense throughout and reaches an emotional climax. 

 

 

Prelude Op. 32 No. 7

This prelude adopts a mysterious quality thanks to the recurring dotted rhythmic motif. Tonal ambiguity constantly asks the listener to interpret whether the piece leans more towards a major or minor tonal world. 

 

 

 

Symphony No.2 : The Isle of the Dead (1909) 

This atmospheric orchestral piece shows the ease with which Rachmaninov was able to evoke a sense of place via musical means (tone-painting). Inspired by a painting by Arnold Bocklin, the orchestral colours reflect the sounds of waves and oars as they meet the dark waters, in a characteristically late Romantic style. 

 

 

Moment Musicaux (1829) 

This set of solo piano pieces are similar to miniatures: each moment musical features unique passage work, and sound like separate introspective worlds. The miniature size of these pieces show a more humble side to Rachmaninov's usual bravura virtuoso style. 

 

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