Randy Newman Songbook, Vol. 2 (CD Review)

Randy Newman

The Randy Newman Songbook, Vol. 2

Nonesuch CD

Randy Newman has gained acclaim for his Hollywood film scores, which deploy full orchestrations alongside his singing and piano-playing. His studio albums have featured similar instrumental line-ups, something that’s given his pop a classy sheen that’s served as something of an ironic foil for the ofttimes biting satire of his lyrics. It’s refreshing to hear the songs from Newman’s pop canon in a stripped down setting: you’ll hardly miss the strings!

In this, the second Nonesuch release on which Newman performs his best known songs solo, with only a grand piano for company, one learns or is reminded of, several things about the artist at this stage of his career. First, he’s still a mighty fine piano player, shuffling through mid tempo rags and drawing forth imaginative voicings in a style that may at times sound deceptively simple, but is anything but simplistic. A supple sense of timing is omnipresent, and Newman’s use of articulation and a wide dynamic range help to remind one of the instruments featured in the original recordings of these songs. Newman’s voice has always been a distinctive one; expressive rather than “pretty.” And if it’s lost a fair amount of the limited lilt it had when he was younger, and if a few high notes strain more than they used to, it’s still remarkable to hear the characters his singing calls forth, and the way that he can inhabit a song.

This CD’s been in the stereo quite a bit this summer. And one of the marks of its durability is the amount of times tracks have been repeated to get a second listen to a particularly fetching rendition. Those who suggest that Newman’s songbook has too many similar-sounding entries need to listen more carefully; there’s a lot going on above those shuffles; both musical and lyrical nuances. Hearing him perform the songs in this intimate setting underscores their vitality.

Björk’s new “Crystalline” Video + Biophilia 12″ vinyl series

A video for Björk’s new song “Crystalline” was released on Tuesday. It’s part of Biophilia, her ambitious new recording/multimedia app project for Nonesuch.

Also announced was a 12″ vinyl series featuring variations on the music from Biophilia.

Debut of Artwork for Steve Reich’s WTC 9/11 CD

Steve Reich WTC 9/11: out 9/6/11

 

I heard Kronos Quartet perform Steve Reich’s WTC 9/11 (2010) earlier this year at Carnegie Hall. For three string quartets (two were overdubbed in this live performance) and recorded voices taken from phone calls by first responders on September 11, 2001, as well as interviews with New Yorkers some years later, it doesn’t serve as a nostalgic remembrance. Rather, it’s a dramatic whirlwind of a piece, at times bracing and overwhelming.

For those who’ve tired of the languid sentimentality and unfortunate jingoism that has too often been attached to  9/11 by those who’ve been witnesses from a distance, Reich’s response is an affecting tribute, both to those lost and to the New Yorkers left behind. I’m glad that its recording will see release near the 10 year anniversary of September 11, 2001.

The release also include So Percussion performing Reich 2009 Mallet Quartet and Reich and Musicians performing Dance Patterns (2002).

Thanks to Nonesuch for letting us debut the CD’s artwork.

I mentioned the following on the Sequenza 21 homepage:

One thing I’d point out is that, in the pop world, artwork is routinely debuted on a website prior to a CD’s release. Nonesuch is a label that releases both classical and pop CDs. So, this isn’t that unusual a practice for them.

They asked Sequenza 21 to release the artwork instead of, say, Pitchfork or Stereogum, because our readership is more likely to be interested in a new Steve Reich CD than the average Pitchfork reader.

Now, whether the art is “in good taste” or not is certainly up to debate and I’m glad we’re discussing that here in the comments. My one suggestion: if you hear the piece, which is very disturbing and visceral, you might view the cover differently. Does the cover make me uncomfortable? Yes. But then, so does Reich’s piece.
So do Different Trains and Come Out. Relevant artwork, topical artwork, is risky; sometimes it makes us uncomfortable. But like Reich’s aforementioned earlier works, I think that WTC 9/11 has something meaningful to say.

Chris Thile & Michael Daves: Sleep with One Eye Open (CD Review)

Chris Thile & Michael Daves

Sleep with One Eye Open

Nonesuch CD

Chris Thile is best known for his work as vocalist and virtuoso mandolinist with the bands Punch Brothers and Nickel Creek. And while his fancy finger work frequently dazzles, he’s been criticized in the past for allowing the production values imposed on his music to have to glitzy a sheen: blunting the “authentic-sounding” quality that connoisseurs often prize in traditional music-making. But his recently collaboration with guitarist and vocalist Michael Daves restores a sense of folksiness, grit, and yes, authenticity to the proceedings.Daves is a wonderful foil for Thile. His stomping grounds are in Brooklyn, but his sound is a spot-on reanimation of old-time Nashville. Ironically, the recording takes place in that very city, in a new studio with vintage equipment – Jack White’s Third Man studios.

The concept for the album is beautifully simple. Thiles and Daves went into Third Man and, in four days, recorded all sixteen of the album’s cuts: traditional songs and material by beloved Bluegrass icons such as Flatt and Scruggs. Just two guys standing toe to toe, playing with youthful energy and nimble virtuosity and singing their hearts out.  No backing band, no overdubs: none necessary.

In an era of glitzy presentation and overproduction, of far too many cooks spoiling an often thinly appointed stew, Sleep with One Eye Open is an object lesson on how to do it right. Recommended.

Laurie Anderson: “Flow” (Soundcloud/DL)

Congratulations to Laurie Anderson on her Grammy nomination for the song “Flow” (Best Pop Instrumental Performance). It’s the last track on Homeland, her latest Nonesuch release.

The label’s been kind enough to offer “Flow” for stream or download via Soundcloud.




Laurie Anderson – “Flow” by Nonesuch Records

Indaba announces winners of 2×5 Remix Contest

Indaba Music has announced the winners of the Steve Reich 2×5 Remix Contest.

As one of the judges of the competition (along with Mr. Reich), let me offer my congratulations to the winner – Dominique Leone – and runners-up: Vakula and David Minnick.

I’d also like to congratulate the rest of the entrants. Selecting the winner was a very difficult process: the pool of remixes from which to choose was excellent!

Below are the winners’ remixes. Enjoy!

Folds/Hornby collaborate on new CD (review)

Ben Folds and Nick Hornby
Lonely Avenue
Nonesuch CD

Nick Hornby has written eloquently about pop songs in the novel High Fidelity and the essay collection Songbook. But what happens when he tries his hand at being a lyricist? On Lonely Avenue, his first musical collaboration with singer-songwriter Ben Folds, Hornby makes the leap convincingly, suggesting that he belongs in the musical realm not just as an astute commentator, but as a full-fledged participant.

Of course, it certainly helps that Hornby’s lyrics are married to eloquent, often poignant, music by Folds. Indeed, Lonely Avenue is his most musically ambitious and wide-ranging effort to date; yet it’s uniformly distinguished. Perhaps in response to the rich lyrical terrain he has before him, Folds incorporates a number of stylistic inflections this time out, from savvily arranged seventies pop to undulating minimalism and from sensitive balladry to brash piano punk.

The CD contains at least three “single-worthy” cuts: “Doc Pomus,” “Picture Window,” and “From Above.” Folds’ piano-playing is as supple as ever – he cooks up some brilliant flourishes on “Doc Pomus” and rocks out with abandon on “Your Dogs.” The arrangements highlight Folds’ piano, but also feature strings and effervescent instrumental contributions and backing vocals from the indie pop duo Pomplamoose.

While one hopes that Hornby doesn’t quit writing compelling stories and cultural criticism anytime soon, he’s welcome to keeping work as a lyricist in the rotation!


Steve Reich 2×5 Remix Contest

Steve Reich

Remixers start your … laptops. Some hot-off-the-presses news about a contest beginning at noon TODAY!

Pulitzer Prize–winning composer Steve Reich, Nonesuch Records, and Indaba Music have launched a search for collaborators to remix the third movement from Reich’s 2×5. Paired with his Pulitzer prizewinning Double Sextet, the work appears on Reich’s new Nonesuch CD.

For four weeks beginning October 12, 2010 at noon, remixers can visit Indaba’s website to create their own version of the movement.

From November 9 to 23, fans and a panel of judges including Reich will review the submissions. Winners will be announced on December 7th. In addition to a grand prize and 2 runners-up selected by the jury, 10 honorable mentions will be selected by the public.

All jury selections will receive prizes, as follows:

Grand Prize (1)

$500

Signed copy of Double Sextet/2×5 CD

Signed copy of Double Sextet score

One-year free Platinum membership to Indabamusic.com

Runners-Up (2)

Signed copy of Double Sextet/2×5 CD

Signed copy of Double Sextet score

3-month Platinum membership to Indabamusic.com

Honorable Mentions (10)

Signed copy of Double Sextet/2×5 CD

Signed copy of Double Sextet score

3-month Pro memberships to Indabamusic.com

__________________________________________________________

Written for the Bang on a Can All Stars2×5 is Reich’s most overt foray into rock instrumentation to date. In my preview of the album, I noted that Reich’s collaboration with BoaC was “An intergenerational summit – minimalist elder statesman meets post-minimal/totalist ace performers – that, in terms of importance, is more or less the Downtown version of Duke Ellington and John Coltrane.”

Now, another layer of creators will season the mix – I’m excited to hear the results!


Laurie Anderson at BAM: ticket giveaway



Laurie Anderson’s new theater piece, Delusion, is opening BAM’s Next Wave festival. The piece features two sections from Anderson’s recent Nonesuch CD, Homeland. She’s joined by Eyvind Kang on viola and Colin Stetson on horns. Rich in visuals, it includes contributions from cinematographers Maryse Alberti and Toshiaki Ozawa, and additional animation and overall video design by artist Amy Khoshbin. The show runs through Oct. 3.


We’re giving away a pair of tickets to the event. To win them, be the first person to email me or DM me on Twitter with the correct title for her first hit single (#2 on the UK charts).


Delusion by Laurie Anderson
BAM Harvey Theater (651 Fulton St)
Sep 21—25, Sep 28—30, Oct 1 & 2 at 7:30pm
Sep 26 & Oct 3 at 3pm
Tickets start at $20
More info: http://www.bam.org/delusion