Archive for the ‘TRADING FOURS’ Category

trading fours: holidays

December 20, 2009

Seriously busy week here. No time to catch any live music – or, write about it. Or do much of anything outside of keeping on top of the landslide that always seems to happen in the last couple of weeks of the year. You too, I’m sure. So let’s give ourselves a little time out here and talk music.

It’s been a while since we ‘traded fours’. Before the year completely gets away from us – again – I thought we’d check in and see what ideas we could cook up here for a late-December listening session.

This is the time of the year for that popular question, “what are your favorite holiday recordings?” We all have a few, and I can tell you, I have a LOT more than four. As a child of the ’70s I’d have to put Elvis’ Blue Christmas, John Denver’s Muppet Christmas (yes, really), and Luciano Pavarotti’s Christmas recordings on the list of sentimental faves. I also became very fond of the Gene Autry recording. My mom played it a lot because that’s the one she grew up with. Add to that the scores of recordings I’ve discovered and made part of the yearly tradition since then.

But I think I can pick four holiday recordings to share with you here, and maybe I’ll throw in a few more later on. I hope you will too  – leave a comment here if you’d like. For this “trading fours” session we’ll start with a few classical suggestions:

#1 – The Baltimore Consort: “Bright Day Star” – With everything from “Ding Dong Merrily On High” to the “Tomorrow Shall Be My Dancing Day” and the Wassail song, what makes this one different from all the other versions of those pieces? The simplicity of the arrangements, the purity of Custer LaRue’s voice, the exciting virtuosity and nimbleness of the Consort itself, and the sheer joy that comes through in every singing, dancing bar of this wonderful recording. This one’s a “must have”.

#2 – The Boston Camerata & Sharq Arabic Ensemble/Joel Cohen: “A Mediterranean Christmas” – Two years ago around this time I attended a concert here with the Boston Camerata. It was right after they had released this recording. I couldn’t wait. And while the music was just as transcendent and gorgeous as I had hoped it would be, what I’ll never forget about the experience was Joel Cohen’s remarks in the program notes, wherein he mentioned that this is the music to remind us that Christ was born in the desert, surrounded by palm – not evergreen – trees. The recording features traditional Spanish/Arabic music from the 12th -16th centuries, and the special percussion and mid-eastern vocals the Sharq Arabic Ensemble brings to the mix is guaranteed to warm even the coldest days of late December. I can’t remember what Christmas was like before this musical revelation came along.

#3 – The Dale Warland Singers/Dale Warland: “December Stillness” – This one lives up to its name and then some. It’s the perfect reflective antidote to the busy-ness of the season. Two favorite tracks are Alf Houkoum’s recently written work, “Rune of Hospitality”, and Stephen Heitzig’s poignant setting of the ee cummings poem, “Little Tree”. December Stillness will wipe the discord of jangling bells, the bombast of 300-voice choirs blaring bland Christmas carols, and the artificiality of our 21st c. world right out of your consciousness. This is a recording that speaks to the mystery, wonder, and snow-covered quietude of our midwinter world.

#4 – The Estonian Philharmonic Chamber Choir/Paul Hillier: “A New Joy” – Austerity and the pure power of the human voice are the hallmarks of this exquisite recording, along with a rich repertoire from the Eastern Orthodox tradition that so rarely is heard here in the West. With composers like Grechaninov, Kastsalky, Izvekov, and Stensenko – A New Joy promises a listening experience that light years away from the usual Christmas fare. You’ll recognize Rachmaninoff’s “Blessed is the Man” from the Vespers, and certainly the Ukrainian carol (the “Carol of the Bells”) will be a familiar melody. Otherwise be prepared to surrender yourself to the other-worldly sound of the very fine Estonian Philharmonic Chamber Choir and their vision of an Orthodox Christmas.

That’s it for today, and I hope enjoy them if you take some time to explore these suggestions. Don’t let the white noise of busy-ness keep you from the joys of the season. Cheers!

Trading Fours is an occasional series here designed to build your music library and share ideas about favorite recordings, in the long tradition of learning about music from friends. If you have picks to share leave a comment here. Send me your four choices along with a quick explanation of the theme that holds them together. I’ll post here to share with everyone else.

trading fours: hear this – not that!

September 5, 2009
perfect 'za

perfect 'za

Today I came across one of those articles that offered a comparison of the nutritional values of pizzas at national chain restaurants. Take just a moment to ingest that basic premise, if you will…

You’ve seen this kind of thing.

As a serious pizza fanatic I couldn’t resist finding out which fared best (and, of course, worst) – and, on the morbidly curious side – how many of these nefarious bad-boy pies I have personally consumed.

Not that many, it turns out. I admit the discovery leaves me with a mix of gratefulness and some measure of disappointment. For every sodium-laden, fat-drenched unearned calorie saturating the ones that ranked (BAD, very bad. Bad. Right?),  I envisioned an equally sumptuous, completely cheesy and delicious piece of pizza perfection (mmmmmm).

I dwelled for a while on the path (artery?) not taken, and ultimately decided my longevity was probably better off for the missed experience. I guess.

Articles like this pop up fairly frequently. Part of the larger nutritional awareness movement underway now, popularized with books like Eat This, Not That! Thousands of Simple Food Swaps that Can Save You 10, 20, 30 Pounds–or More!

Since I couldn’t spend the next half hour wading in melted pizza bliss I refocused (much more healthful) to consider what my choices would be for a recorded music equivalent: “Hear This, Not That! Simple Sound Swaps that Can Save You 10, 20, 30 Wasted Hours–or More!”

If you had to choose – I hope you don’t – between the Istvan Kertesz/London Symphony or Kubelik/Berlin Philharmonic recordings of the Dvořák 9th symphony – which would you pick? Very difficult to say, or even make a compelling case for recommending one over the other. They’re both benchmark performances of the work.

Same idea with Coltrane’s My Favorite Things, in the 1961 studio version vs. some of the live ones, like the 1963 Newport recording. You have to hear both. In personnel alone, the tune takes on very different colors with the Newport group, where bassist Jimmy Garrison and drummer Roy Haynes replace Steve Davis and Elvin Jones from the original studio ensemble. Add to that the live dynamic and there’s really no comparison here.

But sometimes these choices are more clear, and that’s the launching point for this edition of Trading Fours. Save yourself the empty calories and wasted time wading through disappointing, unfulfilling listening. Check these out.

Von Karajan's landmark 1963 Beethoven set

#1 – Beethoven’s complete symphony cycle (Herbert Von Karajan) – The infamous, narcissistic, perfectionist, genius – choose your adjective – German conductor Herbert Von Karajan recorded four complete Beethoven cycles in his long career. The first set was recorded from 1953-56 (w/The Philharmonia Orchestra); the next from 1961-2 (with his favorite orchestra, the Berlin Philharmonic); a third came along from 1975-77 (Berlin Phil.); and the last was recorded from 1982-85 (yet again with Berlin). Assuming you’ll want to get one of these (only one) and save the rest of your budget for the next three recommendations here – which Beethoven set to pick? You want the second set, released in 1963, for how it so completely embodies one single word: firepower. These recordings reveal a young Von Karajan as a powerful leader capable of getting the very most from his orchestra. There is a rawness and urgency present here that gives each symphony a thrilling edginess. The longer he worked with Berlin the smoother and more synthesized their sound became, until you get to the 1980s (recordings his like two “Adagio” CDs come to mind) and it’s so rich and refined it’s beautiful, but very nearly drained of the personality that makes the 1963 set so special. Don’t be misled by the ‘newer (recent) is better’ perception when it comes to choosing recordings. This outstanding 1960s set is how you want to hear Beethoven.

TradingFours4-GoodNews#2 – “Good News” – 100 Gospel Greats – Need the Word? Sure you do. Every good music collection needs some great gospel. Choosing one recording isn’t easy, there are a lot of artist collections and anthologies available. I’ve chosen Good News for its variety, its depth and range, and – honestly – its disproportionate value for the modest price. Let me back up just a minute: the UK’s Proper Records is a terrific company, the self-described “home for roots music on the net”. A quick A-Z review of their roster reveals everything from Gene Autry and Chet Atkins, to Thelonious Monk and the Mills Brothers to “Zah, Zuh, Zaz: an Introduction to Cab Calloway”. They license music from the artist archives, and reissue it in nicely packaged, highly curated, very affordable collections. I don’t think I’ve ever seen one of their boxes going for more than $25-30 retail, and even if you don’t find a cheaper used or discount copy, it’s still worth every bit of that. Think of it this way: when you spend $25 for this set, if you follow the iTunes model of .99 cents per tune, you’re getting 100 songs here for roughly .25 cents apiece. Can’t beat it.

Good News is a 4-CD, 100-song set that works its way chronologically from the earliest material (1926: the Birmingham Jubilee Singers) to the most recent on disc 4 (1951: Five Blind Boys of Mississippi) and makes a lot of important stops along the way with artist like Sister Rosetta Tharpe, Mahalia Jackson, the Five Blind Boys of Alabama, and many earlier groups in the Southern gospel ‘jubilee’ and ‘harmony’ traditions. It’s fun. It rocks. And if it’s the only gospel you have in your collection I’m convinced you’ll be completely happy with it.

TradingFours4-CityOfDreams#3 – City of Dreams: A Collection of New Orleans Music – One of the big labels for New Orleans artists is Rounder Records. Since the very beginning in 1970, their focus has been the sound of America: blues, bluegrass, folk, jazz, Cajun, and various other (African, Caribbean) world genres. Don’t all of those styles, together, also describe the unique confluence that informs the sound of the Big Easy? They sure do. You’ll hear all of those influences in the label’s recent City of Dreams anthology, with favorites like Marcia Ball, Irma Thomas, Ruth Brown and the Professor Longhair to the deeper cuts that really inform the heart of the collection. Like Eddie Bo’s soulful Hard Times, Bo Dollis’ Shoo-fly, and highlights from New Orleans piano legends James Booker and Tuts Washington, whose touching Do You Know What It Means? closes out the collection as the last track on the last disc. You’ll find that Dreams holds a good sampling of second-line brass band music, Delta blues, r & b, funk, and a whole lotta soul. There’s no way one single anthology – any anthology –  could wrap its arms comprehensively around all of the complex cultural influences at play in the music of a city like New Orleans. (Not that there are any other cities like that.) But this collection goes a long way to offer more than the usual superficial “best of” hit parade, it satisfyingly digs deeper to reveal much of the underlying artistry of the N.O. ‘sound’.

TradingFours4-Vivaldi4Seasons#4 – Vivaldi’s Four Seasons (Rinaldo Alessandrini/Concerto Italiano) – This an interesting one, with some surprisingly divisive opinions to consider and navigate in choosing the recording that’s right for your collection. The most popular music Vivaldi wrote, it’s lovely and lyrical and there’s probably no part of it you wouldn’t recognize, even out of context. That speaks to the music itself. But, for performances of the Seasons, take a look at ArkivMusic where there are more than 200 recordings currently available. Which one of those 200+ is the right one for you? That’s where the controversy enters the picture. Ongoing academic research and discovery in the area of  ‘period’ performance practices has led to the divided house that now exists in regard to how this music is actually played. With vibrato (for many years the standard for Western classical music) or without (as it would have been performed and experienced in the pre-Baroque and Baroque eras, when this music was written)? With a big, full-bodied modern orchestra, or with the smaller chamber ensemble that would have been the standard in Vivaldi’s day? Tuned to the “440” pitch standard of the contemporary concert orchestra, or, to the “415-419” of the Baroque era? On modern instruments, or with the actual instruments (and faithful replicas thereof) from the Baroque?

You just wanted a nice recording of the Four Seasons. You didn’t know there would be so many decisions involved to find one. OK, well, before I recommend this one for you I will mention that I tend to prefer the ‘period’ performances, with their lighter touch, transparent textures, and often slightly faster tempi. There are wonderful recordings of the Seasons that find something of a balance, featuring modern instruments and orchestras with a soft ear toward the ‘authentic performance’ sensibilities: recordings with violinists Gil Shaham, Gidon Kremer, Joshua Bell, Julia Fischer are very nice and meet that standard to my ear. There are period ensembles that offer very nice, if not wildly adventurous performances: the English Concert, the Academy of Ancient Music, and the Raglan Baroque Players are of this variety. Then there are “the Italians”; groups that follow the ‘period’ performance path and offer raw, viscerally exciting readings that strip away the accumulated years of varnish and offer the music in a bracing, fresh context. (Which is kind of funny, really, when you consider the ‘fresh’ context is a style hundreds of years old!) Ensembles like Europa Galante, La Stravaganza, Il Giardino Armonico, Accademia Bizantina, and the Venice Baroque Orchestra fall into this second camp. So do Concerto Italiano, with their director Rinaldo Alessandrini.

At the great risk of planting my flag irreversibly in the ‘period’ music camp, it is this last recording I am recommending. Unapologetically. There is much color, nuance, and capacity for a new listening experience, even in pieces like these you’ve already heard many times. It takes the right recording to make that point. I’m offering this one as my choice because it gave me that experience the first time I heard it (and, in repeated listening). I heard – actually heard – Vivaldi anew again in this lively, articulate, passionate recording with the Concerto Italiano. That doesn’t happen very often.

I can’t offer this suggestion as THE definitive, one-and-only Four Seasons recording, because that would presume I had heard them all (not the case). And, there’s so much diversity in the different performance styles among the many groups who have recorded these concertos. But it’s sure a good place to start, and if you like it, and you decide you really only need one Four Seasons in your archive, it would be an equally fine place to stop.

(By the way, for a concise history of tuning practices, take a look at this article.)

That’s it for this edition of Trading Fours. We started with pizza and ended with Vivaldi (so it goes!), and what I hope will be some very satisfying listening experiences for you. Happy Labor Day weekend!

Trading Fours is an occasional series here designed to build your music library and share ideas about favorite recordings, in the long tradition of learning about music from friends. If you have picks to share leave a comment here. Send me your four choices along with a quick explanation of the theme that holds them together. I’ll do the rest and get them posted here to share with everyone else.

trading fours: remember ‘albums’?

August 22, 2009
from my album collection

from my album collection

Back with “trading fours” today, the occasional series here where we talk a little about four recordings on some common theme.

This one came to mind recently when a friend was getting ready to take a long flight. He’d just gotten the new iPhone, and was frustrated in the experience he was having with iTunes in trying to download some music to take with him on vacation. The problem? You may already know where I’m headed with this. He likes classical music. Turns out, to purchase a particular recording of is favorite Mahler symphony, he could only get the piece (we’re talking about one symphony here) by downloading it in seven different individual files – at .99 per download.

He did it, because he loves Mahler and couldn’t think of a better companion for the trip. Then the question was, if the symphony’s broken up into seven different files – would it play continuously, or would there be inordinate breaks between each segment, potentially ruining the intended flow and continuity of the work? Since he’d already spend $7.00 on the work, he was happy to find that it did play continuously once downloaded into the phone.

This is a pretty common iTunes experience, though when you’ll encounter it seems rather random. Not all multi-part classical (and non-classical, for that matter) works are treated that way in download form. I’ve asked the question of  iTunes but have not received a response: does it just depend on the variability of the recording ripping process on their end? Is it because the people responsible for the process don’t know the music well enough? Are there no internal policies that would inject some common sense and help inform the process?

My best guess is that this happens as a direct result of how the music is formatted on the original recordings. Sometimes a piece (a symphony, a suite, whatever) is a single track on a CD; other times the individual parts of a piece are on separate tracks. It’s a considerable hurdle that radio stations are having to overcome now too, as music libraries are going digital and playback systems are set up to work with these digitized (mp2 or mp3, generally) files. In the work I’ve done in this area, it comes down to ripping a work’s files individually, loading them into audio editing software (I’ve used ProTools, CoolEdit and Vegas) and editing the individual selections into a single, cohesive file. Save, render, and you’re good to go. The seven-download Mahler symphony is now transformed into a single, beautifully contiguous, 74-minute file. It’s the kind of work that even today’s best audio ripping programs can’t do automatically, it takes a real, live pair of human ears to do the editing. 

Now factor that process out over an average classical music library: CDs often have several different pieces on them, and music archives often contains thousands of these CDs with multiple, multi-movement works on them. No wonder classical radio has been relatively late in adapting to the world of digitized music. Without a dedicated, skilled, classical music-knowledgable staff to help with this process it can be an overwhelming proposition to digitize a library.

More has changed about music today than the process of digitization itself. There’s also the terminology. Remember “albums”? When I ask the question, you might think I’m talking about vinyl LPs. I could be. The two words are synonymous. But in our new digital world if you still say “album” when you actually mean “CD” or “recording”, it can lead to that fleeting moment of realization that using “album” dates you in some unflattering way.

Let’s just shoot that one down once and for all and stop being mildly embarassed about saying “album”. The word also means a ‘collection of music’, so it speaks to a recording’s content, not its format. “Album” continues to be relevant in our digital world – CDs and LPs are both “albums”.

So. That brings us back to “trading fours”. With the iTunes scenario in mind, today’s theme is “four albums that should be heard, beginning to end, as a single piece”. (Incidentally, I own all of these albums as CDs.) Because the musical expression in each of these works develops intentionally throughout the course of the experience, and “dropping the needle” (21st century version: “downloading only one part of it”) and listening randomly doesn’t allow you to follow the arc of its artistic intent. Yes, for deeper listening, you can/should also take the time to listen to the individual parts as well. If I rallied against that, then I’d be in favor of brilliant moments like Pink Floyd’s “Money” or Coltrane’s “Psalm” rarely – if ever – being heard on the radio since the days of ‘album sides’ and ‘album formats’ are mostly gone, where it would be possible to hear those moments in the context of the larger work.

My point is: techology is great, it makes music more widely available and accessible to a bigger audience than ever before. I’m all for that. But do guard against allowing the constraints of the delivery mechanisms shape, inform, or ultimately determine the quality of your music experience. That, alone, is the artist’s job.

#1 – John Coltrane’s “A Love Supreme” – Acknowledgement, Resolution, Pursuance, Psalm. A personal journey of faith, and redemption. Simply put: perfection.

#2 – Gustav Mahler’s Symphony #4 (Leonard Bernstein/NY Philharmonic/soprano Reri Grist) –  One of Mahler’s shortest symphonies, (still no guarantee that it won’t be broken up into individual downloads on iTunes) the Symphony #4 is described programatically as “a child’s vision of heaven”. It starts enchantingly with the gentle shaking of sleighbells and ends with the song Das himmlische Leben (“Heaven’s life”) where the ‘child’ (generally a female soprano part) sings, “There is just no music on earth that can compare to ours.” Indeed.

#3 – Omar Sosa, Battista Giordano & the Tenores de Oniferi “Isolanos” – Recorded live (Nov. 18th, 2007) at Sardinia’s Cagliari European Jazz Expo – In the best tradition of ‘East meets West’ cultural cross-blends, this one’s an extraordinary ‘West meets West’ effort to fuse the traditional sounds of Sardinia with the rhythmic energy and rhythmic sensibilities of Cuba. All in a (very!) live environment. It starts with a jazzy intro, continues with a ‘world music’ percussive overlay of Latin and African rhythm, and then, – enter the tenors. In the ‘tenor singing’ tradition native to Sardinia (and Corsica, for that matter), their polyphonic blend of voices sends this album into another musical realm altogether. Neither here nor there, it is successfully BOTH. Isolanos offers a surreal, melodically lush, and sonically exciting landscape. The tracks are continuous, like being in a live concert with only applause for segues between the pieces. 

#4 – Pink Floyd’s “Dark Side of the Moon” – For the next 43 minutes set aside all superlative and iconic associations with this album and just — listen. From Speak to Me to Eclipse, it’s a complete vision.

The offer stands for Trading Fours – send me your top four picks along with a quick explanation of the theme that holds them together, and I’ll do the rest and get yours posted here. Pass on the tradition of learning about music from friend.

trading fours: as local as it gets

August 1, 2009

Another week passed by, with another fairly random stream of tunes running through it. You too?

This week might have been less random than some, mostly for lack of time to actively pick out an assortment of listening material.

Didn’t get to hear any live music this week either, though Peter Hedlund‘s nyckelharpa gig at the Black Door was a heartbreaker to have to miss on Thursday night. Could it be that as July ends, it takes with it the frenzy of early summer’s festivals, parades, and crazy-abundant live music? I hope not.

What the week did hold was a few recordings that floated my way related to an ongoing work project. And that’s where this week’s installment of “Trading Fours” comes in:

#1 – Robert Resnik & Marty Morrissey’s “Songs of Lake Champlain” – Newly written and traditional songs, including the “A to Zs” of the Lake; a catchy tune about lamprey, zebra mussels, and other invasive species; and, an ode to the last steamship, “Ticonderoga” (now dry-docked at the Shelburne Museum).

#2 – Deb Flanders’ “Mother Make My Bed” – Beautiful, traditional songs from the vast collection of Deb’s Great Aunt, Vermont song collector Helen Hartness Flanders.

#3 – Alan Greenleaf’s “Songs From Lost Mountain” – What happens when a farmer writes music? – Tunes and stories as rich and earthy as the land that inspires them. Poignant observations on gentrification, the great flood of 1927, and the snowy hills of a New England winter.

#4 – La Bottine Souriante’s “Anthologie II, 1976-2005” – Including tunes from the late ’70s when French-Canadian fiddler Lisa Ornstein was with the group (which is why I was listening to it – doing a little research on Lisa), this collection is a fullblown dancing, tempo-shifting great time from one of the best groups in the French-Canadian fiddle band tradition.

The offer stands for Trading Fours – send me your top four picks along with a quick explanation of the theme that holds them together, and I’ll post them here. Pass on the tradition of learning about music from friend.

Cheers to Friday night – and the weekend!

trading fours: this week’s listening

July 25, 2009

“Trading fours” is an occasional series you’ll see here featuring four recommended recordings on a theme from any music genre. Leave a comment – send me your four picks, explain what the theme is and why you chose them. I’ll do the rest. (See previous post for the details on this project.)

I’ll get the series started with a set that can best be described as “Things I listened to this week”. In both of my jobs (as music director at VPR, and interning at Cumbancha/Putumayo World Music) and in my weekly show at the Radiator, I’m really fortunate to have exposure to a lot of different kinds and styles of music. As a result, the week’s listening often encompasses everything from jazz and classical to more eclectic sounds (electronic music, prepared instruments)  to new tunes from all different parts of the world. Here’s a pretty typical week of listening:

DJ Frane: Journey to the Planet of Birds

DJ Frane's "Journey to the Planet of Birds"

#1 – DJ Frane’s “Journey to the Planet of Birds” – I was turned on to this amazing, complete musical vision by a friend at Cumbancha. It’s an artfully crafted (more than 300 samples!) electronic tapestry, all on themes of birds and space and spaceflight. It even includes John Glenn’s magical “thousands of luminous fireflies” audio from that moment in February, 1962 as Friendship 7 ventured into the dark side of the planet, and Glenn saw the light particles (ice crystals) swarming his capsule. This is a beautiful recording, and a snapshot “of an era”, in a sense, even though it’s only a year or so old. Things are changing fast in the area of music rights and just as quickly it’s becoming about impossible to create a new work from sampling as liberally as DJ Frane does here.


Rautavaara's "Cantus Arcticus"

#2 – Rautavaara: Cantus Arcticus, Op. 61 – Early this week as I listened to DJ Frane weaving his spell with the “Birds” I was reminded of another piece, by Finnish sound master Einojuhani Rautavaara. His Cantus Arcticus, Concerto for Birds and Orchestra (written 1972) is an equally complex and enchanting work whose “samples” include shore larks, and migrating whooper swans. Sometimes I like to listen to this CD when I’m driving. Between its birdsongs and wide open sound landscapes, it has a soundtrack kind of feel. Perfect for watching nature roll by outside. (I’m not saying that it doesn’t deserve more concentrated listening as well; it does.) Bonus listening on this particular recording (with the Lahti Symphony and conductor Osmo Vanska) – the monunemtal “Angel of Light” Symphony #7, one of Rautavaara’s finest works. Outstanding.

Coltrane's "Meditations"

Coltrane's "Meditations"

#3 – John Coltrane’s “Meditations” – Following the tracks through from the opening (“The Father and the Son and the Holy Ghost”), through the middle section (“Compassion”, “Love”, “Consequences”) to the end (“Serenity”) is nothing less than a full-circle spiritual reckoning. The fuller, louder and more demanding companion piece to Coltrane’s “First Meditations” (recorded two months earlier that same year, 1965), this one adds Pharoah Sanders and second drummer Rashied Ali to the classic quartet for a largely free-form exploration on themes of redemption and personal reconciliation. [PS – It’s been said before, but it can’t be said often enough: engineer Rudy Van Gelder is a genius of mythic Mozart proportions and talent.]

Kimi Djabaté's "Karam"

Kimi Djabaté's "Karam"

#4 – Kimi Djabaté’s “Karam” – From Guinea-Bissau and carrying on the centuries-old tradition of West African griots, Kimi Djabaté’s music leans heavy on the vocals in soulfully rhythmic tunes. The voice is definitely the thing with this one. It’s been riding around with me for a few weeks, but now that I’ve had a chance to really get into it, I can tell you the more I listen the more I appreciate some of the other (non-vocal) aspects of it: like the gentle, woody, melodic percussion that drives many of the songs. Like the sweetly singing kora. And the transparency of instrumental textures – you can really pick out the individual voices and follow them through each piece. Full disclosure: “Karam” will officially be released on Tuesday (7/28) this coming week. I’ve had a copy of it and I’ve been able to listen to it for a while now because I’m an intern at Cumbancha, and this CD is the first release in the new Cumbancha “Discovery” series. The further truth, though, is that I would be listening to this release and loving it even if I had no association with the label. (I would have just had to wait longer to come across it on my own.) “Karam” is special.

So there you have it, getting the conversation started with the first recommendations in the new “Trading Fours” series. Pick a theme and leave me a comment here with your top four music picks.

take five: latina jazz

July 25, 2009

ClaudiaAcunaHeard on NPR this morning, the latest in the ‘Take Five’ series (5 recordings recommended by the music staff, usually on a theme). Today’s feature: Latina jazz singers. I was familiar with three of the five (Claudia Acuna, Susana Baca and Martirio) and happy to learn about the other two (Venissa Santi and Magos Herrera). Claudia and Susana in particular are favorites, with strong, sweet voices and a great gift for phrasing.

I’ve always found the best way to learn about new music is through friends. So let’s do that. I’m going to borrow NPR’s idea and call the occasional series here “Trading Fours”. Leave a comment here and send me your favorite four recommendations on a theme – any musical genre – and a little note about why you picked them. Write as much or as little as you want, but I can tell you I will be a lot less likely to post your music choices if they don’t come with any explanation.

No names necessary unless you want to leave that too, keep it anonymous if you want. Pick a theme, send me your four faves (with the reason why) and I’ll find the cover art and do the rest. The point is to share your particular passion or expertise and let the rest of us in on some tunes we might not otherwise know about.

I’ll it started with a set of four I’ll call “Things I’ve been listening to this week”, give me a little bit to put it together and check back here in a bit for the results. And be thinking about yours.

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