Almost every record you know that was a 1960s radio hit had a secret weapon — a crew of L.A. backing musicians known as "The Wrecking Crew." This group, which included the likes of Glen Campbell, Hal Blaine and Carol Kaye, helped artists ranging from the Partridge Family to the Beach Boys make great-sounding albums.
Originally published on Tue September 18, 2012 4:59 pm
Last week, we published a much-discussed blog post about the connection — or lack thereof — between jazz education and the development of new audiences. It examined a viewpoint by pianist, composer and music professor Kurt Ellenberger, and concluded by challenging Ellenberger to suggest some ways to win new audiences. Here is Ellenberger's response.
Originally published on Tue September 18, 2012 3:53 pm
Yesterday, the opera world was jolted by a rapid-fire sequence of stunning turns at the Metropolitan Opera — and not by divas onstage. In the morning, the New York Times carried a front-page story by Daniel J.
Sufjan Stevens is a classically trained singer-songwriter whose recent work has leaned symphonic. Son Lux is a classically trained beatmaker whose solo albums do indeed evoke luxury. Serengeti is a self-trained rapper who creates voices for a panoply of full-fledged characters who range from scufflers to yuppies. Billed as s / s / s, this ad hoc trio has just released an EP called Beak and Claw that somehow synthesizes their specialties.
Joachim Cooder is no stranger to collaborations, nor is he new to scoring soundtracks, yet Cooder's newest project combines his past experiences in an unexpected way. Son of legendary guitarist Ry Cooder, he took to the drums early on, and eventually played in the famous documentary Buena Vista Social Club. He's also worked behind the scenes, writing for the soundtracks of films such as Lars and the Real Girl.