The world often feels full of fading traditions, from drive-in movie theaters to the dying art of good old-fashioned letter writing.
For the British, add brass bands to that list. Traditional brass bands have played an important cultural role in working-class British communities for centuries. But some warn that without funding, they could become a thing of the past.
Take the Grimethorpe Colliery Band in South Yorkshire. The band was originally formed in 1917, and nearly 100 years later, a group of tuba, euphonium and other horn players still bears the band's name.
I've been listening to two very good new albums led by drummers. After learning that both men are in their early 70s, I can't help but wonder how I process that fact in what I hear.
"Killer" Ray Appleton (b. 1941) and Barry Altschul (b. 1943) practice different styles. But they both came of musical age in the hard-bop era, spent many years living in Europe and eventually returned to New York. In other words, they've each got a lot of experience.
In a way, singer Julianna Barwick's ethereal voice and seemingly shapeless songs are a form of abstract art: colorful and curious, with lines that drift and flow in unexpected but beautiful directions. For her latest video, and a new song called "Offing," Barwick finds commonality in architect Philip Johnson's Glass House and a strange sculpture from artist Ken Price. Barwick performs alongside the sculpture for a live audience, filling the Glass House with layers of her sublime voice.