10 Nyo http://10nyo.net/ Wed, 21 Sep 2022 19:37:17 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://10nyo.net/wp-content/uploads/2021/11/cropped-icon-32x32.png 10 Nyo http://10nyo.net/ 32 32 Bandleader Sheldon Bair and his community ensemble bring the music to Maryland | app https://10nyo.net/bandleader-sheldon-bair-and-his-community-ensemble-bring-the-music-to-maryland-app/ Wed, 21 Sep 2022 17:56:38 +0000 https://10nyo.net/bandleader-sheldon-bair-and-his-community-ensemble-bring-the-music-to-maryland-app/

BALTIMORE — The vanity plaque on Sheldon Bair’s bright red Camaro gives pause. “MICE TRO,” reads the plate. It’s confusing, concedes Bair.

“People think I’m either a conductor or an exterminator,” he said. The Music Wins: Bair conducts the Susquehanna Symphony Orchestra. (The MAESTRO label was not available when his wife gave him the plate).

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Josephine Davies (Ensō Ensemble… new composition ‘Ascension Suite’, Vortex 21 Oct, St Leonards 29 Oct) – London Jazz News https://10nyo.net/josephine-davies-enso-ensemble-new-composition-ascension-suite-vortex-21-oct-st-leonards-29-oct-london-jazz-news/ Tue, 20 Sep 2022 21:28:13 +0000 https://10nyo.net/josephine-davies-enso-ensemble-new-composition-ascension-suite-vortex-21-oct-st-leonards-29-oct-london-jazz-news/

Saxophonist/composer Josephine Davies has a new orchestra, the Ensō Ensemble. They will perform the premiere of his new composition Ascension Suite on October 21 at the Vortex, then at St Leonards. Interview with Bruce Lindsay.

Josephine Davies. Photo credit: Monika S. Jakubowska

Josephine Davies is relatively late into jazz, switching to jazz class during her classical studies at the Guildhall after hearing John Coltrane, but this decision has been rewarded, including the 2019 Parliamentarian Jazz Prize for Instrumentalist of the Year.

His latest project, the 17-piece Ensō Ensemble, begins in October with the premiere of his latest work, Continuation of the Ascension. Davies recently spoke about the band’s genesis and lineup, explaining the varied influences that brought them to fruition.

Where does the name come from ? “I think of a global project and within it, the name is important. Calling it a “big band” gives a false expectation: my approach is as much rooted in the classical tradition as it is in jazz. I thought about calling it the Josephine Davies Orchestra but the Ensō Ensemble seems to stumble more easily and it follows my Satori project and my interest in Japanese Buddhism, where the word ‘satori’ comes from. My sister, Freya Coates, designed the cover for my previous album: it was an Ensō circle, which is drawn as a meditative practice and celebrates the beauty of incompleteness and imperfection, and it really spoke to me . So the name stems from all of those things and really seems to fit the project.

An ensemble of 17 musicians is a big logistical and financial challenge, so why undertake something so big? “The Satori concerned me a lot as a saxophonist whereas the Ensō Ensemble is linked to my development as a composer. Yes, the logistics are daunting but it really is an outlet for my bigger ideas. Davies spent ten years with the London Jazz Orchestra, succeeding Tim Garland whose predecessor was Stan Sulzmann. Davies calls them “two saxophone giants but also amazing songwriters – so I was expected to get into writing and that’s when I started writing for big ensembles”.

Davies left the LJO in 2018 and has since written for major ensembles, but 2022 has been a period of continued writing with the Ensō Ensemble in mind: stop apart from my anxieties, logistical and selfish!’ I love it so much that it overcomes all potential difficulties. She considers the Ensō Ensemble to be a long-term project and selected its members for two main reasons: “The soloistic ability and personal sound of each of them really speaks to me, but there is also something little broader in terms of creativity, sensitivity. I have just finished a passage for flugelhorns in unison, for Tom Walsh, Ruben Fowler, Nick Smartand Robbie Robson, which I think will be such a beautiful, unselfish section that really brings the music to life. I think about how musicians approach music in general, what inspires my writing and how I leave space: for example, the fourth part of the suite consists of bizarre, dissonant chords, below Jason Yardeit’s free improvisation. He’s such an amazing free improviser, so it’s really a case of less is more when I’m writing this section as I try to imagine what Jason will do on top of it. Davies’ enthusiasm for each member of the ensemble is evident: “I wish I could mention everyone, because they are all so important and inspiring.

Speaking of the influences on the writing of Continuation of the Ascension, Davies mentioned the Celtic Wheel of the Year as one and I suggested that environmental issues might be another. However, Davies has a different perspective on this: “It’s so multi-layered. But what occurred to me when you suggested this is that the Celtic wheel and environmental issues are not the same and may even be diametrically opposed. What I mean is that I have the impression that when people talk about “environmental issues”, their language reflects an idea of ​​distance between man and earth, which is not true. There are huge issues to deal with but it’s not the environment that has the issues, its corporate capitalism. The Celtic Wheel is truly a celebration of who we are in relation to Earth, Gaia. Her idea is to be in harmony with nature, to live close to her with a capital ‘H’. That’s what inspired the sequel, it’s a party piece.

Many jazz fans will notice the sequel’s title and feel a connection to Coltrane, who released his Ascent album in 1966. “It’s tricky. Coltrane remains a huge source of inspiration, not just musically. I think he was a researcher, someone with enormous capacity for humanity. “Ascension”, for me, comes from people and groups who teach the way of the heart, as well as the mind, and talk about the ascension of humans with the planet. It won’t resonate with everyone, and it doesn’t have to. I wouldn’t want to make connections where there are none and, of course, Coltrane was tight-lipped about those aspects of himself, but they come out so clearly in his music.

The Ensō Ensemble’s first concerts will focus on Continuation of the Ascensionbut the first half will feature a set of short pieces written by Davies, plus one by the pianist Frank Harrison, “The Man Who Cycled from India for Love”, which Davies describes as “a beautiful melody”. At the St Leonards-on-Sea gig, Liane Carroll will make an appearance to sing Davies’ ‘Smuggler’s Song’, written when she moved to Hastings in 2020. Davies grew up by the sea and describes the song as ‘a song of love to the sea and the return to the roots. I can’t wait to hear Liane sing it. I think it will be special.

PP features are part of marketing packages

Orchestra members
Josephine Davies – bandleader, composer, arranger, tenor saxophone
Jason Yarde – alto saxophone
Rachael Cohen – alto saxophone
Helena Kay – tenor saxophone 21.10
Alec Harper – tenor saxophone 29.10
Adam Bishop – tenor saxophone/flute/clarinet
Tamar Osborn – baritone saxophone/bass clarinet
Tom Walsh – trumpet/flugelhorn
Reuben Fowler – trumpet/flugelhorn
Nick Smart – trumpet/flugelhorn
Robbie Robson – trumpet/flugelhorn
Anna Drysdale – horn
Olli Martin – trombone
Tom White – trombone 21.10
Maddie Dowdeswell – trombone 29.10
Sarah Williams – bass trombone
Alcyona Mick – piano 21.10
Robert Mitchell – piano 29.10
Dave Whitford – double bass
Shane Forbes – drums
Liane Carroll – special guest singer 29.10

LINKS / RESERVATIONS
Josephine Davies website

The Ensō Ensemble performs The Vortex in London on October 21 – BOOKING LINK and The Kino at St Leonards-on-Sea on October 29 – RESERVATIONS.

Davies plans to record Continuation of the Ascension with the Ensō Ensemble in early 2023 and is currently finalizing details.

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New Amateur String Ensemble Comes to the Valley – Comox Valley Record https://10nyo.net/new-amateur-string-ensemble-comes-to-the-valley-comox-valley-record/ Mon, 19 Sep 2022 20:30:00 +0000 https://10nyo.net/new-amateur-string-ensemble-comes-to-the-valley-comox-valley-record/

The Comox Valley is hosting the launch of a new string orchestra this fall.

The really exciting part? You don’t have to be a top musician to join.

Led by Helena Jung, conductor of the Strathcona Symphony Orchestra, Hello Strings is a brand new amateur string ensemble aimed at offering beginner to intermediate level string players a chance to improve their ensemble skills, while creating beautiful music.

Unlike the SSO, Hello Strings is a strings-only collective, working to fill a void in the Comox Valley music scene, which Jung says has long been neglected.

“Here in the Comox Valley, we don’t have a ropes program to speak of,” Jung said. “In our local school system, students don’t have an outlet to learn the strings in their orchestral programs. We want to create an environment for string players to thrive.

Hello Strings is the result of Jung’s collaboration with music teachers from across the Comox Valley.

“I brought together some of the wonderful string teachers in the Valley to form this program. Musicians need a way to get involved in this type of setting without having to be an advanced player.

There’s a lot to be said for playing music in a group.

“Students play music alone and with their teacher, but there’s so much more to learn and experience when they play with a larger ensemble,” Jung said.

Hello Strings is open to violin, viola, cello and double bass players, ages 8 to adult. The musicians will meet Monday evenings from 4:30 p.m. to 6 p.m. at Christ the King Church, 1599 Tunner Drive in Courtenay.

The registration day for the 1st term will take place on September 19 from 4:30 p.m. to 6 p.m. at the same location. For more information, including registration and fees, email gohellostrings@gmail.com or visit facebook.com/gohellostringsWhere strathconasymphonie.ca

Comox ValleyLive music

]]> Black Midi, Black Country and New Road blow up Mohawk Austin’s sloping roof – The Daily Texan https://10nyo.net/black-midi-black-country-and-new-road-blow-up-mohawk-austins-sloping-roof-the-daily-texan/ Mon, 19 Sep 2022 18:38:00 +0000 https://10nyo.net/black-midi-black-country-and-new-road-blow-up-mohawk-austins-sloping-roof-the-daily-texan/

Fresh off their eclectic and frenzied album Hellfire, London indie-rock band Black Midi commandeered two sold-out nights on the outdoor stage at Mohawk Austin. The venue was a brief pantheon of alternative rock, with critically acclaimed Black Country band New Road opening on both nights.

It’s very rare for a supporting act to demand an amount of love nearly equal to that of their headliner. However, BCNR proves that the second show cannot stifle the talent and cohesion of one of the best emerging bands of their genre.

BCNR baptized in early 2022 with the release of Ants from above, arousing the admiration of fans and critics. A few days before the release, sullen vocalist and guitarist Isaac Wood quit the band due to mental health issues. The band’s month-long stint in support of Black Midi’s North American tour marks the first time American audiences will see the band’s new six-piece setup.

BCNR, which has collectively decided not to perform material from its time with Wood, debuted eight new songs during the final months of touring. From the opening notes of Lewis Evans’ undulating saxophone in “Up Song,” audience members could hear a pin drop on the stepped floor of Mohawk Austin’s pit. The song culminates with Tyler Hyde leading the group in the cathartic proclamation, “Look what we’ve done together / BCNR friends forever.” With alternate vocals from Lewis, Hyde and May Kershaw, the band showed off their virtuoso musical prowess and proved that BCNR becomes more than the sum of their parts.

The first strings of The Verve’s “Bitter Sweet Symphony” swelled as Black Midi took the stage to deafening applause from the audience. Geordie Greep, dressed as a pseudo-Heisenburg, moved fluidly as he danced to the buzzing wall of sound that accompanies the song “John L.” The track served as the central motif of the set, with the band performing various parts of the song throughout the night. Although touring in support of their latest LP, Black Midi performed a diverse setlist with an equal amount of songs from each of their three albums.

The measured chaos of Black Midi’s discography and avant-garde propensity may not fit the stereotypical molds of mainstream music, but their musical genius proves their transcendence beyond their contemporaries.

Loud music doesn’t equal good music, and while Black Midi will leave an audience’s ears ringing, the complexity of the band’s sound cannot be underestimated. If one were to focus on an individual member of the band amidst the chaos of the track “Welcome to Hell”, one would observe a musician completely enveloped in his artistry. Arguably one of the best drummers in the music industry, Morgan Simpson’s tight beats drove Greep’s frenetic chord progressions in songs like “Sugar/Tzu,” a jazz-infused ballad about a fight between Sun Tzu and Sun Sugar. Simpson’s drums provide an unshakable foundation for one of today’s top bands.

The combination of Black Midi and Black Country, New Road feels as natural as peanut butter and jelly – or West Campus and endless building. In the succinct words of the mystical narrator of the “Sugar/Tzu” track, “The audience won.”

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Country, bluegrass band will welcome fans to Bright Box | Every day https://10nyo.net/country-bluegrass-band-will-welcome-fans-to-bright-box-every-day/ Mon, 19 Sep 2022 17:33:00 +0000 https://10nyo.net/country-bluegrass-band-will-welcome-fans-to-bright-box-every-day/

Frank Solivan grew up in a family of musicians.

Her paternal grandmother played mandolin and fiddle, and she and her siblings toured vaudeville.

Solivan’s mother played piano and guitar, and her father was the ninth of 10 children, many of whom played musical instruments.

“I grew up surrounded by music,” he said.

When looking for a musical career, Solivan said, “It was either a no-brainer or no-choice script.”

After playing first chair violin in the University of Alaska Symphony Orchestra, the California native auditioned on electric guitar for the US Navy Band and was accepted.

“The next thing I knew was I was doing push-ups in boot camp,” he recently recalled.

But although he did this for a while – six years, a month and 24 hours, to be exact – playing patriotic music for the Navy was not his destiny.

The Navy Band “was a great springboard,” he said, but he wanted more.

“Instead of just playing music, I needed to go make music.”

Today, the 45-year-old Stafford resident plays mandolin and fronts multi-award-winning bluegrass/country/Americana band Frank Solivan & Dirty Kitchen.

The band will perform with Forrest O’Connor at the Bright Box Theatre, 15 N. Loudoun St., Winchester, at 8 p.m. Saturday.

On the band’s new album, “Hold On,” Solivan wrote and co-wrote several self-assured and optimistic-themed songs.

“Everyone has their difficulties in life,” he said. “It’s not like it’s a perfect world out there.”

He wanted to write songs that spoke of this life experience, which the album’s title track embodies.

Having written “Hold On” in about 15 minutes as the album’s last track, he said he had such deep honesty that it had to be the album’s title track.

Ironically, this is the second time the last song he wrote for an album has become the title track.

It also happened with 2014’s “Cold Spell,” a haunting bluegrass ballad with unlikely chord progressions that enhance its heartbreaking lyrics.

The new album kicks off with two upbeat bluegrass tracks in “I’m Already Gone” about overcoming past hardships and “Hold On,” which taps into spiritual country vibes while emphasizing the importance of community and unity.

The third song, “Goodbye, Goodbye,” however, veers into different territory, alluding to the band’s vast musical range as it harkens back to the early 1980s and songs like “I’m All Out of Love” from ‘Air Supply’ and ‘The Greatest American Hero’ theme (‘Believe it or Not’) while maintaining a decidedly country sound with Dirty Kitchen’s meticulous three-part harmony.

“I have tons of different influences,” Solivan said. “We would go to bluegrass but then Tower of Power or Ray Charles or James Brown.”

Still, his roots are in the country, he said, and at the heart of his influences are stars like Merle Haggard and Diamond Rio.

Delighted to return to the Bright Box after about eight years away, Solivan said he was looking forward to attracting more spectators to this tour after so many months of social distancing during the COVID-19 pandemic.

“I just wish people would go out and enjoy some really fun music and have a good time,” he said. “Go support some live music.”

Doors open at 7 p.m. General admission is $22 plus tax and processing fee in advance or $25 plus tax at the door. Presales end at 6 p.m. on the day of the show.

For more information, visit brightboxwinchester.com/shows.

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“Coronation Mass” and “Regina Coeli” by Mozart – Amadeus Chamber Ensemble – Arts Knoxville https://10nyo.net/coronation-mass-and-regina-coeli-by-mozart-amadeus-chamber-ensemble-arts-knoxville/ Mon, 19 Sep 2022 10:00:01 +0000 https://10nyo.net/coronation-mass-and-regina-coeli-by-mozart-amadeus-chamber-ensemble-arts-knoxville/
Mozart: Coronation Mass & Regina Coeli
Orchestra and choir of the Amadeus Chamber Ensemble

Cathedral Concert Series — Cathedral of the Sacred Heart of Jesus
711 S. Northshore Drive in Knoxville
Sunday, September 25, 5:30 p.m.
Admission is free, but online registration is required

IIt’s fair to say that Wolfgang Amadeus Mozart had a “love-hate” relationship with Salzburg, the city of his birth, childhood and young adulthood. The prodigious musical talent of young Mozart (and his sister Nannerl) was recognized early on by his parents and the rulers of the independent city-state 100 miles west of Vienna. At the time of Mozart’s birth, Salzburg was ruled by Archbishop Sigismund Christoph von Schrattenbach, who employed Father Leopold Mozart as vice-kapellmeister. For years the Archbishop encouraged Leopold to harness his children’s talents for Salzburg’s cultural reputation, exploitation that included sponsoring and promoting their travels across Europe, performing in what cannot be described than as a traveling road show.

When the archbishop died in 1771, his successor was Hieronymus von Colloredo, himself a musician of some talent. Colloredo, despite his despotic inclinations and frugal temperament, was an excellent judge of musical talent and continued Leopold’s employment – ​​as well as Wolfgang as court concertmaster on a salary. However, for Colloredo, the young Mozart was still a servant, serving at the pleasure of his employer with all the limitations that entailed. His nine years of work for Colloredo were marked by constant arguments, requests for time off, displays of ego and objections to the archbishop’s limitations and restrictions. During this period, Mozart began to resent not only the archbishop, but also the provincial atmosphere of Salzburg, longing for bigger and better things, especially the musical richness and variety of Vienna. In 1781, at the age of 25, Mozart permanently severed ties with Colloredo and the confined musical environment of Salzburg.

The theme of the Amadeus Chamber Ensemble concert centers on Mozart and some of his sacred choral music written during his years in Salzburg. In the program notes, ACE Music Director and Conductor Howard Skinner explained his selection of Mozart works.

“Unquestionably”, writes Skinner, “the most important sacred work that Mozart wrote in Salzburg is the Mass in C major, K. 317, “Coronation”. Written in 1780, this twenty-five-minute composition predates the Six Late Masses of Mozart’s mentor, Franz Joseph Haydn, and is therefore one of the earliest examples of what are known as “cantata” masses. .. this work was most likely written for a festive occasion as its length would prevent it from being used during a celebration of Mass at Salzburg Cathedral. Archbishop Colloredo had imposed a twenty-minute limit on the musical portion of the service. As one can imagine, this arbitrary order did not please the clerk to the young composer.

Continuing the Salzburg theme, Skinner also includes the Regina Coeli (K.108). This four-movement work was written in 1771, just before the death of Archbishop von Schrattenbach.

To contrast with the choral music of the young Salzburg Mozart, Skinner will conclude the concert with the 1791 motet in D major, Hail Verum CorpusK.618.

“This remarkable composition written in the last year of Mozart’s life,” explains Skinner, “is perhaps the best known of all the composer’s sacred works. It is an extraordinarily simple work in an unadorned chord style. None of the more dramatic aspects of Mozart’s style are brought out. Michael Steinberg [in Choral Masterworks, A Listener’s Guide] captures the essence of the piece when he writes: ‘Mozart never invented anything more moving than these forty-six perfect bars.

Along with conductor Skinner, the Amadeus Chamber Ensemble Choir and Orchestra will feature soloists Abigail Santos Villalobos, Diana Salesky, Kirk Dougherty and KC Armstrong. The ensemble’s concertmaster is Miroslav Hristov.

]]> My soul, there is a country and who will separate us from the love of Christ? Hymns by Charles Parry and Sir James MacMillan https://10nyo.net/my-soul-there-is-a-country-and-who-will-separate-us-from-the-love-of-christ-hymns-by-charles-parry-and-sir-james-macmillan/ Mon, 19 Sep 2022 08:36:15 +0000 https://10nyo.net/my-soul-there-is-a-country-and-who-will-separate-us-from-the-love-of-christ-hymns-by-charles-parry-and-sir-james-macmillan/

The Queen’s funeral takes place today and every element of the service has been carefully selected by the late monarch.

Plans for her funeral included the order of service and music chosen to give a final goodbye to the Queen.

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The choir will sing two hymns — My Soul by Charles Parry, There is a Country and Who Shall Separate us from the Love of Christ? composed for the service by Sir James MacMillanCredit: Rex Features

What is my soul, there is a country?

After the sermon by the Archbishop of Canterbury, Justin Welby, the Westminster Abbey Choir will sing the anthem My Soul, There Is A Country.

The Queen would have chosen it as “a hymn of great hope”, Buckingham Palace said.

The lyrics are…

My soul, there is a country
far beyond the stars,
Where stands a winged sentinel
All skilled in wars:

There above the noise and the danger
Sweet Peace sits crowned with smiles
And One, born in a manger
Order the beautiful files.

He is your kind friend
And, O my soul, wake up!
Did in pure love descend
Die here for you.

If you can only get there,
There the flow of peace grows,
The Rose that cannot wither,
Your fortress and your ease.

So leave your senseless scales,
‘Cause no one can secure you
But the one who never changes,
Your God, your life, your healing.

Latest updates as Charles, Harry and William attend Queen Elizabeth's funeral
The Queen's funeral will be a day of deep sadness, but also of beauty

Who wrote My soul, there is a country?

The song was composed by Sir Charles Hubert Hastings Parry, also known as Hubert Parry, who lived from 1848 to 1918.

It features in his Songs of Farewell, which is a set of six compositions by the British composer, which was written during the First World War.

The choral pieces, created between 1916 and 1918, are among the last before his death.

The six motets are composed of poems by British poets, with My Soul, There Is A Country written by Henry Vaughan.

What will separate us from the love of Christ?

After the commendation from the Archbishop of Canterbury, the choir will sing another hymn.

It will be a composition based on carefully selected verses from the Bible.

It contains words from Romans 8:35a and 38b–end.

The choir will sing: “Who will separate us from the love of Christ? Neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, nor height, nor depth, nor any other creature can separate us from the love of God, which is in Christ Jesus our Lord. Alleluia! Amen.”

Who wrote Who Will Separate Us From the Love of Christ?

Although the text is taken from the Bible, the hymn music was written by Sir James MacMillan CBE in honor of this service.

The Scottish composer is one of the most performed composers today, with his choral and orchestral music performed by the most renowned orchestras in the world.

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Andrei Kurkov: dispatches from a besieged country | Ukraine https://10nyo.net/andrei-kurkov-dispatches-from-a-besieged-country-ukraine/ Sun, 18 Sep 2022 08:00:00 +0000 https://10nyo.net/andrei-kurkov-dispatches-from-a-besieged-country-ukraine/

March 6, 2022

I never thought that so many things could happen in a week, so many terrible things.

On February 24, 2022, the first Russian missiles fell on Kyiv. At five o’clock in the morning, my wife and I were awakened by the sound of explosions. It was very hard to believe that the war had started. Which is to say, it was already clear that it was, but I didn’t want to believe it. You have to psychologically get used to the idea that the war has started. Because from that moment, the war determines your way of life, your way of thinking, your way of making decisions.

We decided to leave for our house in the village 90 km (56 miles) away. I checked Google Maps and saw that the Kyiv exit to the west, towards our village, was open. We packed up, got the food from the fridge and freezer, loaded it into the car and hit the road. But by the time we reached the western edge of town, the traffic stopped. Among the cars there were many with license plates from other cities: Dnipro, Zaporizhzhia, Kharkiv and even Donetsk and Luhansk. I realized that these drivers had been on the road for at least two days. It showed in their pale faces, in their tired eyes, in the way they drove.

Andrej Kurkov. photographed in London earlier this month. Photography: Andy Hall/The Observer

Along the way, my wife called her friend Lena, a music teacher at the Kyiv School of Arts, and asked her if she would like to come with us to the village. Lena couldn’t make up her mind. Then she said yes, she would come with her son. They got out on the road and waited 20 minutes before reaching our meeting place. They made their way between trucks and buses to reach our car and bundled up in the back seat, suitcase and all. Now the car was full.

The trip to the village, which usually takes an hour, took four and a half. We walked through abandoned and wrecked cars, watched the guns and tanks set up for the defense of Kyiv. We saw a lot of military equipment driving back and forth on the right side of the highway, usually used by cars going to Kyiv. Very few were heading in that direction now.

It was hard on my heart. No one said a word. I turned on the car radio and we listened to the news from the front. The front now measures 3,000 km, along the border with Russia and Belarus. Kharkiv and Mariupol were shelled, hundreds of tanks entered the territory of Ukraine in several places, including from Crimea. Ballistic missiles flew from the territory of Belarus to Ukrainian cities. The news did not calm us, but it diverted us from the traffic jams.

When we got to the village, I turned off the radio and everything became quiet. No explosions or gunshots. The birds were singing, rejoicing in the arrival of spring. We brought things into the house, made tea. I set up my desk to work, opened my laptop, then a friend from Kyiv called me and asked, “Where are you?” I told him. He advised us to immediately go further west.

A woman in Kyiv prays on the day Putin announced the
A woman in Kyiv prays on the day Putin announced the “special military operation” in eastern Ukraine. Photograph: Daniel Leal/AFP/Getty Images

The day before the start of the war, our children, including our daughter from London, had left with their friends for the beautiful city of Lviv, in western Ukraine. They wanted to visit the cafes, the museums, the medieval streets of the old center. We decided to join them. The 420 km journey took 22 hours. Traffic jams varied in length, from 10 to 50 miles.

We found our children confused and sad. Not far from the house they were renting, I noticed an armory. It was still closed, but there was a line of people in front. There were men, young boys and girls in the queue, waiting for opening time.

I realized that I hadn’t called my older brother or my two cousins ​​before I left Kyiv. I easily managed to reach my older brother. He said he was sitting at home listening to the sound of explosions. I couldn’t reach my cousins. I wonder when I will see them all again.

The bombed Makariv bread factory, April 19.
The bombed Makariv bread factory, April 19. Photography: Alexey Furman/Getty Images

March 8, 2022

In the Ukrainian countryside, there is a long tradition of having lots of bread on the table and eating it with butter and salt or dipping it in milk.

In our village shop, we bought our favorite Makariv bread – a soft, white bread in the shape of a brick. It was baked at the famous Makariv bakery in the town of the same name 20 km from our village. Occasionally you can find this bread in Kyiv, but only in small corner shops, not in supermarkets.

I’ve been thinking about this Makariv bread for several days now – remembering the taste. Only now, remembering, I taste blood on my lips, like when I was a kid and someone split my lip in a fight.

The fact is that the Makariv bakery was shelled on Monday by Russian troops. The bakers were at work. I can imagine the fragrant smell that surrounded them the moment before the attack. In an instant, 13 bakery workers were killed and nine were injured. And the bakery is no more – Makariv bread is a thing of the past.

March 9, 2022

We are now in an apartment in Transcarpathia, west of the Carpathian Mountains. This morning I went to the key store again. There are four of us, but we only have one set of keys. We need to make at least two more sets, but there are no key blanks available. This is a new type of shortage, common throughout western Ukraine. The cities are full of refugees. They are welcomed into houses, given rooms and apartments, settled in hostels and schools. But most of them need keys.

A woman and child on a bus fleeing Kyiv after the invasion.
A woman and child on a bus fleeing Kyiv after the invasion. Photograph: Emilio Morenatti/AP

This apartment was given to us by a retired woman named Larissa whom I had never met before – a relative of our friends. She went to live with her daughter and didn’t even take any food out of the fridge. She told us to eat it ourselves. The apartment looks like my late parents’ apartment – ​​it’s like a Soviet-era museum. Two bedrooms, a small kitchen, toilet and bathroom. There was no heating or hot water at first. The day before the attack on Ukraine, the boiler broke down. At night, the temperature rises to -1C or -2C. We left most of our warm clothes in Kyiv.

In fact, we didn’t really think about what to take with us. We thought we would go to the village, not far from Kyiv, and come back very soon. I think that’s always the case at the beginning of a war.

March 24, 2022

More and more children are traveling alone to Poland, Slovakia and Hungary – with small backpacks and notes sewn into jackets, on which are written the telephone numbers of their parents, the names of the children and the addresses of people children need to reach.

Many families also travel with other people’s children, trying to ensure that all the seats in their car are occupied. Every empty seat in a car going to western Ukraine is a life that has not been saved.

Romana Yaremyn poses in the bookstore she runs in Lviv on April 20, among hundreds of books evacuated from her bookshop and publishing house in besieged Kharkiv.
Romana Yaremyn poses in the bookstore she runs in Lviv on April 20, among hundreds of books evacuated from her bookshop and publishing house in besieged Kharkiv. Photograph: Yuriy Dyachyshyn/AFP/Getty Images

March 30, 2022

When we became refugees, we left all our books in Kyiv. Now, since my first wartime trip to Europe, I have books again – gifts from my English publisher. I wonder when I can bring these books home and add them to my library.

Nothing is published in Ukraine now, nor can I imagine there is much reading among Ukrainians. I don’t read, although I try to. War and books are incompatible. But after the war, the books will tell the story of the war. They will fix the memory, form opinions and arouse emotions.

In Mariupol and other cities in the south and east, bookstores were destroyed along with their books. In other cities, they were simply closed. When they reopen, it will mean that peace has returned to Ukraine. When a bookstore reopens in Mariupol, it will mean a lot more.

April 4, 2022

Most writers, intellectuals and artists are now gathered in Lviv, a city that has long been the cultural capital of Ukraine. There, the bookstores are open, but the customers are few. Instead of books, writers now write columns, broadcast radio programs and participate in information projects. There are those who stayed in Kyiv and write from there about life during the war. There are also those who joined the armed forces and there are also those who are no longer, those who were killed at the front.

Kalush Orchestra celebrates their victory for Ukraine in the Eurovision Song Contest.
Kalush Orchestra celebrates their victory for Ukraine in the Eurovision Song Contest. Photography: Rolf Klatt/Rex/Shutterstock

May 18, 2022

Once again, for the third time in this century, Ukraine has won the Eurovision Song Contest. Each of the country’s victories in this competition comes in the wake of a historic upheaval. I want to believe that this year’s victory will be the last for many years. I don’t usually watch Eurovision and I missed this one too, but I listened to the winning song and I like it. Above all, I like the solidarity of the Europeans who voted for Ukraine.

For several days, Ukrainian Facebook has been overflowing with the joy aroused by this victory. Ukrainians joke that Putin woke up last Sunday morning and was horrified to learn that Ukraine had won. It took him a while to realize that Ukraine had won Eurovision, not the war – not yet.

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Country/gospel singer Josh Turner will perform at the Sharon https://10nyo.net/country-gospel-singer-josh-turner-will-perform-at-the-sharon/ Sat, 17 Sep 2022 22:45:37 +0000 https://10nyo.net/country-gospel-singer-josh-turner-will-perform-at-the-sharon/

Country/gospel singer Josh Turner will perform songs from a new Christmas album in December at the Sharon L. Morse Performing Arts Center in The Villages.

Tickets can be purchased at GetOffTheBusConcerts.com, TheSharon.com or (352) 753-3229.

Turner’s most cherished childhood holiday memories are listening to Randy Travis’ “An Old Time Christmas,” as it was the soundtrack for the holiday season at his Hannah, SC home. When Turner set out to record his first Christmas album “King Size Manger,” Travis’ country Christmas collection was his haunt.

Josh Turner

Turner didn’t want a Frank Sinatra brass section or a 100-piece orchestra. He planned to create a timeless country Christmas album that he could imagine his family’s neighbors were listening to in South Carolina.

“I just got it ingrained in my mind that you have all this other Christmas music out there, but when it comes to growing up in the country and the lifestyle that comes with a country upbringing” Randy’s record, that’s all, you know?’ Turner admitted. “I had just fooled myself into thinking I had to do volume two.”

Turner’s “King Size Manger” is his dream come true – and more. “King Size Manger” is a collection of traditional country versions of classic Christmas songs with original tunes plus Hawaiian, bluegrass and swing sprinkled into the mix. Turner wrote three of the four original songs and arranged five tracks on the 11-song album.

His rich, distinct baritone wraps around each song like a cozy blanket on a snowy morning. Holiday classics including “The First Nowell” (with the song’s traditional spelling) and “Silent Night, Holy Night” get even more nostalgic, and the originals “King Size Manger,” “What He’s Given Me,” Soldier’s Gift” and “Mele Kalikimaka My ‘Ohana’ embraces the feel of centuries-old Christmas traditions.

“I let my heart out,” Turner said. “Each of them I helped reshape and recreate because a lot of those songs had been done so many times. Making a Christmas record can be a daunting task for an artist. There are so many songs to choose from and there have been so many versions of these songs throughout history it can be daunting to know if you will be able to live up to what has already been done and when i get to At this point, I take a step back and remind myself that I have to do what I hear in my heart. You might be surprised to hear my arrangement on some of those songs you know so well. We got together a lot. fun throwing away all the preconceptions of what a Christmas record should sound like. In my opinion, it’s about the words and the heart and soul of how a song sounds. You don’t need of jingle bells on a song to make it a Christmas song.

For two decades, Turner’s deep, velvety voice has been the most recognizable on country radio. His unwavering dedication to the tenets of the country genre inspired a generation of country singers and bolstered an underserved segment of the fan base.

For just as long, Turner has been outspoken about his dedication to his Christian faith. He released his gospel album “I Serve a Savior” in 2018, after waiting for what seemed like the right time between mainstream projects. He was equally intentional with the release of his first full Christmas album, which fans have been asking for since the start of his career. To prepare, he wrote Christmas songs for a year before recording. If planning “King Size Manger” was daunting due to the sheer volume of Christmas albums available and the number of times many holiday favorites had been recorded, then trying to come up with new ideas for an original Christmas song was downright daunting. .

“You have Santa Claus, and you have Jesus, and most of these songs have been written,” he laughed. “You’re a bit on the cutting edge of creative ideas, so I really had to dig deep and try to find some clever little turns of phrase and twists.”

When the idea for the song “King Size Manger” came to mind, Turner said it was also intimidating. He knew the concept was solid and didn’t want to spoil it. Turner entrusted the plot to his longtime friend and co-writer Mark Narmore. The men wrote hundreds of songs together, but when Turner shared the idea, Narmore was speechless.

“He was like, ‘What a title!'” Turner recalled. “He and I have such a relationship and are comfortable enough with each other to allow heart and soul to flow out of a song we’re trying to write. We sat down and knew that we just had to tell the story of what a king crib is and why it is a king crib. So that’s what we did.”

“King Size Manger,” the album’s title track, tells the prophecy and story of Jesus’ birth powerfully expressed in simple words and amplified by Turner’s fiery, honest delivery. The lyrics include:

There in the hills of Bethlehem
No one had room for them
They knew that kid was real life changing Lying there in a king size crib

“I was so proud of it when we finished the song,” Turner said. “I was a bit surprised and shocked that we could achieve this.”

Turner and Nashville-based singer-songwriter Pat McLaughlin were inspired by Ralph Stanley’s version of “Beautiful Star of Bethlehem” when they wrote the banjo-fronted midtempo bluegrass “What He’s Given Me.” . Turner is the sole writer for the Hawaiian-influenced film “Mele Kalikimaka My ‘Ohana” (starring Jake Shimabukuro and Ho’okena), inspired by a birthday trip he took to the island with Turner’s wife, Jennifer. Affirmed by its unique harmonies, ukulele and strum patterns, its sound makes “Mele Kalikimaka My ‘Ohana” a standout on “King Size Manger”.

Songwriters Travis Hill and Tom Douglas wrote “Soldier’s Gift”, the album’s lead single.

“I loved what the song says and musically it’s laid back enough to grab your attention where you really focus on the words. At first I thought “Where’s the song going?” But I just felt there were so many families and so many members of our military that could relate to that song. And it matched all the other songs and added to the variety and the subject of this record.

Turner dressed up some Christmas favorites with special guests. Rhonda Vincent joined him on swing “Joy to the World” and “Have Yourself a Merry Little Christmas,” the first classic Turner knew had to be on the record because it was still his favorite song, features his wife and four sons.

“I’m sitting in my living room one night, just messing around with the song. And all of a sudden I heard this background vocal part and I thought that was what Jennifer and the boys had to sing along to. So I called a few boys and asked them to sing the part and they did. We went through it and I thought “yes, this is it”, so I made a little recording of it on my phone. Then we went into the studio and they did a great job on it all,” he said of his family. “I’m pretty proud of that one.”

The singer wanted to keep his version of “Go Tell It On The Mountain” as primitive as possible and relied only on the piano, the Hammond B3 organ and a three-person choir for backing.

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RPO Pops will present “Country Hits: Songs From Nashville” https://10nyo.net/rpo-pops-will-present-country-hits-songs-from-nashville/ Fri, 16 Sep 2022 19:18:21 +0000 https://10nyo.net/rpo-pops-will-present-country-hits-songs-from-nashville/

ROCHESTER, NY (WROC) — On Friday and Saturday night, the Rochester Philharmonic Orchestra will be heading country. This is only the second time the RPO will feature country music in its nearly 100-year history.

The program, “Country Hits: Songs From Nashville,” put together by Principal Pops bandleader Jeff Tyzik, features singer Rick Brantley, who also featured prominently in a previous Paul Simon showcase featured by Tyzik in last year’s Pops series. Tickets can be found here.

The music starts at 8 p.m. both nights, but will also feature a pre-concert conversation at 7 p.m., where Tyzik and Brantley discuss how they put on the show.

“Rick is a storyteller,” Tyzik said during Friday’s rehearsal. “On Simon’s gig when he sang ‘The Boxer.’ It was his own story. It was amazing. And I just knew he had the soul of that country music and he was the expert that I had to work with to really bring that to life.

This soul of country music was another key for Tyzik as he composed the program. Besides the full complement of the RPO, the core of the sound is a country band, with acoustic, electric and slide guitars, as well as bass and drums.

“Being able to tell these stories to perform these songs in a completely new way that I’ve never done before…And so few of us have had the opportunity to do that, on this level,” said Brantley said. “The hardest part is remembering to sing because you’re in the middle of this beautiful thing happening on stage.”

The program will start “at the beginning”, with a rendition of “Will the Circle Be Unbroken”, and move on to Dolly Parton, Johnny Cash, Willie Nelson, and end with modern artists such as Tim McGraw and Kacey Musgraves.

Brantley said it was his third time paying Rochester and that he had come to love Western New York and even offered a “Go Bills!” at the end of the interview.

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