From: The New York Times.
On a recent Monday evening, Philip Glass sat at a piano placed between the painting and a few dozen potential donors to the Days and Nights Festival, his annual works-in-progress showcase south of Palo Alto. Mr. Glass, the master of musical Minimalism, is known for the precision of his endlessly undulating arpeggios. When he plays his own pieces, though, they tend to blur and smear, like Mitchell’s brush strokes. Rhythms that in other hands are almost clinical in their regularity begin to smudge, the music newly volatile and feeling.
Source: burning ambulance.
Sonny Rollins might be the greatest tenor saxophonist who ever lived. But in the 21st century, his reputation mostly rests on the albums he made in the 1950s and 1960s, on the Blue Note, Riverside, Prestige, RCA, and Impulse! labels. His 1970s and ’80s albums are often overlooked or forgotten these days. Well, in this series, we’re going to remedy that, and dig into every one of Rollins’ albums from the ’70s, eleven in all, nine of them for the Milestone label, where he was signed from 1972 to 2001. This string of releases includes some of his most pop-friendly material, but it also includes some truly uncompromising work, as well as some unexpected sounds — Rollins can be heard playing the soprano on several of these records.