Source: The New York Times.
The composer Sofia Gubaidulina, who turns 90 on Sunday, lives in a humble brick bungalow in this small town outside Hamburg. She receives guests in the dining room; to get there, they are led through the kitchen to a small round table decked out with a spread of strong tea, something sweet, and the Russian Orthodox icon known as Our Lady of Kazan. It’s all modest and unassuming. But there are clues everywhere of an eminent career in music.
Source: The Boston Globe.
Composer and trumpeter Wadada Leo Smith’s 80th year has been a busy one. Two three-CD box sets of his music, “Trumpet” and “Sacred Ceremonies,” were released by the Finnish record label TUM in May, with a four-CD box set (“The Chicago Symphonies”) and a single-disc album (“A Love Sonnet for Billie Holiday”) slated for release Nov. 19.
Source: I CARE IF YOU LISTEN.
Darius Jones has created a recognizable voice as a critically acclaimed saxophonist and composer by embracing individuality and innovation in the tradition of African-American music. Jones’ new album, Raw Demoon Alchemy (A Lone Operation), will be released on Northern Spy Records in Fall 2021. Darius’ music is a confrontation against apathy and ego, hoping to inspire authenticity that compels us to be better humans.
Source: Milner on Music. This is just one of many recent articles (another is here), and even a book chapter, in which the author is torn on Zappa – between his brilliance, his low-brow humor, and his consistently many less redeeming qualities. Zappa is being revisited and his ugly side explored. There’s no genius pass anymore.
I’ve been thinking about Frank Zappa lately. Why? A few days ago, writer and critic Steve Smith wrote a little post (and some tweets) about seeing The Zappa Band, and mentioned he used to be a fan, then went through a period where he wasn’t, but has sort of come around a little. And it got me to thinking about how I, a trans woman in her mid 30s, thinks about and tries to enjoy the music of one of classic rock’s biggest misogynists, when I’m the kind of person Zappa would have enjoyed pissing off.
Source: University of Antwerp.
For more than half a century Anthony Braxton has played a key role in contemporary and avant-garde- music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference will be the first one dealing with his multifaceted work, discussing different research projects concerned with Braxton’s compositional techniques as well as his music-philosophical thinking. In addition to this we will also look at his legacy, taking this vast body of work as a unique example among many to offer a different perspective on the eurocentric canon of post-war Western art music. The conference will take place from June 3rd. to 5th 2022 at De Singel International Arts Campus in Antwerp, Belgium.