Tagged: Public Radio Toggle Comment Threads | Keyboard Shortcuts

  • richardmitnick 8:09 am on March 26, 2010 Permalink | Reply
    Tags: , , , , Public Radio, , ,   

    Freeze Frame – Start a New Music Library 

    Freeze Frame – Start a New Music Library

    Interesting title?

    I am sitting here this morning listening to Caleb Burhans and Alarm Will Sound on The Q. I first saw Caleb’s name in connection with an Innova disc, Fast Jump with performer Danny Holt.

    So, O.K., lots of ties here. And, the music to which I am listening is bright, inventive, I mean, I have no real academic basis for commenting. I just hear a lovely newness here.

    So, should I buy the work? If I do, will I even remember that I have it?

    What’s the problem? I have for a long time been fulfilling my stated modus of supporting living composers by purchasing their work, these days in .mp3. The problem is that anything I buy now disappears into 189 gigs of music files, 400 composers, 3056 albums, 34415 tracks.

    I look over at the wall of books in my Digiteria: Theology. Jewish and Christian Theology; Islamic, Jewish and Christian Mysticism, Dead Sea material; religious philosophy and Philosophy of Religion. The wall evinces a past activity, the material evidence of a 25 year study and search for meaning. It is not really stopped, I am into those books all of the time. But, that is what I did actively before Music. Hours and hours and thousands of dollars for my own library to be able to pick up any footnote and go to the shelf and get the book. Now it is a more passive interest. I found a theology that I could live with, the Grund theology of Meister Eckhart.

    So, what about the music library. Freeze it. Start a new one. There is a new computer coming, an i5-520M. Start a new library. What is the basis to be? How will it differ? It will be based on the offerings of Q2, where I am enamored of the brilliance of Nadia Sirota; and music put forward by Marvin Rosen in his Classical Discoveries and Classical Discoveries Goes Avantgarde programs on WPRB, Public Radio in Princeton, NJ. Also, John Schaefer is constantly bringing forward new people at WNYC on Soundcheck and New Sounds . I don’t want to leave out noting the great contributions for Jazz that I have received from Dan Buskirk and Will Constantine Jr at WPRB. Among so many artists they have presented, Dan gave me Rhoda Scott, and a greater appreciation of Keith Jarrett. Will knows Latin Jazz better than anyone in radio. But, Jazz will stay with the current library. The new library will be limited to New Music, Bang On a Can composers, groups like the Bang On a Can All-Stars, Ethel, itsnotyouitsme (did I get that right?), eighth blackbird, new music from Innova, and the like.

    So, what happens to the old library? Nothing changes. I still love Miles, ‘Trane, Part, Glass & Reich, Bruce, The Allmans, Beethoven, Dvorak, Robbie Robertson, Streisand, Bebo and Chucho Valdez, The Traveling Wilburys, Paquito D’Rivera, Jerry and Andy Gonzalez, Bela Fleck and Edgar Meyer, Ken Field from Boston, Eric Clapton and Steve Winwood, Bob Dylan, Brian Eno, the Adderleys, Charlie Mingus, Chick Corea, Al DiMeola, egad, stop already.

    But, especially Nadia and Marvin, I do not know if you read what I write; but you have a huge responsibility. You bring the Truth of the New. Not just to me, to everyone who hears your programs. Nadia, I hope that you stick around Q2. I can see the day when your career as a violist will mean the end at The Q. That will be sad for us, but terrific for you. Marvin, you never let us down, you are simply the best person in New Music anywhere.

    The new computer, really purchased to add to my capabilities to “crunch” for scientific projects running BOINC software including those from World Community Grid, will be equipped with a Western Digital 1 terrabyte Passport external hard drive on which to build the new library. So, let’s fill it up.

    And, hey, any of you out there who might be interested in helping yourselves, your family members, and the Family of Man, take a look at the above mentioned World Community Grid and visit some of the projects shown on the BOINC web site. We “crunchers” have saved laboratory scientists literally thousands of hours of lab time on incredibly worthwhile research projects at august institutions an universities around the globe. We could sure use your help.

     
  • richardmitnick 4:51 pm on March 9, 2010 Permalink | Reply
    Tags: , , , , , , Public Radio,   

    A New Look at Music From the Hearts of Space 

    A New Look at Music From the Hearts of Space

    I think that it is time for a new look at Hearts of Space. Hearts of Space, Music From the Hearts of Space, HOS, whatever one calls it, is the creation of Stephen Hill. HOS has been one of the singularities in performing what I see as the mission of Public Radio in music: to motivate the listener to spend money to support the artists and composers whose work we cherish. I thought about that last word, “cherish”, and I think it is the correct word to express how I feel about the music I love.

    Stephen started with Program 001, “First Flight” one January 1, 1983. There are now 903 programs in the Archive. I can listen to any program I want any time I am near one of my computers. I have subscriptions to HOS both at home and at work.

    But, it was not always so. I am going to quote directly from the web site. No one tells the story better than Stephen. I have done some editing to help readability. I hope that Stephen will not mind:

    “HEARTS of SPACE began as a San Francisco late night radio show in 1973, went national on Public Radio in 1983 and to our eternal amazement, grew to almost 300 stations. We started an independent record label in 1984, ultimately releasing almost 150 albums…

    “HEARTS of SPACE grew out of [Stephen’s] fascination with space-creating [Stephen is actually an architect], ambient and contemplative music. Beginning in the early 1970s, [he] hosted a weekly late-night radio program on KPFA-FM in the San Francisco Bay area. What began purely as a labor of love eventually became the most popular contemporary music program on Public Radio. Over the intervening quarter century, Hearts of Space evolved into a multifaceted music and broadcast producer encompassing radio syndication, a record company, and an Internet music service…

    “In January 1983, after ten years evolution as a local program, Hearts of Space began national syndication to 35 non-commercial public radio stations via the NPR satellite system. Hosted by Stephen and original co-producer Anna Turner, within three years the program signed its 200th station and became the most successful new music program in Public Radio history, as well as the most widely syndicated program of ‘spacemusic’ — a tastemaker for the genre…

    “Now in its 26th year of national syndication, a one hour program airs weekly on over 200 NPR affiliate stations, including three of the top five U.S. radio markets and a majority of the top fifty. The program is also heard nationally seven nights a week at 11pm Eastern/8pm Pacific on SiriusXM Satellite Radio’s ‘Spa’ Channel 72…

    “Internet streaming began in 1999 on pioneer webcasters NetRadio and WiredPlanet as well as Public Radio sites, and evolved in 2001 into a full blown subscription service offering on-demand access to the entire Archive, now over [900] programs created since 1983…

    “From the beginning, the program’s success has come from consistently high production quality and sensitive, knowledgeable music programming. The program has defined its own niche — a mix of ambient, electronic, world, new age, classical and experimental music. Artists and record companies around the world recognize Hearts of Space as the original, most widely heard, premiere showcase for ‘contemplative music, broadly defined’…

    “Quality crafting is the keystone of the HOS experience. After a brief intro, each one hour show is an uninterrupted musical journey, designed to create a relaxed but concentrated ambiance. Slow-paced, space-creating music from many cultures — ancient bell meditations, classical adagios, creative space jazz, and the latest electronic and acoustic ambient music are woven into a seamless sequence unified by sound, emotion, and spatial imagery…

    “Old as they are, contemplative sounds continue to evolve. [Stephen] says “What’s now being called Ambient music is the latest chapter in the contemplative music experience. Electronic instruments have created new expressive possibilities, but the coordinates of that expression remain the same. Space-creating sound is the medium. Moving, significant music is the goal…

    “The ancient resonances of drums, bells, and flutes, the exotic tones of gongs and gamelans, the digital sounds of the Ambient frontier; in its third decade, Hearts of Space continues to deliver the best of the contemplative sound experience, with spacemusic from near and far out….”

    O.K., that is the voice of Stephen.

    What has HOS meant for me? First, as indicated by this weblog, music is my passion. Classical music was my father’s gift to me. He thought that he gave me a business, and, yes the business made me more than comfortable. But, the business is now history and my passion for music has not only never ceased, but it has grown. I have ventured farther out than my father ever did or imagined was possible. My particular tastes include a great many late 20th century Classical composers and Jazz. And, what I heard on HOS.

    HOS took me to the cutting edge. I learned about not only “space music”, but also a great many composers in genres with which I was not familiar. Celtic, Asian, Middle Eastern, just to name a few. There are programs designed to fit the seasons of the year. I must interject to be totally accurate that I have also learned a great deal from John Schaefer at WNYC . But John, equally deserving of efforts here, is not the subject of this post.

    If you would like to see the material presented, visit the HOS web site. Along with the archive of programs, there is also a library of complete albums which Stephen has arranged to be available for your listening enjoyment. Check out the play lists for the programs and take a look at the albums.

    So, what is it like to listen to HOS from the web site these days? Well, it is a far cry from days gone by, when on the FM broadcast one might also hear the interference of a jet plane flying overhead. The olden days of the streaming audio were not too shabby. The music was streamed in a Windows Media format, 64kbit for broadband and 32kbit for dial up. I was fortunate that by the time WNYC forced me to the greater pleasures of HOS streaming audio I had broadband. The 64kbit stream was pretty darned good. I always measured the quality of the broadcast on FM by the incredible presence of the short silences between pieces. There was nothing like it anywhere in broadcast radio. The broadband stream was just as clean and bright.

    But, there was no resting on laurels. There is now an incredible flash player. The new web site is beautiful, a work of art filled with works of art. Newly added is an image gallery where one finds images that are appropriate to some of the programs.

    The weekly program is available for free on Sundays. So, if you are interested, give HOS your ear on a Sunday, actually, several Sundays, to try and measure for yourself if this programming and music can be of value to you. If you like what you hear and you want to subscribe, there are several plans at varying prices.

    One warning: if you are ever hooked, you will never go back.

    I hope that you will listen, and then subscribe, and, finally, complete the mission of Hearts of Space – as I define it – by buying the work of the artists and composers you like in whatever format you choose from what ever vendor you choose.

     
    • Eric 3:18 pm on March 10, 2010 Permalink | Reply

      Glad to hear you really enjoy Hearts of Space! Have you ever enjoyed any of the music from Hearts of Space Records? We released some of the great programs from the show as well in the “Best of Hearts of Space” Series (http://www.valley-entertainment.com/artists/best-of-hearts-of-space-series.html).

    • richardmitnick 3:50 pm on March 10, 2010 Permalink | Reply

      Nice to make your acquaintance. I have listened to albums from the HOS web site. I have been a “fan” of HOS so long, I go back to probably PGM 15. If you know the folks at HOS, you can ask about me.

    • Leena Rogres 10:53 am on February 8, 2011 Permalink | Reply

      I have every program from #1 to #936. It is pure joy to cycle to the top of the bluff and with my Bose unit (fully charged) watch the mad world below.

    • Septer McNamaste 3:36 pm on June 25, 2014 Permalink | Reply

      I have every program braodcast.

  • richardmitnick 8:01 pm on February 17, 2010 Permalink | Reply
    Tags: , , , Public Radio,   

    Rhoda Scott? You bet!! 

    Rhoda Scott? You bet!!

    So, who is Rhoda Scott?

    I learned of this great Jazz organist from Dan Buskirk, Jazz DJ at WPRB . Dan played one track, Also Spracht Zarathustra from the 2 LP set Live at the Club Saint-Germain (1974 Barclay 80.835/80.536- France). What a blast!

    I found the track on line and free in mp3. But I could not get the complete album. I did get a bunch of albums, all in mp3. But, I never stopped looking for the one that was so elusive.

    I recently found Live at the Club Saint-Germain and now it is in my collection.

    So, I am doing a Rhoda Scott cycle on the Zune; my practice is to alter the ID-3 tagging to put the release year in front of the album title. That way, they will go into any player software in chronological order. Then I can guide my listening. I must say, I am impressed with this wonderful musician. Here is some brief detail from Wikipedia:

    “…The daughter of an AME minister, Scott spent much of her childhood in New Jersey, where she learned to play organ in the churches where her father served. Soon she herself was serving frequently as organist for youth and gospel choirs at her father’s and other churches. Scott later studied classical piano, but she concentrated on the organ, eventually earning a Masters’ degree in music theory from the Manhattan School of Music. By this time she had been asked by a choir member to fill in with a small band as a jazz pianist. Enjoying the music, she agreed to stay on with the band on condition that she be allowed to play organ instead of piano. Choosing as her instrument the Hammond Organ, she soon became a preeminent jazz musician and is considered by many to be the top female jazz organist…”

    And, here is some of my collection:

    There is a lot of Rhoda Scott available at Amazon. Take a listen to some of the samples.

     
  • richardmitnick 8:26 pm on February 16, 2010 Permalink | Reply
    Tags: , , , Public Radio,   

    A Bone to Pick with The New York Times 

    A Bone to Pick with The New York Times

    So, yes, a bone to pick.

    In many news organs, newspapers, magazines, certainly ezines and the like, readers find that they can make comments on the stories and articles they read. The writer may come back to comment. Or, the writer may leave the readers to their own squabbles.

    But, apparently not so in the NYT. At least, not always.

    The case in point is an article by Anthony Tommasini in the February 12, 2010 issue. This article had as its theme the breaking down of stereotypical genres in the serious music of the day.

    Now, this is important stuff. There is definitely, at least in Mr Tommasini’s back yard, a lot of genre bending going on. There is the Wordless Music Project. There is at (Le) Poisson Rouge in the old Village Gate a new destination for the New York New Music scene. Even the New York Philharmonic is getting into the act with Maestro Gilbert’s announcements concerning his second season, another NYT article we might like to address or attack. We have groups like Ethel and eighth blackbird. We have composers like Nico Muhly and David Lang one of the founders of Bang On A Can. David just won the Pulitzer for his Little Matchgirl Passion.

    And, on radio, we have it all being broadcast and streamed by Q2, the 24/7 eclectic music stream of WQXR. Putting it all in focus is young phenom violist Nadia Sirota on Q2, 12:00-4:00, noon and midnight, with many and varied slants on what is happening.

    Ann Midgette in The Washington Post was able to immediately respond. To her article one could make a comment. She also pointed the reader to a response by Kyle Gann. At The moment, Maestro Gann seems to be not taking comments; but he has in the past, and probably will again.

    In actual fact, Greg Sandow has been thinking about this for a long time, at least as far back as a 2003 article in New Music Box, the blog of the American Music Center, New York City. Looking at that article, there was no chance for comments on what Greg called Alternative Classical, shortened to alt-classical. But, rest assured, if you visit Greg’s current blog at Arts Journal, you will see that Greg is totally with the new environment that the Times is currently spurning. Greg is the Comment King. Sometimes, the comments exceed the total word count of Greg’s incredibly long pieces. And, Greg feeds off of the comments. He responds to some and writes new articles based on others. I wonder if Mr Tommasini reads Mr. Sandow?

    The point is, we the readers of Mr Tommasini’s article are not free to start up with either Mr Tommasini or each other. I view this as a failure of the NYT to keep up with the currency of today’s journalism. What I have described above are the leitmotifs (Pacem, Wagner fans) of the day. They are the bleeding edge. The Riley, Glass, & Reich company is beginning to look so establishment.

    It was the Times’ financial predicament which had it finally ship out WQXR in a triangular sale involving WNYC and a Spanish language station.

    The Times is going through all sorts of agonies to try and figure out its future. One place that it might look, admittedly one small place, is how to keep relevant to the people who read it in print, on line, in RSS, egad, maybe on their iPhones.

    Wake up Sulzbergers.

     
  • richardmitnick 8:56 pm on January 17, 2010 Permalink | Reply
    Tags: , , , , Public Radio, , , ,   

    Leonard Cohen anyone? You bet. 

    Leonard Cohen anyone? You bet.

    This post has taken some time to develop. I have been immersing myself in Cohen’s music for about three weeks. Of course, I do not miss Nadia Sirota’s new gig at WQXR’s Q2; Dan Buskirk and Will Constantine spinning Jazz at WPRB; or Marvin Rosen’s “Classical Discoveries” and “Classical Discoveries Goes Avantgarde”, also at WPRB. But, beyond these, it has been pretty much Leonard Cohen steadily.

    The genesis of this post was the NPR presentation of the 2009 Leonard Cohen concert at the Beacon Theater in New York City. Unfortunately, NPR has not renewed the rights to keep the audio of this concert available in their archives.

    As an aside, I believe that NPR is not nearly proactive enough in keeping some archival material available. I wanted to begin listening to the NPR archives of the stellar Marian McPartland “Piano Jazz” series. I found that some of what I most wanted to hear was no longer available. I believe that this is short sighted on the part of NPR.

    But, the text article about Leonard Cohen is still available at NPR and it is worth reading. There is also a very good article about Leonard Cohen in Wikipedia. I am not going to repeat what is there. For anyone seriously interested, I recommend this well constructed biography.

    All I really knew of Leonard Cohen was his song “Suzanne”, on the 1968 album “The Songs of Leonard Cohen”. But listening to the concert on NPR stimulated my interest. Cohen was 74 years old at the time of this concert. His voice, deepened with age, is actually more interesting than what we hear on the early albums, from 1968 through 1979. The early voice is sweet, winsome, and somewhat fragile. There is greater depth beginning with the 1985 album “Various Positions”.

    Also, when one listens down through the early albums, the songs begin to take on a sameness that can get boring. Part of this might be Cohen’s parallel career as a writer of poetry and fiction. Sometimes, a wordsmith can fall in love with his own creations. Often, what works as a poem does not work in a song.

    Somewhere, I cannot any longer find it, Cohen was described as a reaction to the Beatles’ amped up musical productions. I see him as rather a sort of reaction to Bob Dylan. Both Cohen and Dylan are first and foremost lyricists. Where Dylan’s lyrics are topical, political and complex, Cohen’s are personal, deeply emotional and quite simple.

    Cohen is often placed in the genre of folk music. I do not think that this does him justice. I see him as a singer-songwriter, a troubadour. Cohen writes about the whole spectrum of human emotion, love, hate, sadness, loss, depression, the end of life.

    As Cohen recorded more material in his career, more instrumentation replaced the solo performances as I show below my present collection. I think that my collection is close to complete.

    After the NPR concert, my next experience was with the 2008 “Live in London” concert. The video was presented at some point on PBS. I caught a late night repeat by New Jersey Network. Of course, this presentation is not anywhere close to the complete concert. I now own the complete 2’36” concert. The PBS presentation was 1’30”, and some of that was taken up with pitching.

    A second aside: PBS stations are constantly hauling out musical concerts at pledge time. They tell us they are the place for us to come for this music, that they support this music, egad, they are insufferable. They practically never give us a complete concert. They want us to join and give them gobs of money and in return they will send us the CD’s, the DVD, a combo package, whatever. In this case, here is part of what NJN offered: The DVD of the concert for US$70.00. The two-disc CD set for US$90.00. Now, really, what would you want? They both contain the identical 26 songs. More to the point, you can buy the DVD for US$18.93, and the two-disc CD set for US$13.99. You can buy the .mp3 album of both CD’s for US$14.99, so NJN could have bought the materials at Amazon and used them for fulfillment and still turned a tidy profit.

    I do not mean to pick on little NJN. They are just this most recent case and involved in the music and the artist which and who are the subject here. WLIW, and its parent WNET, much larger than NJN, are just as guilty of this, sorry, just my opinion, this scam.

    I heartily recommend the music of Leonard Cohen. And, I recommend all of it. The way I do this is to get the music in .mp3 and put it on my Zune. I chronologize the music by placing the year of issue ahead of the title of the album. Then, I listen down through a cycle on my exercise walks, plane trips, visits to the dentist, wherever. Regarding the “Live in London” concert, I recommend both the DVD and the album in .mp3. The band, shown below, is really worth watching, especially Javier Mas on a series of twelve-string acoustic instruments.

    Here is my collection, complete with personnel:
    1968 The Songs of Leonard Cohen

    Solo performance

    1968 Songs From a Room

    Leonard Cohen, Ron Cornelius guitar, Bubba Fowler bass, banjo, violin, guitar, Charlie Daniels bass, violin, accoustic guitar, Bob Johnston keyboards

    1971 Songs of Love and Hate

    Leonard Cohen (vocals, acoustic guitar);Ron Cornelius (acoustic guitar, electric guitar);Bubba Fowler (acoustic guitar, banjo, bass instrument);Charlie Daniels (acoustic guitar, fiddle, bass instrument);Bob Johnston (piano);Carolyn Hanney, Susan Mussmano (background vocals).

    1973 Live Songs

    Leonard Cohen, Jennifer Warren, Charlie Daniels and unnamed others

    1974 New Skin for the Old Ceremony

    Leonard Cohen (vocals, guitar, harp, Jew’s harp);Leonard Cohen (acoustic guitar);John Lissauer (vocals, woodwinds, keyboards, background vocals);Emily Bindiger, Janis Ian (vocals, background vocals);Erin Dickins, Gail Kantor, Gail Kantor (vocals);Jeff Layton (guitar, banjo, mandolin, trumpet);Ralph Gibson, Ralph Gibson (guitar);Gerald Chamberlain, Gerald Chamberlain (trombone);John Miller , Don Paune bass.

    1977 Death Of A Ladies’ Man

    Leonard Cohen (vocals); Clydie King, Gerald Garrett, Oma Drake, Julia Tillman Waters, Billy Diez, Lorna Willard, Ronee Blakley, Venetta Fields, Bob Dylan, Brenda Bryant (vocals, background vocals); Sneaky Pete Kleinow (guitar, slide guitar); Dan Kessel (guitar, organ, keyboards, synthesizer, background vocals); Phil Spector (guitar, keyboards, background vocals); David Kessel (guitar, background vocals); Art Munson, Art Blaine, David Isaac, Jesse Ed Davis , Ray Pohlman (guitar); Al Perkins (slide guitar); Bobby Bruce (violin, fiddle); Don Menza, Steve Douglas (flute, saxophone, wind); Jay Migliori (saxophone); Conte Candoli (trumpet); Jack Redman, Charles Loper, Jack Redmond (trombone); Don Randi, Michael Lang , Mike Lang, Mike Long, Pete Jolly, Tom Hensley, Barry Goldberg , Bill Mays (keyboards); Devra Robitaille, Bob Robitaille (synthesizer); Terry Gibbs (vibraphone, percussion); Ray Neapolitan (upright bass, electric bass); Hal Blaine, Jim Keltner (drums); Emil Radocchia, Gene Estes, Robert Zimmitti (percussion); Sherlie Matthews, Gerry Garrett, Allen Ginsberg, Oren Waters, Bill Thedford, Julia Tillman (background vocals).

    1979 Recent Songs

    Leonard Cohen (vocals); Julia Tillman Waters, Roger St Kennerly, Jennifer Warnes, Jim Gilstrap, Maxine Willard Waters, Stephanie Spruill (vocals); Ricardo Gonzalez, Everado Sandoval, John Bilezikjian, Mitch Watkins (guitar); Earl Dumler (oboe); Paul Ostermayer (saxophone); Jose Perez, Pablo Sandoval (trumpet); Garth Hudson, John Lissauer, Randy Waldman, Bill Ginn (keyboards); Steve Meador (drums).

    1985 Various Positions

    Leonard Cohen (vocals, guitar); Jennifer Warnes (vocals); Sid McGinnis (guitar); Kenneth Kosek (fiddle); Ron Getman (harmonica, background vocals); John Lissauer (piano, keyboards, background vocals); John Crowder (bass, background vocals); Richard Crooks (drums); Lani Groves, Erin Dickins, Merle Miller, Yvonne Lewis, Anjani Thomas, Crissie Faith (background vocals).

    1988 I’m Your Man

    Leonard Cohen (vocals, arranger, various instruments); Anjani, Jennifer Warnes, Evelyine Hebey, Mayel Assouly, Elisabeth Valletti, Jude Johnstone (vocals); Jean-Philippe Rykiel, Jeff Fisher (arrangers, various instruments); Michel Robidoux (arranger, keyboards, drums); Roscoe Beck (arranger); Bob Stanley (guitar); Sneaky Pete Kleinow (steel guitar); John Bilezikjian (oud); Raffi Hakopian (violin); Richard Baudet (saxophone); Larry Cohen (keyboards); Peter Kisilenko (bass); Vinnie Colaiuta, Tom Brechtlein (drums); Lenny Castro (percussion).

    1992 The Future

    Leonard Cohen (vocals); Dean Parks (guitar, mandolin); Bob Metzger (guitar, bass); Paul Jackson Jr., Dennis Herring (guitar); Bob Furgo (violin); Brandon Fields, Lon Price (tenor saxophone); Greg Smith (baritone saxophone); Lee R. Thronburg (trumpet, trombone); Steve Lindsey (piano, organ, Mellotron, keyboards); Jim Cox, Greg Phillinganes (piano); Randy Kerber (keyboards, synthesizer); Jeff Fisher (keyboards); Bob Glaub, Lee Sklar (bass); James Gadson, Ed Greene, Steve Meador, Vinnie Colaiuta (drums); Lenny Castro (percussion); Bill Ginn, Steve Croes (programming); Anjani Thomas, Tony Warren, Valerie Pinkston-Mayo, LA Mass Choir, Peggy Blue, Edna Wright, Jean Johnson, Jacquelyn Gouche-Farris, David Morgan (background vocals).

    2001 Ten New Songs

    Leonard Cohen (vocals); Sharon Robinson (vocals, keyboards, synthesizer, programming); Bob Metzger (guitar).

    2004 Dear Heather

    Leonard Cohen (vocals, guitar, Jew’s harp); Leonard Cohen (piano); Sharon Robinson (vocals, various instruments); John Crowder (vocals, bass guitar); Raffi Hakopian, Raffi Hakopian (violin); Paul Ostermayer, Paul Ostermayer (flute); Sarah Kramer, Sarah Kramer (trumpet); Roscoe Beck (bass instrument); Stan Sargeant (bass guitar); Johnny Friday, Johnny Friday (drums); Mitch Watkins (vocals, guitar, electric guitar); Ron Getman (vocals, steel guitar); Anjani Thomas (vocals, piano, background vocals); John Bilezikjian (oud); Garth Hudson (accordion); Bob Sheppard (tenor saxophone); Bill Ginn (piano); Richard Crooks (drums).

    2008 Live in London

    Leonard Cohen (vocals, guitar, keyboards); Bob Metzger (guitar, pedal steel guitar); Charley Webb, Charles Webb (guitar, background vocals); Javier Mas (12-string guitar, bandurria, lute, archlute); Javier Más (12-string guitar, bandurria, archlute); Hattie Webb, Hattie Webb (harp, background vocals); Dino Soldo (harmonica, keyboards, wind, background vocals); Neil Larsen (keyboards); Roscoe Beck (upright bass, electric bass, background vocals); Rafael Gayol (drums, percussion); Sharon Robinson (background vocals).

     
  • richardmitnick 7:44 am on January 15, 2010 Permalink | Reply
    Tags: , Public Radio,   

    Jazz is Dying? Not at WPRB, Princeton 

    So, there is all of this dire stuff about Jazz just shrinking away. Nonsense.

    at WPRB, Princeton, NJ, I just discovered another really great Jazz program. On Wednesdays from 1:00PM-3:00Pm, Lemmy Caution has Jazz Planets and I love what he is doing.

    Of course, WPRB has for a long time had great Jazz with Dan Buskirk Mondays, Emmanuel Ferritis Tuesdays and Will Constantine Thursdays all from 11:00AM-1:00PM, and Jeannie Becker on Sundays 10:00AM-12:00PM.

    Lemmy’s program started last September, and it is my loss that I just caught up with it.

     
  • richardmitnick 1:53 pm on January 11, 2010 Permalink | Reply
    Tags: , , Public Radio, ,   

    Nadia Sirota on Q2 every weekday 12:00-4:00 AM and PM 

    Nadia Sirota on Q2 every weekday 12:00-4:00 AM and PM

    I am supposed to be working, but this would just not wait. Nadia Sirota, the wonderful new violist on the New York City New Music scene, and a member of the group Acme will be hosting on the New WQXR’s 24/7 eclectic web stream Q2, every week day from 12:00-4:00 AM and PM.

    Nadia is the best thing to happen to serious music radio in New York City in a long long time. She was very involved in WNYC’s John Cage project, and also the recent Q2 project “Maximum Reich: A Celebration of Steve Reich

    Nadia is capable of mixing the new with the old. We will hear plenty of both.

     
  • richardmitnick 12:57 pm on January 3, 2010 Permalink | Reply
    Tags: , , Public Radio, WCRB,   

    Classical Boston’s Little Secret 

    Classical Boston’s Little Secret

    On December 19, 2009, I posted about the differences and similarities of the WQXR takeover by WNYC and the WGBH takeover of WCRB.

    The subject of the events in Boston has been covered in a variety of places: Scanning the Dial, boston.com, and Doc Searle to mention the most salient.

    The debate about the events in Boston have been characterized by some of the negativity which we have experienced in New York. But one place where there has been no discussion is on the web site of WGBH. At WQXR’s web site, we have the advantage of “blogs” in which we can vent our spleens and insult each other. Instead, the Boston thing is being thrashed out at the sites listed above, and on some forums like The Good Sound Club and Hub Arts.

    In both Boston and New York, there have been many complaints about the diminished range of the transmitters. This is a serious problem. Listeners, and probably members, are being lost. Suggestions about listening on the computer have been dismissed by many.

    But, here is the topic that is most important to me and no one seems to be even aware of it.

    Of the ten on air hosts that one finds on the weekly schedule, fully seven of the hosts are actually Minnesota Public Radio people. You can find them listed at Classical24’s web site, just click on Host biographies.

    So, what this means is that the Classical music listenership and membership in Boston, one of the great cultural meccas of the world, is being fed the pabulum of Classical 24, a subscription service (read “rental”) offered by Minnesota Public Radio. One noted Classical music critic described services such as Classical 24 as “musical wallpaper” designed not to intrude.

    At Scanning the Dial, Marty Ronish posted about a meeting to discuss the whole situation. Checkout Marty’s post. I really like the line about “a Minneapolis syndicate”. Sounds sort of like The Mob.

    I am very thankful that things have not come to this in New York at WQXR. I hope that we can stay afloat without recourse to such happenings. I think that the listeners and members in Boston deserve better.

     
    • Larry Genola 10:01 pm on January 8, 2010 Permalink | Reply

      I just found out about these changes! So WCRB is mostly just playing canned music? Taped music disguised as a live deejay? Did any Boston deejays loose their job when they started playing taped music from Minnesota?

      A quality community radio station would play music handpicked by local experts from that community. Someone familiar with the tastes of local listeners should be playing the music. How can a taped program from Minnesota understand what works in the Boston arts groups and venues? Force feeding the public generic music from Minnesota is below the standards Boston deserves. Why would this radio station, with it’s access to all the cultural resources of Boston, start acting like a podunk small station that doesn’t know how to program it’s own music and needs help from Minnesota doing it?

      We don’t need WCRB to hear that taped Minnesota show, that is already syndicated on other stations and can be streamed over the internet via computer at home or iPhone in your car. Why donate to WCRB for taped music that is already easily available to us elsewhere? WCRB needs to be providing the community something unique. Cut the canned music!

    • richardmitnick 10:27 pm on January 8, 2010 Permalink | Reply

      Well, Larry, I don’t know who you are or where you live. I don’t recognize your name from any of the forums where this has been discussed. But, you seem to be sincere. And, frankly, with the little reaction I have seen from ‘proper” Bostonians, I have no reason to doubt your sincerity.

      I suspect that WGBH is not oriented toward music. They seem to be oriented to squabbling over bragging rights with WBUR. So, not only does WGBH want all of its air time for talk, it also wants all of its money for talk. Taking Classical 24 from Minnesota Public Radio, described in Boston as ” a Minneapolis syndicate…” is saving them a lot of money.

      The only hint of Classical 24 on the 99.5 web page is that the shows in yellow on the weekly schedule are all MPR people. Local hosts are in blue.

      I looked around http://www.publicradiofan.com at other stations using Classical 24. Mostly what I found the stations using the service were not hiding it. So that is why I called this post “Boston’s Little Secret”.

      If you live in the Boston area, get angry and do something about it. Search on WCRB, find the forums, blogs, whatever, participate in the debate, try to get some sort of movement going to financially punish this offensive behavior.

    • richardmitnick 5:22 pm on January 9, 2010 Permalink | Reply

      Larry Genola

      I just saw your post on the Boston Musical Intelligencer!! Great!!

    • Richard Buell 1:57 am on January 15, 2010 Permalink | Reply

      RM — “The Air This Week” (http://theairthisweek.blogspot.com/) deserves to be on your Blogroll. I say this shamelessly, as an interested party.

      • richardmitnick 7:47 am on January 15, 2010 Permalink | Reply

        Nothing like shameless self-promotion. I did it in about three minutes. You provide a really valuable service.

  • richardmitnick 11:10 am on December 19, 2009 Permalink | Reply
    Tags: , , , Public Radio,   

    Paul Winter Consort – Winter Solstice 2009 Concert 

    Paul Winter Consort – Winter Solstice 2009 Concert is now available for listening.

    This concert is given annually in New York City at The Cathedral of St John the Divine. This is the 29th year of this festival of international sound, a reunion for many of Paul Winter’s musical associates.

    The host, as usual, is none other than John Schaefer of WNYC New York Public Radio, where he hosts New Sounds and Soundcheck

    Give yourself a treat and listen to the two parts of this concert.

     
    • richardmitnick 2:56 pm on December 28, 2009 Permalink | Reply

      Your reply was caught by our spam blocker. I saw no trace of anything bad, so I let your comment through. But, I would like to know just what it is that brings you to my weblog post.

      I need your reply to be in English.

      Thanks.

  • richardmitnick 1:36 am on December 19, 2009 Permalink | Reply
    Tags: , , Public Radio,   

    Boston and New York 

    Boston and New York

    Recently in Boston, WGBH took over the operations of WCRB, a commercial Classical Music station and shipped off to this outlet all of its musical programming.

    At first blush, this looks like a repeat of what has recently happened in New York City. WNYC purchased the operations of WQXR. To recap events in New York City, while certain music related programming like Soundcheck and New Sounds have remained at WNYC 93.9 FM and the 93.9 web stream, music qua music is aired at WQXR FM 105.9 and the 105.9 128kbit web stream. WNYC2, the 24/7 music web stream, has become Q2, streaming at 128kbit stereo, and has remained as eclectic as was WNYC2.

    Back to Boston. First, I cannot even find a link for WCRB, everything I try, including a search, brings me back to WGBH. Maybe someone can correct me on this, and give me a link to WCRB.

    Second, while we at WNYC/WQXR are able to express our opinions in comment pages provided by parent WNYC, I found no such facilitiy at the WBGH web site. Searching for comments on the changes in Boston, I wound up at boston.com, a service of the Boston Globe newspaper. I found nothing at WGBH. Maybe someone can point out the error in my search.

    At another weblog, someone wrote that the citizenry in Boston appeared to be less irritated than the citizenry of New York City. But that is not how the comments at the Boston.com article seemed to me. They were in the main negative, but, I must admit, without the vitriol of the comments I have read at WQXR.

    What needs to be understood is that these two situations are but the tip of the iceberg, examples in cities big enough to draw a crowd. This shipping off of Classical music programming to HD radio (for cars?) and the internet (generally the same stream as HD radio) is going on all over the country because of reduced listenership at commercial stations, reduced membership at PubRadio outlets, just an overall diminution of availability for a variety of reasons. A great place to read about this is in the archives at a great weblog, Scanning the Dial. There is nothing new in the Boston or New York situations.

    I am a Public Radio zealot, WNYC fanatic, and now a WQXR cheerleader. I think that we in New York City, and I have to say also, the Classical music listeners in Boston, are fortunate that our local institutions, WNYC and WBGH, have found ways to keep Classical music on FM. This is the hard choice, the choice which may or may not pay for itself. The easy choice, taken by so many of the outlets discussed over the passed year at Scanning the Dial, is the internet, with its obvious limitations of tethering to the house or office.

    I think that WQXR will be okay, and I certainly hope the same is true for WCRB.

     
    • Clarence 4:55 pm on December 29, 2009 Permalink | Reply

      Richard: Jeremy Eichler, the Boston Globe’s classical critic, wrote about WCRB on Dec. 18 and there are 73 comments, many of them echoing the signal complaints and music-playlist issues that greeted the WQXR changeover.

    • richardmitnick 5:11 pm on December 29, 2009 Permalink | Reply

      Hey Clarence-

      Yes, this is the article to which I referred above. But go to http://blogs.law.harvard.edu/doc/2009/07/26/why-wqxr-is-better-off-as-a-public-radio-station/comment-page-2/#comment-230863, and you will see a guy named Tom defending the whoole Boston thing as if it is far better than what has happened in New York wirh WQXR.

      I am a staunch WNYC fanatic, and I am a Q2 listener at WQXR. Q2 is the eclectic music web stream which was wnyc2. But I am a WQXR cheerleader because ZI want to see this adventure succeed. I canot accept the criticisms of WNYC leveled by Tom as being unjaundiced.

      Thanks for your comment.

c
Compose new post
j
Next post/Next comment
k
Previous post/Previous comment
r
Reply
e
Edit
o
Show/Hide comments
t
Go to top
l
Go to login
h
Show/Hide help
shift + esc
Cancel