If it's a half-century old, it must be classical, right?: "19th Nervous Breakdown" revised as a commentary on the state of world leadership today

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Finally, a jazz tribute album that doesn't try to put arms on the Venus de Milo

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  Kevin Sun calls his all-absorbing take on the music of Charlie Parker "<3 Bird," which I guess has to be said, with pun fully intended, "Love Bird" ( Endectomorph Music ). Kevin Sun digs deep into Bird. The love is certainly in place. Bandleader Sun has come up with new compositions based on Parker originals as well as on aspects of recorded Bird solos, sometimes blended. His study of the pioneering alto saxophonist dives deep. In putting a band together with slight shifts of personnel, he is clearly well beyond simply updating the sound and performance styles of early bebop masterpieces. Parker's centennial was last year, but the pandemic has somewhat delayed many big-round-number observances. Sun has not made a survey of Bird compositions explicit, though he tells which parts of the legacy he draws upon in liner notes. Fortunately  a tenor saxophonist (thus muting copycat pushback), Sun draws compatible performances throughout from bassist Walter Stinson ...
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Trombonissimo: My choice of 10 great trombone moments from the orchestral literature

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I can't let the memory of last weekend's final measures from the Indianapolis Symphony Orchestra fade any further without lifting up the wonderful trombone glissando — a French/Spanish version of Walt Whitman's "barbaric yawp" if ever there was one — in " Feria," the festive conclusion of Maurice Ravel's "Rapsodie espagnole." As I said in my review, just a couple of raucous smears evokes the suggestion that collective good times are about to get out of hand — as they often do when people pour into the streets to party. Then the piece ends, at just the right time. Cologne Cathedral: Musically, it calls for trombones. As a former trombonist, I count this moment among ten touchstones for my instrument in the orchestral literature.  I offer here nine others to suggest the marvelous ways composers characterize the trombone. Its voice is essential to so many pieces, though trombonists typically make do without the near omnipresence of the...
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Punctuating Beethoven: Michael Schelle's new piano piece sweeps away hints of satire or parody

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Here's a novelty: A concert review that starts off with a disquisition on punctuation, and then covers only one of the works performed. But bear with me, because what appears to be throat-clearing turns out to bear directly on what to make of a particular new piece. Michael Schelle, perhaps contemplating Beethoven at the piano. Among the many uses of the comma is to set off words in direct address. Often these are names, but not always ("Comfort ye, my people," for example). Our informal age often trims out commas, nothing worth much tsk-tsking if ambiguity isn't the result. There's no confusion when it comes to a title such as "Happy Birthday Wanda June," the new opera premiered at the Schrott Center for the Arts last weekend in an Indianapolis Opera production. There's only one way to read the title, even though the poignancy of Wanda June's untimely death would be more subtly underlined if the comma were used. The inscription in icing ...
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