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Musician

Morton Feldman

7

Article: Album Review

Sarah Hennies, Richard Valitutto: SOVT

Read "SOVT" reviewed by John Eyles


Composer and percussionist Sarah Hennies was born in Louisville, Kentucky, in 1979. She started playing drums when she was nine years old; in her teens she played drums with local college punk rock bands. She attended the University of Illinois, Urbana-Champaign before receiving a Master's degree from University of California, San Diego. After graduating from UC ...

22

Article: Catching Up With

Collin Sherman: A Solitary Visionary in Jazz

Read "Collin Sherman: A Solitary Visionary in Jazz" reviewed by Robert Middleton


Collin Sherman is an outlier in the jazz world. He creates all his own music, plays every instrument, records everything himself, and rarely performs live. His approach is unconventional but deeply compelling, allowing him to produce music that defies easy categorization. In a conversation via Zoom, Sherman opened up about his journey, his creative process and ...

1

Article: Album Review

Satoko Inoue: Presents Jo Kondo's Works For Piano 2015-2020

Read "Presents Jo Kondo's Works For Piano 2015-2020" reviewed by Alberto Bazzurro


Inciso nei mesi di aprile e luglio 2022, questo album ci restituisce uno spaccato piuttosto significativo di una serie di recenti pagine per pianoforte, per lo più solitario, del compositore giapponese Jo Kondo, oggi settantasettenne, di cui è nota una sia pur fugace frequentazione di John Cage e Morton Feldman, pagine di cui è protagonista la ...

10

Article: Album Review

Joëlle Léandre: Lifetime Rebel

Read "Lifetime Rebel" reviewed by Mark Corroto


Joëlle Léandre is the definition of a force of nature. She is unstoppable, unforgettable, and full of boundless energy. It is the nature of her force that recordings like Lifetime Rebel attempt to capture. These four CDs--plus an interview and solo performance DVD--capture a moment, but just a moment of her inexhaustible spirit, before she moves ...

5

Article: Album Review

Ill Considered: Precipice

Read "Precipice" reviewed by Chris May


The British pianist John Tilbury believes that some free-improv musicians play for too long without pausing for literal or metaphorical breath and, to make matters worse, do not listen hard enough to their bandmates. How right he is. Tilbury has not named names, but many AAJers could surely suggest some. Tilbury recommends that improvising musicians should ...

9

Article: Multiple Reviews

American Composers On Another Timbre

Read "American Composers On Another Timbre" reviewed by John Eyles


When the batch of four Another Timbre releases came out in February 2024, one aspect was particularly noticeable; of the four, two albums featured composers who were born in the U.S.A. and still reside there, Nomi Epstein and Paul Paccione. Although the label honored deceased American composers John Cage and Morton Feldman with highly-praised box sets, ...

7

Article: Album Review

Satoko Inoue: Presents Jo Kondo's Works For Piano 2015-2020

Read "Presents Jo Kondo's Works For Piano 2015-2020" reviewed by Chris May


Jo Kondo is a composer unto himself, but for ready reference he can be filed in the proximity of John Cage and Morton Feldman, both of whom he got to know in 1978 in New York while in the city on a grant from the Rockefeller Foundation. Satoko Inoue is a concert pianist specializing in modern ...

6

Article: Album Review

Morton Feldman: Violin and String Quartet

Read "Violin  and String Quartet" reviewed by John Eyles


With a running time of just over two hours, Morton Feldman's 1985 composition “Violin and String Quartet" is one of his longer ones, even though it falls far short of such pieces as 1984's “For Philip Guston" at four hours or 1983's “String Quartet (II)" at over six hours without a break. Their durations have made ...

18

Article: Album Review

Apartment House: Morton Feldman Violin and String Quartet

Read "Morton Feldman Violin and String Quartet" reviewed by Marat Ingeldeev


In the late 1970s, American composer Morton Feldman began writing exceptionally lengthy compositions. Not only did these works push the boundaries of traditional concert duration, but more importantly, they explored how the composer could tackle the subject of sheer scale itself. Speaking about this challenge, Feldman said: “Up to one hour you think about form, but ...


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