Composer/guitarist/trumpet player Rhys Chatham is perhaps most well-known for his early guitar-based aggressions, particularly the sonic wall of sound that was “Drastic Classicism.”
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I’ve got to admit that I can’t really imagine living in the circumstances portrayed in “Black Cowboys.” While I’ve known people who’ve had to deal with such things (including my own sister), the idea of living with the constant pressure of stray bullets and wasted lives?
In interviews, I’ve seen Lyle Mays speak of how music has it’s own “language and syntax.” He wasn’t necessarily talking about music’s technicalities — harmony, melody, and the like.
What with the rumors flying earlier this week about the health of AC/DC’s Malcolm Young, I was pretty sure I’d be writing an obit/appreciation piece by now.
There wasn’t a moment’s hesitation after reading the name “Halvorson” in the promo email. Mary Halvorson is one of the jazz world’s most consistently interesting guitar players. So what’s this trio record all about?
The usual deal here is that I find and write about some music that can push people over the edge or even better, make them advance the argument that it’s not really music at all.
I’ll say it right now: Red Beans and Weiss is the perfect album for the year 2014.
Turns out, the old classic-rock dogs Ian Anderson and Jack Bruce know a few new tricks. Both have intriguing albums out that recall, in some ways, their celebrated earlier work with Jethro Tull and Cream, respectively. But neither, as we hear this week, are bound by those legacies.
At first listen, this sounded like the Devils & Dust odd man out. The chorus is definitely something of an outlier with its sing-song, uplifting notes. I suppose you could say that the underlying story is uplifting as well, certainly when compared with the rest of the album.
Unlike a lot of American kids, I was not forced into taking piano lessons. I was more of a stringed instruments guy, first with the violin and then the guitar.