Renowned opera director Yuval Sharon returns to The Industry, the company where he began his career, for The Comet / Poppea. The new piece is quite the mashup, weaving together Monteverdi’s 1643 opera The Coronation of Poppea and W.E.B. Du Bois’ short story The Comet. The work — composed by George Lewis with a libretto by Douglas Kearney — opens Friday and runs through June 23 at Los Angeles’ Geffen Contemporary at Moca.
“The juxtaposition of these two pieces allows us to create a kind of constantly shifting relational field between this baroque opera and a contemporary aesthetic,” Sharon says of his latest collaboration. “We’ve created a space for these worlds to bleed into each other, to somehow contradict each other and contrast with each other, sometimes resonate with each other, to rhyme with each other.”
Monteverdi’s Poppea focuses on the titular character’s efforts to become queen by convincing...
“The juxtaposition of these two pieces allows us to create a kind of constantly shifting relational field between this baroque opera and a contemporary aesthetic,” Sharon says of his latest collaboration. “We’ve created a space for these worlds to bleed into each other, to somehow contradict each other and contrast with each other, sometimes resonate with each other, to rhyme with each other.”
Monteverdi’s Poppea focuses on the titular character’s efforts to become queen by convincing...
- 6/13/2024
- by Jordan Riefe
- The Hollywood Reporter - Movie News
The only person who believed in David Bowie’s vision of “Young Americans” more than Bowie himself was David Sanborn. The saxophonist, who was trained in jazz, had broken into the pop world as a member of the Paul Butterfield Blues Band and by guesting on Stevie Wonder’s Talking Book. Sanborn, who died Sunday, was in his late 20s when he linked up with Bowie for the Diamond Dogs Tour — he’s featured on the David Live double-album — and joined him in the studio for the recording of Bowie...
- 5/14/2024
- by Kory Grow
- Rollingstone.com
David Sanborn, the six time Grammy-winning alto saxophonist who played at Woodstock, composed music for the Lethal Weapon movies, played in the SNL and Late Night with David Letterman bands and worked with everyone from Stevie Wonder to David Bowie, died Sunday afternoon, May 12th, after an extended battle with prostate cancer with complications. He Was 78.
Sanborn’s music is often described “smooth jazz,” but he reportedly rejected that characterization, and one can see why. His lively, iconic sax solo on Bowie’s “Young Americans” is anything but. Sanborn preferred the idea that he “put the saxophone back into rock ’n’ roll.”
Indeed, he worked with a virtual who’s who of rock and R&b legends, including James Brown, Eric Clapton, Roger Daltrey, Stevie Wonder, Paul Simon, Bruce Springsteen, James Taylor, Al Jarreau, George Benson, Elton John, Carly Simon, Linda Ronstadt, Billy Joel, Roger Waters, Steely Dan, the Eagles,...
Sanborn’s music is often described “smooth jazz,” but he reportedly rejected that characterization, and one can see why. His lively, iconic sax solo on Bowie’s “Young Americans” is anything but. Sanborn preferred the idea that he “put the saxophone back into rock ’n’ roll.”
Indeed, he worked with a virtual who’s who of rock and R&b legends, including James Brown, Eric Clapton, Roger Daltrey, Stevie Wonder, Paul Simon, Bruce Springsteen, James Taylor, Al Jarreau, George Benson, Elton John, Carly Simon, Linda Ronstadt, Billy Joel, Roger Waters, Steely Dan, the Eagles,...
- 5/13/2024
- by Tom Tapp
- Deadline Film + TV
When Robbie Robertson and The Band performed their final concert at San Francisco’s Winterland Ballroom in November 1976, it was clearly an ending for the group, as expressed in the title of the 1978 film Martin Scorsese made about the event, “The Last Waltz.” While that movie — by virtually any imaginable criteria, the greatest rock and roll film ever made — documented a farewell, it itself represented a new beginning: a collaboration between Scorsese and Robertson that would last nearly 50 years and yield an astonishing series of masterpieces including “Raging Bull,” “The Wolf of Wall Street,” and most recently “Killers of the Flower Moon,” for which Robertson — who died last August at the age of 80 — posthumously scored an Academy Award nomination for Best Original Score.
Robertson’s work in “Killers” is the apotheosis of his partnership with Scorsese, a score that exhibits the passion, variety, and depth of expression familiar from Robertson...
Robertson’s work in “Killers” is the apotheosis of his partnership with Scorsese, a score that exhibits the passion, variety, and depth of expression familiar from Robertson...
- 2/13/2024
- by Jim Hemphill
- Indiewire
Lee Konitz, an alto saxophonist who was an exemplar of jazz’s so-called “cool school,” died Wednesday in Manhattan of coronavirus complications, according to his niece, Linda Konitz.
Unlike the somewhat frantic and passionate be-bop, Konitz’s style was considered more laid back and cerebral. While some dismissed it as too passive, most recognized it as a unique path for those who wished to blaze a new and unique harmonic style.
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While Konitz wasn’t as well-known as a lot of his contemporaries, he was much-admired in the jazz world. He also taught for many years from his Manhattan apartment to a worldwide legion of acolytes.
Unlike the somewhat frantic and passionate be-bop, Konitz’s style was considered more laid back and cerebral. While some dismissed it as too passive, most recognized it as a unique path for those who wished to blaze a new and unique harmonic style.
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While Konitz wasn’t as well-known as a lot of his contemporaries, he was much-admired in the jazz world. He also taught for many years from his Manhattan apartment to a worldwide legion of acolytes.
- 4/18/2020
- by Bruce Haring
- Deadline Film + TV
More than a year after its debut at the 2019 Sundance Film Festival and a brief theatrical run, the documentary Miles Davis: The Birth of the Cool will debut next week as part of PBS’ American Masters series.
PBS has shared the official trailer for the film, which focuses on the life and legacy of the jazz legend.
Carlos Santana, Herbie Hancock, Flea, the Roots, Wayne Shorter, and others are among Davis’ admirers and collaborators who appear in the Stanley Nelson-directed documentary, which premieres Tuesday, February 25th.
“A lot of...
PBS has shared the official trailer for the film, which focuses on the life and legacy of the jazz legend.
Carlos Santana, Herbie Hancock, Flea, the Roots, Wayne Shorter, and others are among Davis’ admirers and collaborators who appear in the Stanley Nelson-directed documentary, which premieres Tuesday, February 25th.
“A lot of...
- 2/19/2020
- by Daniel Kreps
- Rollingstone.com
As guitarist and chief songwriter with the Band, one of the most influential groups of the 1960s and ’70s, Robbie Robertson’s legacy was established long ago. After its early days with blues singer Ronnie Hawkins and a tumultuous stint as Bob Dylan’s backing band at the peak of his near-hysterical mid-1960s fame, the Band began its own career in 1968. The galvanizing “Music From Big Pink” was an album so influential it rubbed off on the Beatles and the Rolling Stones, and inspired Eric Clapton to visit them in an unfulfilled hope that they’d ask him to join. At the center of the group’s fusion of blues, rock, folk, soul and other genres were Robertson’s cinematic songs, including “The Weight,” “Up on Cripple Creek” and “The Night They Drove Old Dixie Down,” which are filled with epic stories and unusual characters.
In the 40-plus years...
In the 40-plus years...
- 10/29/2019
- by Jem Aswad
- Variety Film + TV
Gil Evans, perhaps the second-greatest arranger in jazz after Duke Ellington, was born Ian Ernest Gilmore Green on May 13, 1912 in Toronto, Canada (Evans was his stepfather's name). Though best known for his collaborations with Miles Davis, Evans released many great albums as a bandleader and created a highly influential style that changed the course of jazz history.
Though self-taught, by age 21 Evans was leading a big band that became the house group at the Rendezvous Ballroom in Balboa Beach. Eventually it was fronted and then led by singer Skinnay Ennis, and Claude Thornhill joined Evans in providing arrangements for them. Thornhill then moved to New York to start his own band, and in 1941 invited Evans to New York to write arrangements. Soon Evans's arrangements with their lush, hazy, floating textures defined the Thornhill style.
Though theoretically a swing band, the Thornhill ensemble was one of the most progressive big bands of its time,...
Though self-taught, by age 21 Evans was leading a big band that became the house group at the Rendezvous Ballroom in Balboa Beach. Eventually it was fronted and then led by singer Skinnay Ennis, and Claude Thornhill joined Evans in providing arrangements for them. Thornhill then moved to New York to start his own band, and in 1941 invited Evans to New York to write arrangements. Soon Evans's arrangements with their lush, hazy, floating textures defined the Thornhill style.
Though theoretically a swing band, the Thornhill ensemble was one of the most progressive big bands of its time,...
- 5/13/2012
- by SteveHoltje
- www.culturecatch.com
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