Couldn’t resist sharing this video of the Charles Lloyd Quartet performing Caroline No, :)
I have been fortunate to experience rock music artists performing with a full symphony on stage with them. The collaboration of strings, brass, woodwinds and tympani set against rock has been extraordinary. The two concert moments that transfigured the music of our heart were Yes in 2001 (captured on DVD as Yes Symphonic Live) and Jeff Beck in 2010 performing with a symphony group, Nessun Dorma by Puccini, it is an aria from the opera Turandot.
Which leads me to Kitaro, who I have yet to see live in concert. Kitaro is #1 on my list of must see concerts. I’m beginning to think I will have to travel elsewhere in the world to see him perform but I am perfectly willing to do so, :)
Kitaro’s latest recording (which I pre ordered autographed today!) is Symphony Live In Istanbul.
Recorded Live at the Halic Congress Center in Istanbul, Turkey over two evenings in March of 2014, Grammy and Golden Globe winning artist Kitaro’s “Symphony Live In Istanbul” is breathtaking. The album features new musical material while also including eight of the acclaimed artist’s most requested and popular compositions.
This amazing performance marks Kitaro’s first-ever recording for the Domo Music Group balancing the artists trademark signature sound and expanding it to new heights with the addition of a full live symphony orchestra.
Kitaro noted “In 1980, I began composing and producing music about the passageway and excursions of the Silk Road. This past spring, I embarked upon my first Symphonic Tour that reached Russia, Eastern and Central Europe and had the distinct pleasure of performing in Istanbul; a place where from ancient times to modern times, has flourished as an important hub of the Silk Road where Europe and Asia meet.”
The song reached the top of the Billboard Hot 100 charts in the United States in June of 1963, and remains to date the only Japanese-language song ever to have done so. It is one of the best-selling singles of all time, having sold over 13 million copies worldwide.
The World Peace Prayer Ceremony is a global celebration of the oneness of life and the human family. With united hearts and minds, participants of the Ceremony are invited to invoke prayers for peace to prevail in the countries and regions of the world. It is a moving ceremonial ritual rising above national boundaries, religion and ideologies giving expression to the universal wish for peace and harmony which lies at the core of every human heart.
“May Peace Prevail On Earth”
Open Source has revolutionized computing. Here is an interesting development that involves coding and concert programming. A live coded concert. Talk about getting your Geek on ;)
The Concert Programmer, Andrew Sorensen’s Creative Computing
Imagine a future where concert programmers are as common a fixture in the world’s auditoriums as concert pianists. At the Open Source Convention (OSCON) last month Andrew Sorenson* live-coded the generative algorithms that produced the music that the audience heard.
The language that Andrew is using in the video is called Extempore, designed by programmer Benjamin Swift specifically for live coding of multimedia experiences. Learn more about it and try it for yourself on the official Extempore site.
*Andrew Sorensen is an artist-programmer whose interests lie at the intersection of computer science and creative practice. Andrew is well known for creating the programming languages that he uses in live performance to generate improvised audio-visual theatre. He has been invited to perform these contemporary audiovisual improvisations around the world. Andrew is a Senior Research Fellow at the Queensland University of Technology and is the author of the Impromptu and Extempore programming language environments.
My favorite musical influence period was The British Invasion. I have never experienced an era of music that so continually thrilled me as 1964 and 1965 did. The AM radio airwaves, Top 40 as it was known in those days brought us constant sources of brilliant melodies and well written hits. The British Invasion arrived on our shores as a series of waves. Each successive wave introduced American audiences to more creative British bands and songs. It was such an illuminating time for the listener as we became enraptured with these musicians from across the pond.
We are attending the second British Invasion concert related event this year. In February we attended The Fest for Beatles Fans 2014 in New York City.
In September we will be attending the British Invasion 50th Anniversary Tour, outlined below.
Tuesday September 9, 2014, Ridgefield Playhouse, Ridgefield, Ct.
This tour commemorates the 50th anniversary of the Beatles’ momentous arrival in February 1964. They called it The British Invasion and in the wake of this massive mop top pop explosion, all the participants in this once-in-a-lifetime concert experience dominated the music world and scored more than forty worldwide Top 40 hits. Their sound and look changed popular culture forever and now they are back to celebrate and honor some of the greatest songs of the twentieth century. The artists (all original singers of the classic hits) will be ably supported by a four-piece backing band faithfully recreating the classic sound of the vintage recordings and a full multi-media video package highlighted by rarely seen footage and incredible archival ephemera. The experience will be complemented by a full presentation of unique clips pre-show and during intermission of other fab combos of the era, making this a full evening of entertainment.
Moonalice Interview: Music Technology and Art Discussion with Roger McNamee
Moonalice continues their 2014 East Coast Tour this week. The band will be performing concerts in Connecticut and New York. I urge you if you are in the vicinity of any of these events to come out and see Moonalice perform live.
I had a 75-minute Web discussion with Roger McNamee last week. I am providing “teaser” highlights of the interview that further explains Moonalice’s command of music technology. The next intent is to publish the “entire interview” along with the Moonalice Infinity Music Hall July 31st concert review at the end of the week.
It was my sincere hope that Roger McNamee and I would mesh as music technologists and rock music poster fans. When you read the interview Q&A I’m proud to say that goal was met. Roger is an affable person who openly shared his love for music, people, society and art throughout our conversation.
Question 1: Does Moonalice plan to make recordings available in high-resolution audio for Neil Young‘s PonoMusic?
Roger: It’s a great question. When we did our first album, Moonalice with T Bone Burnett the answer was an emphatic Yes! We recorded it on an optimized audio DVD with the music in high-resolution stereo 24/96 WAV. The expectation was that you had a mega DVD which had images that went by while you were listening to it, etc. As it turned out T Bone Burnett was nominated for a Grammy as Producer of the Year for our album and T Bone Burnett’s recording. His pioneering work with packaging, high-resolution and high-end masters gained him that recognition. (The album was produced using XOΔE (CODE), a high fidelity audio standard and optimization system created by Producer Burnett.)
We’re very focused on high-definition video, 1080p and we embed the audio into the video so the high-resolution audio is there. When we got started T Bone, Bono and I were working on a project designed to help artists in a very meaningful way. The first album started us on this commitment with what I knew about technology and anything that came along to see what we could do with it. This notion where we can produce live concert videos at 10% of normal cost was really exciting, the math starts to be pretty interesting.
Can I just tip my hat to you? You are the first person to ask me about high-definition audio and its significance in at least five years.
Questions 2: What is the next technological achievement that you seek to achieve with Moonalice?
We’re more likely to do vinyl before we do another experiment in high-resolution audio. Within our fan base there is a really serious market for vinyl. I believe oddly enough a larger percentage of our fans would be interested in ultra high-definition audio if we could figure out how to deliver it. (We discussed Neil Young and PonoMusic at length which I will include in the full Web audio interview.)
Question 3: I wanted to ask if you would give more information about the Haight Street Art Center?
We created the Haight Street Art Center, okay. The reason you can’t find any information about it is because we haven’t said anything. But I’m really happy to talk about it. The original notion is that I am somebody who has always loved studio art. I always loved poster art from the first time I saw it in the sixties. When I moved to San Francisco in the seventies I had no money at all. But posters weren’t expensive in those days you could get one for $15, a first printing was $25, I could afford that.
T Bone told us we should be part of the San Francisco psychedelic roots ethos. I suggested we should be doing rock poster art. I spoke with Chris Shaw, a natural leader with great organizational skills about how can we create posters for the band. Chris then helped us produce a poster for every show, 100 posters a year and we’re up to 735 different posters now. Wow!
We’ve now had 24 posters artists do posters for us, at least half get 50-100% of their income from that poster art. The problem became how do we get their poster art to be appreciated as fine art and put them in a position to make fine art.
What I realized is that we had to move from doing mass volume posters in offset printing to make great screen art and lithographs. What really came together was that we needed a museum, promotional infrastructure and printing capabilities. The Haight Street Art Center becomes that reality. (There is more to this benevolent art story which I will share later this week.)