Elvis Costello is an established artist with a 35 year music legacy. I find him cameleon like at times, adaptive and prolific at others. I collected his music actively from his début album in 1978, My Aim Is Trueup to North (2003). I have been on hiatus with Declan MacManus‘s (His real name) musical output for the past 10 years.
Looking back upon his discography I pull out this gem of a collaboration, Painted From Memory (1998). All 12 songs on the original studio recording were co-written by Elvis Costello and Burt Bacharach.
The next chapter in this landmark recording is unfolding. Please see the Web link below to understand the evolution of their partnership to Broadway
Jon Lord left us with an extensive music legacy. I have been spending time this week digging into the expansive music repertoire he created in collaboration and solo efforts. I started with the Deep Purple albums but soon moved up to his Orchestral music compositions.
As Jon Lord stated …write the kind of music that was more and more in my heart.
Concerto for Group and Orchestra (Photo credit: Wikipedia)
English: Keith Emerson 日本語: キース・エマーソン (Photo credit: Wikipedia)
Today’s blog post is inspired from a photograph that captures the inherent joy evident inside the music of our hearts. Standing together these musical legends are joined in common bond of the Moog synthesizer and music composition.
Keith Emerson attended the Tokyo Philharmonic Orchestra‘s performance of “Tarkus” in Tokyo on March 20th, 2013 to celebrate the 60th birthday of a renowned composer, Mr. Takashi Yoshimatsu, who arranged “Tarkus”. His arrangement was used on the weekly epic drama on national TV station, “Tairano Kiyomori” in Japan last year. This will be the first time Keith hears this particular version of orchestral “Tarkus” performed live by a full orchestra.
This is a fantastic composition performed by the Tokyo Philharmonic Orchestra. Takashi Yoshimatsu has extended Tarkus creating a further masterpiece in the process.
Should you wish to listen to the original work Tarkus by Emerson, Lake and Palmer I strongly urge you to avail yourself of the Deluxe Edition. It has been remastered by yet another wizard of progressive rock, Steven Wilson. Listen to it in 5.1 surround sound.
This is my signed copy of the original audio CD by Carl Palmer.
This Grandmaster’s photograph has also rekindled my interest in Tomita. I listened happily today to his classic recording, Snowflakes Are Dancing. I was reminded how picturesque and poetic Tomita’s Moog synthesizer compositions are to the music of our heart. One of the great treasures of all time is Isao Tomita.
This is Maria Schneider’s first recording with major orchestras and features two commissioned works composed and conducted by Schneider with The Saint Paul Chamber Orchestra and Australian Chamber Orchestra, and poetry by Ted Kooser and Carlos Drummond de Andrade. The album blurs the line between classical and jazz, with touches of avant-garde and pop sensibilities.
“Lyrical, flowing, intimately expressive, with all the elements of words, music, voice and instruments in a seamless blend, this is music to fall in love with the first time – then immediately want to hear again.” -John Montanari, NPR (New England Public Radio)
Mr. Wayne Shorter as Carlos Santana lovingly calls him turns 80 years young this year on August 25th. I awoke this morning thinking about his brilliant legacy of jazz compositions and performances.
It’s going to be a rewarding year for us with Mr. Wayne Shorter. I want to share two recent announcements about his career that I am truly excited about. The common chord struck in these events sounded by The Wayne Shorter Quartet.
Wayne Shorter will be honored at the 59th annual Newport Jazz Festival this year on Saturday August 3rd. There will be an 80th birthday celebration for him. Wayne Shorter will appear with his stunning quartet that includes Danilo Perez (pianist), John Pattituci (bassist), and Brian Blade (drummer). There will also be guest stars and friends playing which includes his close friend Herbie Hancock.
The Wayne Shorter Quartet recording Without A Net was first brought to my attention by the NPR Jazz blog,A Blog Supreme. It is highlighted that consensus will prove Without A Net as top of the 15 jazz albums to look out for in 2013. We are getting closer to the actual drop date of that recording, February 5th. I hope you feel the electricity for the eminent release of Without A Net.
On February 1, the Orpheus Chamber Orchestra and the Quartet will perform four compositions by Shorter alongside works by Beethoven and Ives at Carnegie Hall.
Without A Net is a 9-track musical thrill ride that consists of live recordings from the Wayne Shorter Quartet’s European tour in late 2011, the one exception being the 23-minute tone poem “Pegasus” which features the quartet with The Imani Winds recorded at Walt Disney Concert Hall in Los Angeles. The album features six new Shorter compositions, as well as new versions of his tunes “Orbits” (from Miles Davis’ Miles Smiles album) and “Plaza Real” (from the Weather Report album Procession). The quartet also reinvents the title song from the 1933 musical film Flying Down To Rio, which film buffs know as the first on-screen pairing of Fred Astaire and Ginger Rogers.
I was informed today about the forthcoming Brian Eno solo album, Lux, which drops in North America on November 12, 2012. Information is scant now but this is what his record label shared in the latest Brian Eno mailing. I love his genius ability and the stimulation he generates as a visionary artist. I hope to write more about Lux as information comes to light.
LUX is Brian Eno’s first solo album on Warp Records and his first solo album since 2005’s Another Day On Earth. Eno sees it as a continuation of his ‘Music for Thinking’ project that includes Discreet Music (1975) and Neroli (1993).
LUX is one of Eno’s most ambitious works to date; it is a 75-minute composition in twelve sections that evolved from a work now housed in the Great Gallery of the Palace of Venaria in Turin, Italy. The album is Eno’s third for Warp, following two collaborative albums Small Craft on a Milk Sea (with Jon Hopkins and Leo Abrahams) and Drums Between The Bells (with Rick Holland).
I reached into the recesses of the music of our heart to reconnect with Don McLean and his début recording Tapestry (MediaArts – October 1970). I can recall hearing Don McLean’s Tapestry being played on WNEW-FM by Scott Muni on weekday afternoons in the fall of 1970. I own the MediaArts vinyl LP Scottso would spin on the airwaves.
Tapestry is a treasure chest filled with song gems all penned by Don McLean. The song that exhibits Don McLean’s clairvoyance prognosticating the future is the title track, “Tapestry”. The last two lines sum up where the fate of civilization is today with the greed of oil and gas baron’s (and the consumer) laying ruin to our planet.
Every thread of creation is held in position by still other strands of things living. In an earthly tapestry hung from the skyline of smoldering cities so gray and so vulgar, as not to be satisfied with their own negativity but needing to touch all the living as well.
Every breeze that blows kindly is one crystal breath we exhale on the blue diamond heaven. As gentle to touch as the hands of the healer. As soft as farewells whispered over the coffin. We’re poisoned by venom with each breath we take, from the brown sulfur chimney and the black highway snake.
Every dawn that breaks golden is held in suspension like the yoke of the egg in albumen. Where the birth and the death of unseen generations are interdependent in vast orchestration and painted in colors of tapestry thread. When the dying are born and the living are dead.
Every pulse of your heartbeat is one liquid moment that flows through the veins of your being. Like a river of life flowing on since creation. Approaching the sea with each new generation. You’re now just a stagnant and rancid disgrace that is rapidly drowning the whole human race.
Every fish that swims silent, every bird that flies freely, every doe that steps softly. Every crisp leaf that falls, all the flowers that grow on this colorful tapestry, somehow they know. That if man is allowed to destroy all we need. He will soon have to pay with his life, for his greed.
We saw Don McLean in concert on September 21, 1975 at Stamford Catholic High School. I was covering the event as a music reporter for The Entertainer a Fairfield County, Connecticut entertainment weekly newspaper. Don McLean did two shows that night. He was brilliant. My fondest memory of the night was watching him joust with reporters and radio/television station staff at the press conference between shows about “American Pie”. His press agent asked that people refrain from asking questions about American Pie. He said Don McLean was tired of answering that question. But several reporters didn’t heed that request and they really irked Don McLean. He rebuffed them with class and dignity, yet put them in their place. I respected Don McLean too much to make that mistake.
After the press conference Don McLean signed 8×10 black and white photos for us. Don McLean was the first musician autograph I secured in my now extensive music autograph collection. We exchanged some nice pleasantries about his first album, Tapestry which he humbled and honored to discuss.
I’ll never forget that I ended up walking and talking with him on his way back to the stage in the gym from the press conference in the science room. He smiled and began to played the bridge of Tapestry on his guitar for me as we walked together. It was a charismatic feeling to hear him playing that song acoustic, finger picked as it echoed in the hallway. I thanked him for playing that choice, he smiled warmly, shook my hand and said enjoy the show. His second set that night was stronger than the first. He featured music from the LP, Homeless Brother as I learned about the folk singer/protest connection he had with Woody Guthrie and Pete Seeger.
Music is the form of expression which resides deep within our soul. Like John Lee Hooker always said, “The blues in you and its gotta come out”. Bill Ortiz’s latest recording, Highest Wish unearths our soul of musical expression through his unique spiritual healing voice.
Carlos Santana recently stated before a live audience, “Our highest wish is to touch your heart and remind you that you are significant.”
Tommy Anthony, Carlos Santana, Bill Ortiz and Jeff Cressman
Bill Ortiz responds to that wish by creating spiritual voices through his gift, the trumpet, which resonates inside the music of our heart.
Highest Wish begins this welcome dialogue with the song, “Ha-Ya (Means Life)”. “Ha-Ya” is a spirited romp with vocals by Luqman Frank and Omega Rae who coax out just the right positive accenture from Bill Ortiz’s trumpet.
The song, “We Are What We Are” starts as a rap by Casual then effortlessly evolves into skin-deep jazzy, r&b rhythms. The interplay between Casual and Bill’s horn keeps us focused on the relevance of the lyrics. The message is we are the same affected by the agony and pain of social injustice.Luqman Frank and Femi Andredes lend vocal help to push that message along.
The track, “Highest Wish (Phoenix Black Mix)” featuring Zumbi of Zion I is a plaintive melody with the recognized wisps of a Carlos Santana guitar-lke ending.
“Since You’ve Been Gone” is a testament to a Mother’s memory. Lugman Frank invokes his best vocal groove on this number. He and Bill Ortiz become locked in a strong harmony. Together they ask her return to fill the void inside a son’s respectful heart.
“Winter In America” smartly acknowledges the Godfather of Hip-Hop, Gil Scott-Heron with lead vocalist Tony Lindsay (Santana) trading off lyrics with “The Grouch” on vocals and rap. The track is an ingenious remix that commences with Bill Ortiz’s horn compelling us to take heed and listen. The track is gutsy and edgy. It crystallizes our attention on what is really going on in the streets across America.
Rest in Peace, Gil-Scott
Without you the revolution would not
“I Still Believe” is another Phoenix Black remix of an inspirational track which features Linda Tillery invoking a charismatic spoken word rendition of Dr. Martin Luther King Jr.’s Nobel Peace Prize acceptance speech from Oslo, Norway (1964). Zumbi of Zion I complements and embellishes the spoken word with rapas the truth rings out a poetic wisdom that encircles every heart that listens with historic humility.
“Do Your Thing” is an Issac Hayes song originally found on the Shaft Soundtrack (1978) as a 19:24 minute opus.Bill Ortiz’s R&B cover flows smoothly through the co-operation of Santana veterans Tony Lindsay on vocals, Andy Vargas (samples/drums programming), Chester Thompson (C.T.) on organ and Bill Ortiz (trumpet, flugelhorn). I can visualize the camaraderie in the studio when this track was laid down. Listen as Tony excitedly sings, “C.T. play for me, C’mon” and does he ever
This is my favorite track on Highest Wish due to the sizzle and infectious groove it achieves. Santana fans will gravitate to this track and it will help attract a new base of fans for Bill Ortiz. This is a good choice for radio play if singles are still a viable option in promoting an artist’s music.
“Don’t Make Me Wait” is a danceable soul ditty that will have you moving your shoulders and tapping your feet. Cait La Dee is the featured vocalist who livens it up and in turn is joined by K-Maxx with a soulful rap interplay. Bill plays his horn enthusiastically like a salt and pepper shaker seasoning the song which just the right flavah.
“Full Circle” the Andy Vargas remix takes us out. It is the perfect instrumental to end the recording as we sail into the night, more at peace than we began this sonic journey.
I have listened attentively to and been reading with great interest about the artistry of Anna Karney. Anna released her new CD titled, Love & Respect this past Tuesday July 10th. Five years in the making Love & Respect delivers to the listener a poetic work of art.
This first music blog post is designed to call your attention to Anna Karney, the Karney Band and their music.
Anna Karney has considerable talents that she focuses in the areas of interactive composition, multimedia, and sound design as President of Karney Music.
You can listen to and buy Karney’s Love & Respect on Bandcamp here.
Stay tuned to the MusicofOurHeart as I build and publish a more in-depth article\CD review later this week about the fruition of Anna Karney’s musical harvest .
My music dream came true last night. I finally got to see The Beach Boys live in concert with Brian Wilson. It was the most entertaining and comprehensive concert I ever saw. The love in the room was genuine between artist and fans. The warm harmonies of The Beach Boys melted in my soul all night.
The evening was split into two parts, Beach Boys the early days and post 1965. The concert was inter-woven around several musical themes, beach music, doo-wop, cars, Pet Sounds, and of course the hits.
There were also six songs that were completely new to me, which I loved hearing. I love when a music artist reaches deeper into their catalog and features songs they believe strongly in performing for their audience.
Mike Love made a special point to thank and appreciate the Mohegan Sun audience for being the first concert date to sell out for the tour. You couldn’t help but feel that this energized and further validated The Beach Boys tour plans.
Brian Wilson sat at a beautiful white grand piano. His presence was commanding and respectful. I watched him intently all night long. I enjoyed seeing him wave to the audience and blow them a kiss at one point. His happiness could be felt strongly throughout the evening.
The second set started with The Beach Boys standing around Brian Wilson on piano singing their rich harmonies, “Add Some Music To Your Day“. The feeling of The Beach Boys commiserating in the studio came across as I reflected on countless studio session photographs I have seen over the decades. The closeness they all warmly share was the perfect way to begin the second part of the show
You could feel the love and sentiment for Dennis Wilson and Carl Wilson as they were included in the evening’s music vision. I was struck by the Dennis Wilson video segment. The inclusion of Dennis Wilson singing “Forever” as the group joined in gave me goosebumps. I especially liked how last night’s show came full circle for us as the live concert footage of Dennis Wilson was filmed the last (and only other) time we saw The Beach Boys live in Central Park in July of 1971. This formed a magic connection with The Beach Boys across space and time.
It was especially poignant that Brian Wilson was watching his brother Carl sing “God Only Knows. The sentiment in his face spoke of his heart for Carl. I really love the religious aspect of The Beach Boys. Their music is a vessel of God to us. It was loving to share Carl Wilson with a live appearance and the video memories as part of the evening.
If I had to choose one song of the 45 songs they played for us that was the most memorable the one I am still hearing in my heart would be “Heroes and Villians” from The Smile Sessions. The lush studio recording techniques were recreated admirably. I was spellbound throughout the song.
They fit the new single from the forthcoming new studio album, “That’s Why God Made The Radio” in perfectly. It matches and accents their sound magnificently. Here is a YouTube Video a fan shared of that point of the show.
They played The Beach Boys song I wanted to hear most as the first of the three song encore, “Kokomo” and it sounded grand.
We left feeling very satisfied and fulfilled by this momentous night of music by America’s greatest rock and roll group, The Beach Boys.
The Beach Boys’ Set List
Part 1 – 22 Songs
“Do it Again,” “Catch a Wave,” “Hawaii,” “Don’t Back Down,” “Surfin’ Safari,” “Surfer Girl,” “Please Let Me Wonder,” “You’re So Good to Me,” “Wendy,” “Marcella,” “Then I Kissed Her,” “Why Do Fools Fall in Love,” “When I Grow Up (To be a Man),” “Cotton Fields,” “Be True To Your School,” “Disney Girls,” “Don’t Worry Baby,” “Little Honda,” “Little Deuce Coupe,” “409,” “Shut Down,” “I Get Around”
Part 2 – 20 songs
“Add Some Music to Your Day,” “California Dreamin’,” “Sloop John B,” “Wouldn’t It be Nice,” “I Just Wasn’t Made For These Times,” “Forever,” “Sail on, Sailor,” “Heroes and Villains,” “In My Room,” “All This is That,” “This Whole World,” “God Only Knows,” “That’s Why God Made the Radio,” “California Girls,” “All Summer Long,” “Help Me, Rhonda,” “Rock and Roll Music,” “Do You Wanna Dance?” “Barbara Ann,” “Surfin’ USA ,”
The music of our heart takes an intellectual turn as we herald Winter Morning Walks an
