David Krasnow redefines the word “standard” with his recommendation of Jenny Toomey’s husky-breathy and well-timed performance of Franklin Bruno’s songs.
As its album cover proclaims, Rembetika is the music of “passion, drugs, jail, disease, death,” Greece’s own subculture rebellion that reminds reviewer David Krasnow of ’60s and ’70s American punk.
I heard my first Julia Wolfe work, performed by the Spit Orchestra, in the early nineties.
The movies about Downtown are fairy tales.
I used to believe that when Tom Cora played the cello he channeled the voices of the dead.
Gustav Mahler is reimagined as wholly postmodern, combining jazz improvisors, DJ and cantor in a collision that transcends kitsch.
Arto Lindsay speaks as he plays: in tense, measured silences and dense bursts of sound.
The live double album: an icon, a period piece. Its bombast is still with us, but not its excess (double CDs crimp sales), certainly not its raw aesthetics.
Textural music tends to be rhythmically, shall we say, challenged. You know, slow. Toe 2000 fronts texture and sound color over melodic development, but drummer David Pavkovic isn’t shy to kick a song along, either.
Downtown, no-wave, rock, free-prov guitarist Marc Ribot ventures intrepid into “prosthetic” Cubanismo on his album Marc Ribot y Los Cubanos Postizos. David Krasnow asks: “What’s this Jewish guy from Jersey doing playing the son montuno?”