“Asymmetry is part of what makes us human, and it’s what makes our actions feel human. And we only know that because we can have a programmer make something play ‘perfectly,’ and it sounds terrible.”
Dressed in Dalmatian-spotted pajamas, Baby Dee was perched on stage between a harp and a piano and surrounded by a six-piece ensemble. For anyone unfamiliar with Dee and her work, it might be an odd sight, this grown-up baby flanked by something approaching a chamber orchestra. But in Baby Dee’s world it makes perfect sense. John Ruscher investigates her new album.
Keyboard-to-keyboard and back-to-back, Thomas Bartlett and Nico Muhly shared an island of two piano benches swaying out compositions as one musician.
“It’s difficult to see the relationship between your own thinking and your composing.”
“Many people who study composition start out as improvisers in jazz or rock, working in bands on music that is not particularly notated. They hear some crazy and wild music and they want to figure out how it works; they hear a piece by Charles Ives or Cage or whatever, and then they want to be able to do that, but it comes out of a visceral impulse.” Anthony Coleman
While others of Rufus Wainwright’s generation combine old beats with the help of new technology, this 23-year-old singer/songwriter does the same, only with a grand piano
Jazz pianist Brad Mehldau has joined a Los Angeles group called Escape From New York with Ralph Moore, Robert Hurst, and Marvin “Smitty” Smith of The Tonight Show Band for a weekly club gig. The recent move by this 26-year-old Hartford native to the City of Angels seems to nurture recondite ways.