"what convinces me that a piece is minimalist is its low information content, the fact that what's first noticeable about it is that less is going on than in conventional classical (or pop) music." - is this why I feel less enthusiastic about newer Adams?
"At the risk of starting a Metal Fight, I would strongly reccomend not following The Carolingian's suggestion of S&M by Metallica. This recording is the perfect example of how not to mesh classical and rock music."
"My least favorite [spouse] is Charles Seeger, because Ruth Crawford was destined for greater things than she accomplished as a composer." For the record, I've read the biography of Charles. Hmm, I need to see if there is a Ruth biography.
"Those bereft by the demise of Tower as a classical source should rush on down to J&R and support this expansion... There are not that many other places in NYC now to buy classical releases - Academy...Barnes & Noble...Juilliard Bookstore..."
"we need to provide raters with incentives, so that they provide meaningful ratings...when a person takes the time to write text, and knows that his name will be attached to it, he generally does a better job in his rating." via donnunn.com
Since the instant I heard Shaker Loops on the radio twenty years ago, I've always felt I "got" this music although it's possible that as Adams' techniques have grown in sophistication, that feeling may be diminishing. And the idea that he might ultimately be remembered as an opera composer boggles my mind, Nixon in China's I'm the Wife of Mao Zedong not withstanding:
Brian sees that new musical theatre piece by Eric Whitacre :: "Despite the wonderful music and excellent performance from Plitmann, Shadows is burdened with a wince-inducing scenario and book that obliterate everything in their paths"
"John Adams, with his white jacket, bow tie and white beard, looks like an old Southern gentleman, ... This is what I keep telling myself in an attempt to drown out the other thought: that he looks a bit like Colonel Sanders"
"Adams the opera composer has a pretty near perfect sense of how long things should go on and when something different should happen. Century Rolls, a big piano concerto, suggests that Adams the instrumental composer doesn’t."
Is it any wonder that Charlie Parker, a great talent scout, hired Roach
for his own band? On “Ko Ko,” the record that broke Parker to the jazz
public, the only full-length solo besides Bird’s is Roach’s. That solo
is almost as eye-opening as the sax one—the whirl of frenetic cacophony
is actually a musical variation on the riffy head Parker had written in
place of “Cherokee,” played at blinding speed and utilizing seemingly
every sound a trap set can make. Once you really hear it, you’ll never
listen to “Ko Ko” in the same way again. It becomes a double
revolution, a new way of conceiving percussion just as it’s a new way
of phrasing melodies.
I wonder if Roach's death marks the end of the bop area? Although, Michael makes the point that as a musician and artist, the drummer accomplished so much more over a long period of time. Still, it's hard to believe Max was the last living musician from that renowned Massey Hall concert. This reminds me I read Geoffrey Haydon's Quintet of the Year: Massey Hall 1953; The Greatest Jazz Concert of All Time last year. The author manages to successfully weave a book around the careers of the musicians and yet center it on one seminal performance.