A great vote of thanks is due Nonesuch for making these performances available. This represents the SLSO’s first appearance on this label since the short-lived Saint Louis Symphony Commissions series in the mid 1980s. The engineering of this disc is first-rate, catching the warm ambience of Powell Symphony Hall along with plenty of detail. The orchestra surmounts the considerable technical challenges of the works with élan, matching the excellent Netherlands Philharmonic in the DVD recording of the opera for expressiveness and surpassing them in precision. The only complaint is the short playing time. That criticism aside, this release is warmly recommended.
On their umpteenth release, the Five Blind Boys of Alabama mix some modern blues and R&B into their core gospel sound. The rhythm section, led by the organ of the legendary Booker T. Jones, keeps the accompaniment simple as the group soars through some traditional material ("Closer Walk with Thee," "Every Time I Feel the Spirit, "), a few originals by lead vocalist Clarence Fountain, and a transcendent version of Bob Dylan's "I Believe in You."
Cut swiftly – no more than two weeks at three different studios spread coast to coast – the Arcs' 2015 debut Yours, Dreamily does bear a spontaneous air, a record that enjoys its hazy detours as much as its sturdy foundations. This blend of airy sonic swirls and R&B-influenced rock formalism feels familiar, perhaps because it is the aesthetic that's driven Arcs leader Dan Auerbach during the heady mid-career heyday of his main gig, the Black Keys. Once the Ohio garage blues duo hooked up with producer Danger Mouse for 2008's Attack & Release, the Black Keys incorporated impressionistic soundscapes to their guitar growl but Yours, Dreamily flips the equation, favoring feel over grind.
This elegantly packaged 10 disc retrospective surveys four decades of work by Philip Glass, from his earliest solo pieces to his world-renowned operas to his Oscar-nominated film scores. In music, words and pictures, it traces the evolution, as critic Tim Page puts it in his liner notes essay, of 'the first composer to win a wide, multi-generational audience in the opera house, the concert hall, the dance world, in film and in popular music-simultaneously.' The long-awaited release of this set follows this past spring's triumphal new staging of Glass's 1980 Satyagraha at the Metropolitan Opera House.
Nonesuch Records labelmates mandolinist/singer Chris Thile and pianist Brad Mehldau, longtime admirers of each other's work, first toured as a duo in 2013. At the end of 2015, they played a two-night stand at New York City's Bowery Ballroom before going into the studio to record Chris Thile & Brad Mehldau, a mix of covers and original songs that Nonesuch releases on January 27, 2017, on two CDs / LPs. The vinyl edition includes a bonus performance of Fiona Apple's "Fast As You Can." You can watch a live performances of the former above and the latter below.
While Bill Frisell has released plenty of albums under his own name, this is his first true solo album – the first on which he plays all of the instruments himself. These include electric and acoustic guitar, six-string banjo, and bass, as well as the occasional looped sample. To call the music he creates on this album "introspective" would be something of an understatement. This won't come as a complete surprise to his fans – there has always been a gentle and meditative quality to his music, and even when he's gotten wild with his trio or with downtown pals like John Zorn or Vernon Reid, those moments of abrasive abandon have always seemed like detours from his more natural, but no less inventive and interesting, sweetness and good humor.
Singer/songwriter and visual artist Devendra Banhart emerged in the early 2000s and was soon considered an icon of the freak folk movement. In the years that followed, he expanded and experimented with his sound, perhaps hitting peak meandering with 2007's Smokey Rolls Down Thunder Canyon. Still touching on multiple genres, 2013's Mala offered a more cohesive set. With Ape in Pink Marble, Banhart continues to reel in diversions and delivers his most understated album in over a decade. The palette is playful but restrained, with acoustic guitar, synths, mallet percussion, and Mellotron among its tools.
Fred Hersch grew up loving the show tunes of Rodgers & Hammerstein, so he took advantage of the opportunity to pay tribute to the songwriters. This solo piano set mixes together some standards (most notably "It Might As Well Be Spring" and "The Surrey with the Fringe On Top") with some lesser-known but worthwhile tunes, including "Loneliness of Evening" and "I Have Dreamed." Hersch's harmonically advanced yet melodic style transforms even the most unlikely tunes into high-quality jazz.
Steve Reich has a remarkable arrangement for a composer in that he is an exclusive artist for Nonesuch and has been so for more than two decades. Back in 1996, when Reich celebrated his 60th birthday, Nonesuch issued a 10-CD box set of "everything" – all of the works in the Warner Classics vaults that he had recorded, including some new at the time, such as Steve Reich: Works 1965-1995. With Reich's 70th birthday afoot, the earlier set still in print and Nonesuch belonging to a classical music division that is operating on one lung, it has decided on a more modest approach to the newer observance with Steve Reich: Phases – A Nonesuch Retrospective, a collection consisting of five discs.
Nearness finds acclaimed jazz saxophonist Joshua Redman and pianist Brad Mehldau teaming up for a set of loose yet heartfelt duo performances. Collaborators since they first began playing together in Redman's quartet in the early '90s, Mehldau and Redman have forged their own distinct solo careers. While they have continued to work together in various settings, the duo put a spotlight on their creative friendship with their 2011 tour. Nearness features live performances captured during the European leg of that tour, including tapings in Spain, Switzerland, the Netherlands, Germany, and Norway.