07-22-2018, 03:43 PM
(This post was last modified: 10-02-2018, 11:02 PM by Dekalb_Blues.)
~
National Public Radio (or Narrational Propagandic Radiator, as it is known to naughtily cynical types), an otherwise
fairly tedious purveyor of Current Big-Lie Narrative support and other bourgeois memes (chock-full of pošlost'*
for consumption by docile American high-brow-aspiring middle-class types in a way worthy of an irreverent essay
by some modern-day H. L. Mencken) partially redeems itself in its eclectic concert series.
Jan. 12, 2018 | NPR: When we invited Russian pianist Daniil Trifonov to play a Tiny Desk concert, we rolled out the
big guns. In place of the trusty upright, we wedged a 7-foot grand piano behind Bob Boilen's desk in preparation for
the artist who The Times of London called "without question the most astounding pianist of our age."
That's a pretty lofty claim, but watch and judge for yourself. His performance here is extraordinary. Still in his 20s,
Trifonov seems to have it all: jaw-dropping technique and interpretive skills beyond his age. He's also a composer —
the night before his NPR visit, he played his own knuckle-twisting piano concerto at the Kennedy Center here in
Washington, D.C.
But for his Tiny Desk show, Trifonov focused on Chopin, beginning with the mercurial "Fantaisie-Impromptu" in
C-sharp minor, a work that mixes sweeping melody, turbulent passion and wistful repose. Hunching close over the
keyboard with feline agility, Trifonov's slender fingers glide effortlessly. He coaxes the instrument to sing tenderly
in the slow central section.
Trifonov follows with a pair of short tributes to Chopin by his peers. Robert Schumann's "Chopin" accentuates the
lyrical side of Chopin, filtered through the German composer's forward-looking harmonies, while Edvard Grieg's
"Hommage à Chopin" offers volatility, lovingly rendered.
The smartly programmed set is capped with more Chopin, but with a nod to Mozart: the finale from a set of
variations based on an aria from [his opera] Don Giovanni. It gives Trifonov a chance to display his lightness of
touch, plus a few pianistic fireworks. Smiling, he treats the tricky filigreed runs and hand crossings as if it were a
child's game. Look closely and you can see the piano shake.
* https://en.wikipedia.org/wiki/Poshlost
Sept. 25, 2017 | NPR: It's hard to think of an artist who's brought more joy to more people, across more generations —
and in more ways — than Steve Martin. In the 1970s, he won the hearts of young children for his playful appearances with
The Muppets while simultaneously charming legions of older fans with his subversive standup routines. Later, as an actor,
he wrote and starred in some of the most memorable comedies (and a few dramas) of all time, while writing books, plays
and even a Broadway musical.
Throughout his 50-year career, one constant in Steve Martin's life has been the banjo. It was a staple of his early standup
shows and even fans who only wanted to laugh couldn't help but marvel at his playing. Over the years, he's continued to
perform and record with country and bluegrass luminaries like Earl Scruggs, Dolly Parton, Vince Gill and others [recently,
Edie Brickell, aka Mrs. Paul Simon].
These days Martin is working on music full-time. He's just released a stellar bluegrass album he recorded with The Steep
Canyon Rangers called (perfectly) The Long-Awaited Album, a record filled with often hilarious story songs and world-class
performances.
Martin's set with The Steep Canyon Rangers at the Tiny Desk was at times thrilling, particularly his opening solo for the song
"So Familiar." But it was also playful, comical and a joy to witness. At the end of the typical three-song performance, the group
graciously decided to do one more called "Caroline," a hilarious, first-person account of how not to handle a breakup.
Dec 15, 2014 | NPR: In the summer of 1971, I was a camp counselor at a sleep-away camp for a bunch of 5- to 7-year-olds.
For those eight weeks, I walked home with about $50. I bought a guitar and began to learn the songs I'd come to love from
the recently released Tea for the Tillerman by Cat Stevens.
"Father and Son" touched me most — it's a song about growing old, and about beliefs and conviction. More than 40 years later,
that songwriter is performing at my desk with his son standing right behind me. You can never imagine the turns life will take.
Nor could he. In 1976, Cat Stevens almost drowned off the coast of Malibu. In his panic, he says, he shouted, "Oh, God! If you
save me, I will work for you" — at which point he recalls a wave that came and carried him ashore. He converted to Islam,
changed his name and left the pop world after one last album in 1978.
He finally returned in 2006, and now we have a new record, Tell 'Em I'm Gone. From that album of great blues covers and
originals, produced with Rick Rubin, Yusuf plays some powerful new music, as well as the 1967 classic "The First Cut Is the
Deepest" — and then brought me to tears by dedicating a version of "Father and Son" to me. As I walked around the office
after this Tiny Desk Concert, I heard one story after another of an artist who has touched so many. It's a joy to have him back.
November 13, 2015 | NPR: Ancestor to the lute and the guitar, the oud is an ancient stringed instrument commonly
played throughout the Middle East, North Africa and countries like Greece and Turkey. The oud has charmed audiences
for more than 5,000 years, and the tradition continues with this reverent performance by one of the world's best players,
Rahim AlHaj.
Born in Baghdad, AlHaj possesses a life story as powerful as his music. He learned to play the oud at age 9, and later
graduated with honors and a degree in music composition from the Institute of Music in Baghdad. He also earned a
degree in Arabic literature from Mustunsiriya University in Baghdad. Active in the underground revolutionary movement,
AlHaj wrote protest songs opposing Saddam Hussein's repressive regime. He was imprisoned twice, once for a year and
a half, and was regularly beaten by his captors. In 1991, AlHaj was forced to leave Iraq because of his political activism,
and ultimately found a home in New Mexico.
Today, he composes traditional and contemporary pieces for a variety of ensembles — solo oud, string quartets and
symphony orchestras. He performs around the world and has even collaborated with Kronos Quartet and R.E.M. AlHaj
stopped by the Tiny Desk while in Washington, D.C., to receive a well-deserved NEA National Heritage Fellowship.
The set starts with a solo performance, followed by three songs in which he's accompanied by Palestinian-American
percussionist Issa Malluf. Malluf plays the daf, a large circular drum with a hardwood frame, and a stretched and shaved
goat skin that produces a gently melodic tonality. The dumbek is a goblet-shaped drum with a tight head make of goatskin,
heated by a lamp to keep the skin taut in order to produce a consistent tone.
Though wordless, AlHaj's music tells powerful stories about the blessedness and fragility of life. The first song is intended
to serve as a voice for millions of displaced and murdered Iraqi children whose cries will never be heard. Small but powerful,
the oud reveals their stories of joy and pain while conveying a deep understanding of their sad history and hopeful future.
July 11, 2018 | NPR: Mumu Fresh sings that the teacher arrives when the student is ready. During a recent trip to
the Tiny Desk, she came bearing life lessons from the depths of her soul.
A regal combination of black power and Native American pride, Mumu Fresh — also known by her birth name
Maimouna Youssef — is an abundantly gifted singer and emcee who prances between genres and styles. The Baltimore
native fuses her rich multi-octave range and ferocious rap delivery with spiritually-inclined lyrics so potent and mindful
they precipitated a wellspring of emotion throughout the room.
Mumu is not new to NPR Music. During her guest appearance at February's August Greene Tiny Desk, she stirred emotions
with her verse on "Practice," which spoke cathartically about the realities of being a black woman. Mumu began her own
Tiny Desk in her native Lakota tongue with "Ink Pata," signaling a call to prayer in a sacred ritual. Looped tribal chants of her
own harmonies set the mood as delivered a stirring spoken word performance that journeyed through her ancestral lineage
to the struggles of the present day.
With a buoyant and thoughtful spirit, Mumu and her band transitioned into the classic-sounding "Miracles" from Vintage Babies,
her collaborative album with group mate DJ Dummy. Declaring it a celebration of soul music, she mixed sweet tender melodies
with lyrics to empower those devoid of hope. It's in this song that Mumu shared the proverb about the teacher and the student,
while reminding us that we all have to be ready for blessings yet to come. It made for a fluid segue into "Work In Progress,"
accented by the feel-good chords of The Roots keyboardist Ray Angry, an ebullient backdrop to Mumu's humanizing and candid
rap verse detailing her pathway to personal growth and self-love.
The set concludes with a new version of "Say My Name," a song Mumu wrote about Sandra Bland, who died in police custody in
2015, and the impact it had on her. Starting off with a 1950s doo-wop circle, she blends traditional soul elements with politically
relevant lyrics. Given Mumu's stint writing and touring with The Roots after high school, it was only fitting to have front man and
lyrical force Black Thought make a special guest appearance.
===========================
Find a concert to your taste -- there are about 600 of 'em at this point: https://www.youtube.com/watch?v=ivR988qC...37ED6F55F0
National Public Radio (or Narrational Propagandic Radiator, as it is known to naughtily cynical types), an otherwise
fairly tedious purveyor of Current Big-Lie Narrative support and other bourgeois memes (chock-full of pošlost'*
for consumption by docile American high-brow-aspiring middle-class types in a way worthy of an irreverent essay
by some modern-day H. L. Mencken) partially redeems itself in its eclectic concert series.
Jan. 12, 2018 | NPR: When we invited Russian pianist Daniil Trifonov to play a Tiny Desk concert, we rolled out the
big guns. In place of the trusty upright, we wedged a 7-foot grand piano behind Bob Boilen's desk in preparation for
the artist who The Times of London called "without question the most astounding pianist of our age."
That's a pretty lofty claim, but watch and judge for yourself. His performance here is extraordinary. Still in his 20s,
Trifonov seems to have it all: jaw-dropping technique and interpretive skills beyond his age. He's also a composer —
the night before his NPR visit, he played his own knuckle-twisting piano concerto at the Kennedy Center here in
Washington, D.C.
But for his Tiny Desk show, Trifonov focused on Chopin, beginning with the mercurial "Fantaisie-Impromptu" in
C-sharp minor, a work that mixes sweeping melody, turbulent passion and wistful repose. Hunching close over the
keyboard with feline agility, Trifonov's slender fingers glide effortlessly. He coaxes the instrument to sing tenderly
in the slow central section.
Trifonov follows with a pair of short tributes to Chopin by his peers. Robert Schumann's "Chopin" accentuates the
lyrical side of Chopin, filtered through the German composer's forward-looking harmonies, while Edvard Grieg's
"Hommage à Chopin" offers volatility, lovingly rendered.
The smartly programmed set is capped with more Chopin, but with a nod to Mozart: the finale from a set of
variations based on an aria from [his opera] Don Giovanni. It gives Trifonov a chance to display his lightness of
touch, plus a few pianistic fireworks. Smiling, he treats the tricky filigreed runs and hand crossings as if it were a
child's game. Look closely and you can see the piano shake.
* https://en.wikipedia.org/wiki/Poshlost
Sept. 25, 2017 | NPR: It's hard to think of an artist who's brought more joy to more people, across more generations —
and in more ways — than Steve Martin. In the 1970s, he won the hearts of young children for his playful appearances with
The Muppets while simultaneously charming legions of older fans with his subversive standup routines. Later, as an actor,
he wrote and starred in some of the most memorable comedies (and a few dramas) of all time, while writing books, plays
and even a Broadway musical.
Throughout his 50-year career, one constant in Steve Martin's life has been the banjo. It was a staple of his early standup
shows and even fans who only wanted to laugh couldn't help but marvel at his playing. Over the years, he's continued to
perform and record with country and bluegrass luminaries like Earl Scruggs, Dolly Parton, Vince Gill and others [recently,
Edie Brickell, aka Mrs. Paul Simon].
These days Martin is working on music full-time. He's just released a stellar bluegrass album he recorded with The Steep
Canyon Rangers called (perfectly) The Long-Awaited Album, a record filled with often hilarious story songs and world-class
performances.
Martin's set with The Steep Canyon Rangers at the Tiny Desk was at times thrilling, particularly his opening solo for the song
"So Familiar." But it was also playful, comical and a joy to witness. At the end of the typical three-song performance, the group
graciously decided to do one more called "Caroline," a hilarious, first-person account of how not to handle a breakup.
Dec 15, 2014 | NPR: In the summer of 1971, I was a camp counselor at a sleep-away camp for a bunch of 5- to 7-year-olds.
For those eight weeks, I walked home with about $50. I bought a guitar and began to learn the songs I'd come to love from
the recently released Tea for the Tillerman by Cat Stevens.
"Father and Son" touched me most — it's a song about growing old, and about beliefs and conviction. More than 40 years later,
that songwriter is performing at my desk with his son standing right behind me. You can never imagine the turns life will take.
Nor could he. In 1976, Cat Stevens almost drowned off the coast of Malibu. In his panic, he says, he shouted, "Oh, God! If you
save me, I will work for you" — at which point he recalls a wave that came and carried him ashore. He converted to Islam,
changed his name and left the pop world after one last album in 1978.
He finally returned in 2006, and now we have a new record, Tell 'Em I'm Gone. From that album of great blues covers and
originals, produced with Rick Rubin, Yusuf plays some powerful new music, as well as the 1967 classic "The First Cut Is the
Deepest" — and then brought me to tears by dedicating a version of "Father and Son" to me. As I walked around the office
after this Tiny Desk Concert, I heard one story after another of an artist who has touched so many. It's a joy to have him back.
November 13, 2015 | NPR: Ancestor to the lute and the guitar, the oud is an ancient stringed instrument commonly
played throughout the Middle East, North Africa and countries like Greece and Turkey. The oud has charmed audiences
for more than 5,000 years, and the tradition continues with this reverent performance by one of the world's best players,
Rahim AlHaj.
Born in Baghdad, AlHaj possesses a life story as powerful as his music. He learned to play the oud at age 9, and later
graduated with honors and a degree in music composition from the Institute of Music in Baghdad. He also earned a
degree in Arabic literature from Mustunsiriya University in Baghdad. Active in the underground revolutionary movement,
AlHaj wrote protest songs opposing Saddam Hussein's repressive regime. He was imprisoned twice, once for a year and
a half, and was regularly beaten by his captors. In 1991, AlHaj was forced to leave Iraq because of his political activism,
and ultimately found a home in New Mexico.
Today, he composes traditional and contemporary pieces for a variety of ensembles — solo oud, string quartets and
symphony orchestras. He performs around the world and has even collaborated with Kronos Quartet and R.E.M. AlHaj
stopped by the Tiny Desk while in Washington, D.C., to receive a well-deserved NEA National Heritage Fellowship.
The set starts with a solo performance, followed by three songs in which he's accompanied by Palestinian-American
percussionist Issa Malluf. Malluf plays the daf, a large circular drum with a hardwood frame, and a stretched and shaved
goat skin that produces a gently melodic tonality. The dumbek is a goblet-shaped drum with a tight head make of goatskin,
heated by a lamp to keep the skin taut in order to produce a consistent tone.
Though wordless, AlHaj's music tells powerful stories about the blessedness and fragility of life. The first song is intended
to serve as a voice for millions of displaced and murdered Iraqi children whose cries will never be heard. Small but powerful,
the oud reveals their stories of joy and pain while conveying a deep understanding of their sad history and hopeful future.
July 11, 2018 | NPR: Mumu Fresh sings that the teacher arrives when the student is ready. During a recent trip to
the Tiny Desk, she came bearing life lessons from the depths of her soul.
A regal combination of black power and Native American pride, Mumu Fresh — also known by her birth name
Maimouna Youssef — is an abundantly gifted singer and emcee who prances between genres and styles. The Baltimore
native fuses her rich multi-octave range and ferocious rap delivery with spiritually-inclined lyrics so potent and mindful
they precipitated a wellspring of emotion throughout the room.
Mumu is not new to NPR Music. During her guest appearance at February's August Greene Tiny Desk, she stirred emotions
with her verse on "Practice," which spoke cathartically about the realities of being a black woman. Mumu began her own
Tiny Desk in her native Lakota tongue with "Ink Pata," signaling a call to prayer in a sacred ritual. Looped tribal chants of her
own harmonies set the mood as delivered a stirring spoken word performance that journeyed through her ancestral lineage
to the struggles of the present day.
With a buoyant and thoughtful spirit, Mumu and her band transitioned into the classic-sounding "Miracles" from Vintage Babies,
her collaborative album with group mate DJ Dummy. Declaring it a celebration of soul music, she mixed sweet tender melodies
with lyrics to empower those devoid of hope. It's in this song that Mumu shared the proverb about the teacher and the student,
while reminding us that we all have to be ready for blessings yet to come. It made for a fluid segue into "Work In Progress,"
accented by the feel-good chords of The Roots keyboardist Ray Angry, an ebullient backdrop to Mumu's humanizing and candid
rap verse detailing her pathway to personal growth and self-love.
The set concludes with a new version of "Say My Name," a song Mumu wrote about Sandra Bland, who died in police custody in
2015, and the impact it had on her. Starting off with a 1950s doo-wop circle, she blends traditional soul elements with politically
relevant lyrics. Given Mumu's stint writing and touring with The Roots after high school, it was only fitting to have front man and
lyrical force Black Thought make a special guest appearance.
===========================
Find a concert to your taste -- there are about 600 of 'em at this point: https://www.youtube.com/watch?v=ivR988qC...37ED6F55F0