Originally published on Sun October 7, 2012 3:58 pm
Born in Tel Aviv, Anat Cohen came to New York two decades ago to study the masters of jazz. In so doing, the clarinetist and saxophonist started a bit of a stampede: Today, Israel is exporting some of the most vital jazz out there.
Among the 23 recipients of the MacArthur "genius" grants this past week: an economist, a mathematician, a photographer, a neuroscientist, and a Boston-based stringed instrument bow maker.
Benoit Rolland acknowledges that the violin reigns supreme as the star of the strings, capable of fetching millions of dollars at auction. But what about the bow? "A violin with no bow is not a violin, that's clear," says Rolland.
Don't try to pigeonhole Josephine Foster. She has recorded albums of psychedelic rock and Tin Pan Alley, music for children, blues, Spanish folk tunes, 19th century German art songs and a song cycle based on the poems of Emily Dickinson. Although her soprano may be a little unusual, it's arresting.
Foster recently released a new album, Blood Rushing. She spoke with NPR's Scott Simon about finding her voice, collaborating with her husband, singing at funerals and embracing small-town life.
Originally published on Sun October 7, 2012 4:05 pm
Django Reinhardt has achieved an almost godlike status among those who love jazz guitar. When he and violinist Stephane Grappelli formed the Quintet of the Hot Club of France in 1934, they created a new sound in jazz: The guitar and violin served as the lead instrumental voices, propelled by two hard-swinging rhythm guitars and a bass.
Whither smooth jazz? Though straight-ahead and experimental fans might assume their, uh, less bumpy cousin is weathering the storm, the loss of many radio stations is affecting the field a lot. David Adler talks to many musicians and industry insiders for JazzTimes. That includes Kenny G, who is identified on subsequent reference as "G," in a sidebar.
The Whipsaws, a band from Anchorage, Alaska, makes its first appearance on Mountain Stage, recorded live on the campus of the University of Alaska at Fairbanks. The group formed in the mid-2000s and soon began drawing from rock, country and the driving guitar sounds of Being There-era Wilco.