Records UK in February. our editor recommends The Oddest Thing About Will.i.am’s Trademark Claim Against Pharrell Williams It named Max Lousada co-CEO of Warner Music UK with immediate effect and said he would assume the position of sole CEO after Tattersfield’s departure. Both report to Warner Music CEO Steve Cooper.Lousada will also continue in his role as chairman, Atlantic Records UK. STORY: Warner Music, Clear Channel Enter Strategic Alliance Miles Leonard, chairman ofParlophoneRecords and co-chairman of Warner Bros. Records UK, will take on full responsibility for Warner Bros. Records UK followingTattersfieldsdeparture, the firm also said. He will report toLousada. “Christian’s tenure as leader of Warner Music UK has been an extremely impressive one,” said Cooper. “As well as guiding the company through on-going commercial success, he has fostered a culture of excellence in artist development that will continue to shape our future.” He added: “Max is a natural successor to Christian and, in Miles and the rest of the senior U.K. team, he will have extremely strong support when he takes the role. His appointment ensures stability and continuity during the handover period and leaves us well positioned for growth in this important and influential market.” Said Tattersfield: “With the company in such great shape and its future in such good hands, the time is right for me to focus on the kind of entrepreneurial projects that I have pursued since I started out in the industry.” He didn’t detail specific future plans. “Im delighted to have the opportunity to lead Warner Music UK and am indebted to Christian for his tremendous encouragement over the last four years, during which time he steadfastly supported our boundless ambition and artistic vision for Atlantic UK,” Lousada said.
Classical music review: Meadows Symphony makes Dallas City Performance Hall debut
“We are living in a society that is dominated by the digital age. So it is a natural progression that almost every element beautifully syncs together. We need to move beyond album covers,” he observed. Touring through Kolkata, Visakhapatnam, Jaipur and Ahmedabad from Oct 1 to 27, ‘Rahmanishq’ will give fans a chance to experience Rahman at his best – musically and technologically. A blend of hits spanning two decades will be belted out to spectators during a three-hour format. “The concert capitalises on innovative never-seen-before technology, so that the audience can be overwhelmed with such knowhow at every stage of the concert…for an audience that will range from teenagers to senior citizens. The music is a reflection of two different generations,” said Rahman. Moreover, each city will have something different to look forward to from the versatile artist. “For Jaipur, I will bring in an element that highlights royalty..for Ahmedabad I will bring in an element that highlights folk dance..for Kolkata I will bring an element that highlights literature and for Vizag, I will bring in an element that highlights mythology.” At ease on the stage as well as in the recording studio, the Padma Bhushan recipient noted that in India, there is a “considerable gap” that needs to be bridged to be at par with the global live-act scene. Banking on the “professional channelisation” of the enormous talent pool in the country, Rahman envisaged an independent music industry like the film industry. He reckoned film music “is going to be one of the biggest industries in the world.” “In India, we have a pool of talent which requires professional channelisation to make this industry as colossal and independent as the film industry. While India has singers in every street, many of them performing the Carnatic, or classical Indian music variety, the future lies in Indian cinema.” In praise of youngsters making it big in the industry, the prolific composer, however, was wary of the “congestion” that has crept in.
Music cruises promise access, good times
The beaches of Great Stirrup Cay will be transformed into a “redneck paradise,” so crack those PBR’s open and get ready for let loose. If four nights onboard aren’t enough, there is also an option to book the “pre-cruise party” and stay an extra night onboard before the main events get underway. kidrockcruise.com/ PRIVATE ISLANDS: The ultimate cruise perk Jazz Cruises Holland America takes the concept of the traditional jazz boats of the Mississippi River to a modern level with a jazz cruise to San Juan, Turks and Caicos, St. Maarten, and a cruise-line owned island in the Bahamas . The week-long “Jazz Cruise” departs from Ft. Lauderdale in January 2014 on the Eurodam with a lineup that includes the Clayton Brothers Quintet, Bill Charlap Trio, Ann Hampton Callaway Quartet, Freddy Cole Trio, Ernie Adams, John Allred, and more than 30 additional performers. thejazzcruise.com/2014 For jazz fans on the West Coast who would prefer a sailing closer to home, the same cruise line offers the “Smooth Jazz Cruise” from San Diego this October onboard the Westerdam . The seven-night voyage includes the coast of Baja California, a stop in Puerto Vallarta, and Cabo San Lucas. Artists include Jonathan Butler, DW3, Richard Elliot, Marcus Miller, Brian Culbertson, Candy Dulfer, Chance Howard, and many more musicians. thesmoothjazzcruise.com/ Mountain Song at Sea (Bluegrass) In February 2014, the “Mountain Song at Sea” kicks off for the second year from Miami with bluegrass and folk artists like Steep Canyon Rangers, Trampled by Turtles, The Travelin’ McCourys, The Kruger Brothers, David Grisman Folk Jazz Trio, and many more. En route to Nassau and Great Stirrup Cay, expect spontaneous artist collaborations, theme nights, Q&A sessions, and of course, fabulous musical performances. Onboard the Norwegian Pearl , there is also a bowling alley, casino, spa, and even a rock-climbing wall among other amenities. mountainsongatsea.com/ Country Music Cruise Get those dancing boots ready to “stomp the boat” on a week-long cruise from Fort Lauderdale with stops in Grand Turk, San Juan, and St. Maarten aboard one of Holland America ‘s newest ships, the Eurodam .
Two blocks from FitzGerald’s Nightclub a 33-year-old spot that draws local and national acts,, four Chicago-area music professionals are partnering to open Wire, a venue, school and recording space described as an incubator for musical ideas. The endeavor is the latest in a procession of dining and entertainment destinations opening on Roosevelt Road, sparking some big hopes for the area. “The idea is, down the line, this could be Austin, Texas,” said Chris Neville, the principal investor in Wire and musical director of Tributosaurus, a popular Chicago group that pays tribute to well-known musical acts. As the city of Berwyn uses colorful billboards to encourage Chicago-area residents to “make the move” to the western suburb, FitzGerald said he is seeing results. In the last few years, diners from new restaurants such as Autre Monde and Capri have been showing up at his club, he said. He predicts Wire concertgoers and students also will fan out to other neighborhood businesses. “That whole destination thing, there’s something to that,” said FitzGerald, who compares what he is seeing to the game “Monopoly.” “This little strip here from FitzGerald’s down to the Wire you’re starting to see some houses on those monopolies,” he said, referring to the board game’s development options. “I think Berwyn wants to see hotels.” Boosted by a recent $10 million streetscape improvement project, Roosevelt Road is being developed as the town’s “entertainment corridor,” said Berwyn Development Corp. Executive Director Anthony Griffin. “We do have some thoughts of building upon the music scene of Roosevelt Road,” Griffin said. The corporation, which contracts with the city, dedicated about $230,000 in local taxes toward the $1.2 million Wire renovation, Griffin said. The money came from a tax increment financing program, which diverts tax dollars from the city and schools toward economic development projects, he said. Wire is projected to generate nearly $50,000 per year in property and sales taxes, he said.
Its about one third the size of typical orchestra halls, and with very lively acoustics there was some fear the sound would be overpowering. But sound-absorptive banners can be lowered in varying degrees to adjust the acoustics. In the first half, with the banners lowered more than halfway down the side walls and all the way at the rear, the sound was clear and full, but it lacked a certainly liveliness. The side banners were raised maybe 10 feet for the second half, yielding a noticeable increase in sonic vividness. The sound was a bit loud, yes, but excitingcertainly far superior to Caruth, a facility better suited to smaller-scale music. Theres room for further experimentation. The program opened with Lintukoto/Isle of Bliss, a 1995 tone poem by the contemporary Finnish composer Einojuhani Rautavaara. Thirteen minutes long, this is frankly voluptuous music, and music director Paul Phillips caressed its phrases lovingly. Rhema McGee supplied a particularly suave horn solo. Both here and in the ensuing Ravel Pavane for a Dead Princess the playing was capable, but, in the student orchestras first concert of the school year, it lacked a bit of finesse that will come with a few more weeks of playing together. Ravels Le tombeau de Couperin got a fine performance, though, with remarkably accomplished contributions from the winds, notably oboist Nora Prener. The Forlane was nicely buoyant, the final Rigaudon crisply alert. (Why were the movements not printed in the program?) The orchestra really came into its impressive own in Scenes and Dances from Manuel de Fallas The Three Cornered Hat. Dance of the Millers Wife had stirring cut and thrust, and The Grapes progressed from frisky to frenzied.
Nun’s music makes divine buzz in Jerusalem
These concerts showed her what could have been. Ethiopian aristocracy to Jerusalem monastery The nun was born Yewubdar Gebru on December 12, 1923, in Addis Ababa, to an aristocratic family. At age six, she and her sister were sent to a boarding school in Switzerland. There she heard her first piano concert and decided to play and study music first violin, and then piano. Gebru accepting flowers from Maya Dunietz after a performance of her music. Photo by Tal Shachar/Jerusalem Season of Culture She returned to Addis Ababa in 1933, was exiled with her family from Ethiopia in 1937, and returned to her homeland years later. She was awarded a scholarship to study music in London, but Ethiopian authorities denied her permission to leave the country. Her dream of a career in music came to a halt and instead Gebru secretly fled to the Guishen Mariam monastery, served two years there and became a nun at the age of 21. She took on the title Emahoy and her name was changed to Tsege Mariam. Following her mothers death in 1984, Gebru fled to the Ethiopian Monastery in Jerusalem because socialist doctrine in Ethiopia clashed with her religious beliefs. For nearly three decades, in a small narrow room on the aptly named Ethiopia Street in Jerusalem, Gebru served the church and privately returned to her beloved music. She played up to nine hours a day and wrote countless compositions for violin, piano and organ concerto. Her music, Volkov says, is a narrative of her life. Its very meditative and inward-looking. It has a melancholic air, very generous and beautiful. Some works are more outward-looking, but others are about feelings of loneliness.