The News Review:
- ct. 30–The Wisconsin State Journal bituaries
- Met Chamber Ensemble – Music – Review – New York Times
- ‘Mirror’ reflects on Dylan lore: New DVD follows musician…
- Buck 65 | Music Artist | Videos News Photos & Ringtones | MTV
- Bluegrass angel teams with Zeppelin frontman
- Ryan Adams rocks Carnegie Music Hall
- Sigur Rós’s Hvarf/Heim
ct. 30–The Wisconsin State Journal bituaries
Free with registration – WI State Journal – AccessMyLibrary.com – Oct 30, 2007
Dorie was born Doris Margaret Fredendall on July 25 1917. She was a lifelong Janesville resident. After graduating from high school at age 15 she attended Layton School of Art in Milwaukee for two years and while there she modeled clothes for several large department stores. She also worked briefly as a photographer’s assistant at Helgeson Studio in Janesville. During World War II she enlisted in the Women’s Army Corps. She then attended Groves Secretarial School in Madison.
Met Chamber Ensemble – Music – Review – New York Times
New York Times – Oct 30, 2007
The soprano Susan Narucki navigated these straits with an assurance that gave the illusion of ease. Harbison’s “North and South” (1999) was more accessible still partly because his music reflected the plain-spoken quality of Elizabeth Bishop’s poetry. The two “Ballad for Billie” settings for example hint at the blues without quite going there and Sasha Cooke the mezzo-soprano did a magnificent job of mixing blues phrasing with the refined timbre of upscale modernism. But if the vocal writing encourages an unabashed lilt the instrumental scoring is wilder and more abstract. Levine led taut performances of all three works but the ensemble really shone in “L’Histoire… Harbison’s “North and South” (1999) was more accessible still partly because his music reflected the plain-spoken quality of Elizabeth Bishop’s poetry. The two “Ballad for Billie” settings for example hint at the blues without quite going there and Sasha Cooke the mezzo-soprano did a magnificent job of mixing blues phrasing with the refined timbre of upscale modernism. But if the vocal writing encourages an unabashed lilt the instrumental scoring is wilder and more abstract. Levine led taut performances of all three works but the ensemble really shone in “L’Histoire. ” The composer-speakers reading a text updated to set the story on Long Island and in New York City and to rename the Soldier Elliott and the Devil Milton proved entertaining as well not least because Mr.
‘Mirror’ reflects on Dylan lore: New DVD follows musician…
Free with registration – Sacramento Bee – AccessMyLibrary.com – Oct 30, 2007
In what we might now call a “tipping point” Dylan’s electric and electrifying performance in July 1965 symbolized the defection of folk music’s leading light to the more profane and commercial world of rock ‘n’ roll. (Dylan actually already had released a semi-rock album “Bringing It All Back Home” earlier in 1965 and his new rock single “Like a Rolling Stone” had just come out by the time Dylan appeared at Newport. In addition several other electric bands playing blues and.
Buck 65 | Music Artist | Videos News Photos & Ringtones | MTV
MTV.com – Oct 30, 2007
The program (dubbed “The Bassment”) helped Terfry cement his status as Halifax’s premier hip-hop head; inch by inch artist collaborations production duties and club residencies soon followed. During this time Terfry dabbled with mic duty often to acclaimed results. While 1992′s Chin Music helped him win a deal with local label Murderecords 1996′s Psoriasis (recorded with friend Sixtoo under the moniker Sebutones) garnered underground plaudits and 1997′s 12″ trilogy The Wild Life raised eyebrows overseas. Later in 1997 Buck 65′s first well-circulated full-length followed; Language Arts was hailed by everyone who heard it as a hip-hop triumph. Fusing Terfry’s hard-luck grumble with a decidedly lo-fi (but immaculately produced) instrumentation it trumpeted his (and Halifax’s) entry into the hip-hop circuit. In spite of — or perhaps as a result of — his tendency to veer towards more opaque territories (Terfry’s albums rarely come with any tangible track listing) the big guns soon came calling. Revered turntablist Mr… 1999′s Vertex was hailed by critics as a progressive brilliantly conceived concept album a regulated mix of measured neuroses and marble-mouthed charm. The follow-up 2001′s Man verboard released on the respected underground Anticon followed on that note pitting Terfry’s numerous personalities against each other often to brilliant effect. WEA Canada picked up the record and released its follow-up Talkin’ Honky Blues an excellent collection of introspective stories. An international contract materialized with V2 which released the career-spanning compilation This Here Is Buck 65. setNGrp(1);lsConf.
Bluegrass angel teams with Zeppelin frontman
MSNBC – Oct 30, 2007
?As odd an alliance as it might seem at first it?s not that farfetched. Krauss is a fan of classic rock and pop tunes and has covered the Beatles the Allman Brothers and Todd Rundgren on her records with her band Union Station. Plant has borrowed from American roots music throughout his career particularly blues artists like Robert Johnson and Big Bill Broonzy. ?nce I heard the music of the Mississippi Delta I was no longer English. I was a man of the world? Plant recalls. A chance to growA tour is in the works but both are mum on details. During a recent taping for a January episode of the Country Music Television show ?Crossroads? ? their first public performance together outside of the Leadbelly tribute ?they looked comfortable with each other but worlds apart on stage.
Ryan Adams rocks Carnegie Music Hall
Tribune Review – Oct 30, 2007
Will Adams pick a fight with the monitor engineer (or a fan) and storm offstage after three songs? r will he play for three hours nonstop? Will he charm his audience or revolt it?Fortunately for those at last night’s sold-out Carnegie Music Hall performance Adams kept the capriciousness under control delivering a solid show of career-spanning music to an elated crowd with the help of his stellar four-piece band the Cardinals. Despite a few sound issues at the onset (which the guy in the balcony yelling “More Vocals!” definitely didn’t help) the band hit full stride early on and justified the range of Adams’ material. New songs like “Goodnight Rose” and “Two” sounded even better than the versions on his latest record “Easy Tiger” — though everybody on stage seemed more comfortable plowing through classic tunes like “Come Pick Me Up” “Stars Go Blue” and “Please Do Not Let Me Go. ” Adams was enjoying himself it seemed commenting on the beauty of the venue and even taking time to mock himself by sitting in the crowd and yelling “requests” at his band onstage. He’s still a strange bird though… He’d mumble into the microphone. At times he acted like the show was his first ever performance in front of a live audience. But then he’d launch into a classic barnstormer like “Rescue Blues” and all would be forgiven. Despite his idiosyncrasies there’s no denying he’s a pro. Furthermore he seemed near apologetic when he told the crowd he had to stop the show due to the Carnegie’s strict 11 o’clock curfew. story continues belowConsidering what else could have transpired we got a good one.
Sigur Rós’s Hvarf/Heim
Village Voice – Oct 30, 2007
) and critical vernacular Iceland is a mystical winter palace where pixies and golems sing snow hymns through the night while people commune with aliens. But the band’s self-fabricated nonsense-language aside the idea that Sigur Rós’s music is a product of “otherness” is a total farce. In reality this band is a completely formulaic creature and the pure rock ‘n’ roll idea it evolved from is the same strain that genetically binds 12-bar blues to Frippertronics: insistently cycling one thematic fragment of music (usually a melodic phrase) while carefully swelling and embroidering until it burgeons into a release into something more. As the players meditate subtly on those ideas (glassy piano arpeggios driving power chords surging strings) frontman Jon Thor Birgisson’s singing unearths and exaggerates their embedded melodies pulling the songs forward through gorgeous octave-leaping swells until the intensity wanes and he drops abruptly back to earth leaving those instruments hanging as the vapor trail of the descent. While “Hijomalind” eschews a glacial build for a parabolic series of lovely guitar-driven peaks “I Gaer” contrasts two different kinds of melodrama (rock-opera bombast and lullaby quietude) so starkly that it comes off as satirical.