Д.Д.

Zappa was a special case. The masters were bought back. There were some threats of lawsuits in both directions between Zappa Family Trust and Ryko, this was definitely not a smooth process. Ryko's acquisition by Warner was not the main driver behind the transfer of Zappa's masters (although this might have helped - there is a well-publicized historical mutual Zappa / Warner animosity).

Yes, here is the link: http://www.darktree-records.com/en/dt08-vinny-golia-wind-quartet

You probably know about it, but just in case - you can download all (?) FMP titles through Destination Out!, and official digital outlet for FMP: https://destination-out.bandcamp.com/ "14 Love Poems" CD version has 10 more titles than the LP.

It's already on Spotify too: https://open.spotify.com/album/2IQwM81ZpSyo3Xp32y8VRd

Now Sony can probably make copies of this CD and sell them. Legal in the EU!

Man!

This was the Rodrigo Amado quarter with Kent Kessler and Chris Corsano. McPhee was playing tenor exclusively, and he was playing beautifully. He seemed to be in quite a lyrical mood (having turned 80 two days ago might have had something to do with it). Unfortunately, Amado insisted on playing non-stop all through the set. There literally were no more than 10 minutes cumulatively in a 1.5-hour set when he did not play. There were probably four minutes when McPhee played without Amado, the these were the highlights of the concert. When they were playing together they were mostly drowning each other out. McPhee is one of my favorite musicians, and I saw him live probably 10 times, and it was never that good - I tend to blame his sidemen (the trio with John Edwards and Klaus Kugel I saw last year was extremely boring fire-music skronkfest). I wish I saw Trio X... Amado fell back on the same licks all the time, was very repetitive. I've heard an enjoyed quite a few albums with him, and today was the worst I've heard him do. Corsano was quite interesting but man is his bass drum bashing annoying. McPhee will now proceed to Wels Music Unlimited festival where he is one of the featured artists: http://www.waschaecht.at/music-unlimited/

Man, I gave up on Braxton 15 years ago, still can't recover from hearing this: But I am looking forward to seeing Rodrigo Amado with Joe McPhee tonight.

This is good stuff. Yes, once you go Bach you never come back. Now playing: Another excellent composer prevented (mercifully, less brutally than Roslavets, Mossolov or Nosyrev) from developing his talent by the Soviet system.

One of Lacy's best, IMHO. Joy indeed.

Not too many good things, but still better than what he's doing right now. This one is good, though:

Just released. Violin and viola duo andPlay (Maya Bennardo, violin, and Hannah Levinson, viola) playing music by Ashkan Behzadi, Clara Iannotta, and David Bird. Good stuff. http://www.newfocusrecordings.com/catalogue/andplay-playlist/

Ha-ha

This is good stuff

Psi is Parker's baby, I don't think Martin had much to do with it, other than distribution. Psi has a much higher share of clunkers compared to Emanem.

Yes

I just ordered some CDs from Emanem a couple of weeks ago, which were delivered within days, so the distribution end of the label (well, of Martin, the label is a one-man show) works just fine.

Saw ORF Radio-Symphonieorchester Wien with Marin Alsop conducting at Konzarthaus here in Vienna yesterday. The program was: 1. Christopher Rouse Rapture (1999–2000) 2. Lera Auerbach Evas Klage. O Blumen, die niemals blühen werden (2019) 3. Paul Hindemith Symphonie »Mathis der Maler« (1933–1934) 4. Paul Hindemith Sancta Susanna. Oper in einem Akt op. 21 (1921) First off, ORF Radio-Symphonieorchester Wien is excellent. I was surprised how good they are, I always thought of them as a distant hack-job cousin to Wiener Philharmoniker and Wiener Symphoniker. I was clearly wrong. I am curious if this was actually always a good orchestra or it's a recent development - perhaps soulpop would know. On the music, the Rouse piece was interesting and colorful with great tympani flourishes. I have never heard of Rouse (who died a few weeks ago, as I learned), and I will definitely be investigating more. Auerbach's piece on the other hand, was an awful saccharine pastiche (sort of Schnittke / Slyvestrov thing, ECM-ready) with over-long citation from Purcell's "Music for a While" (which was anyway the best part of the piece) and overbearing Ondes Martenot. Moreover, it was preceded by a long rambling speech from the composer (this was the world premiere of this crap) where she mentioned that the "music contains humor". When a composer feels the need to point out that she has humor in the work that is about to be performed it's probably time to head for the door. But it was mercifully short. Nice touch was that the soloists were the "last" instruments - meaning, last (as opposed to first) violin, last alto, etc. - who played superbly, I really wonder how much of a difference there is between first and last violin in an orchestra of such caliber. As always with Viennese audience (particularly when the composer is present), long and enthusiastic applause. Hindemith's "Mathis der Maler" was excellent, as expected. I am fairly familiar with the piece (in different performances), and I always felt that there are just too many ideas packed in there with a bit of a disjunctive overall feel to it. But these are all beautiful ideas, anyway. The brass were great on that one. I set on the first balcony raw, the sound was perfect. I did not stay for the opera. Had enough of positive musical impressions for the evening.

Beautiful sound indeed, but man is Sweelinck boring and predictable. Byrd and Peerson pieces are excellent.

Man, these covers... Shostakovich = Soviet twenties propaganda posters is such a lazy lazy approach (this is a nice poster, nothing against it per se). And for his quartets this is not event remotely relevant.