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A TURNING POINT IN MY BLOG
June 7, 2019
My dear readers:
You may be wondering why I haven’t posted many reviews lately. The sad truth is that the nature of classical and jazz reviewing has changed once again, and not necessarily for the good.
My major distributor of the albums I review has decided to send out as few physical CDs as possible. Now, I normally review most of these recordings from downloads or streaming anyway (I often mention it in the reviews), but there always seem to be eight to ten items per month that are not available for streaming or download. In the past I was fortunate enough to get at least some of these as physical CDs, but that will no longer be the case.
The other side of the problem is that most of the recordings I choose to review, which are often non-repertoire items and modern music, aren’t available at all for download or streaming. This is because, I have learned, that these labels choose not to share sound files, booklets and/or album art with my distributor. They want the promotion my distributor affords, but they then want everyone, including the critics, to pay for the recordings. And this, sadly, I cannot afford to do.
Therefore I must tell you that the number of my reviews will unfortunately be limited from this point on. I have discovered, by prodding and poking around, that a few of them are available for free streaming on YouTube, Freegal and occasionally on Spotify. When that is the case, I will indeed review them, but when it is not I will endeavor to give you reviews of excellent music and/or performances that I believe are worthy of your attention. I assure you that no one is more frustrated by this than I am. My very existence revolves around great music, and I look forward to the listening experience.
Another reason for the reduction in reviews, however, has been a decrease in quality music and performances being offered to me. I have turned down or passed over a fairly large number of classical recordings because they are 1) of standard repertoire I’ve heard a hundred times and have no desire to revisit, 2) interesting older works whose impact is absolutely ruined by the nonsensical and ahistoric religion of Straight Tone and “original instruments,” or 3) the growing number of soft classical or “ambient classical” music, which I cannot stomach. In jazz, much the same thing is happening. I can’t tell you how many whispery singers are making records nowadays of such-and-such music “from the heart” and calling it “jazz,” or how even well-known jazz artists are softening their approach to cash in on the current trend in wimpy, uninteresting music. I’ve also turned down a fairly large number of “innovative” jazz orchestras who sound like Doc Severinsen’s Tonight Show Band of the 1960s and ‘70s.
This blog has always been about the very best in music and its performance; this aesthetic is also reflected in my Penguin’s Girlfriend’s Guide to Classical Music which is an adjunct of it. And I will doggedly fight to only bring you the very best music and performances.
So please bear with me as I and the recording industry adapt to these changes. Rest assured that, until and unless you see a posting telling you that I have passed on to the other side, I am still here and still digging up great music for you.
Thank you for your loyalty and patience!
*****READ LYNN’S BOOK: FROM BAROQUE TO BOP AND BEYOND!*****
*****OR MY 2006 BOOK ON THE HISTORY OF RECORDING & ITS RELATIONSHIP TO ART MUSIC: SPINNING THE RECORD*****
You’ll love it! Or you won’t!
Now complete all the way through Composers – X/Y/Z! Click on the link above to access it!
Toscanini In and Of His Time
An approach to Arturo Toscanini’s conducting style and musicianship in a different light. A work in progress, I’ve uploaded the first six segments for your enjoyment (I hope). Feedback appreciated. Now complete through the year 1952 and including a facsimile of the 1950 NBC Symphony-Toscanini Tour Booklet. Now complete through my final posting, “The Toscanini Recordings – 2.”
Check out my latest blog posts:
Jamina is a Gerl of the Future
Rohan de Saram Plays Modern Works
Jazz Group “Mute” is Anything But
Kickin’ It With the Lands End Ensemble
Konstantine Krimmel’s Ballad Recital
Harp & Guitar Jazz? Why Not!
Digging Into Winbeck’s Symphonies
Glowicka’s Dream of Middle Eastern Feminism
Roger Kellaway’s Open Minds
Enja’s Saxophone Summit
More Eccentric Music from Ketil Hvoslef
Sama Plays Medtner
Behle’s Fine Mozart Recital
Liebreich’s Great Szymanowski & Lutosławski
Cathy Segal-Garcia Revisits Two Old Flames
Santoro and Battstone Play “Dream Notes”
Wallfisch Sings Schumann
Perelman & Shipp Explore Their “Efflorescence”
Paul Wee Plays Alkan
Gardony Makes the “Marseillaise” Jump!
Rolf Dieltiens Plays C.P.E. Bach Concerti
Storgårds’ New Antheil CD
Jenny Lin’s “Etudes Project”
Jérome Billy Sings Britten
Edoardo Bruni’s Unusual Chamber Music
Stein Plays Weinberg’s Flute Music
Rahbari Celebrates “My Mother Persia”
Eric Wyatt Returns to Celebrate Sonny
Marlis Petersen Seeks Dimensions
Martino Traversa Pays “Hommage”
Berlioz’ Romances for Voice and Guitar Recorded
Kaufmann Channels Tauber
Marek Jakubowski is Patient and Stubborn
Carla Marciano Explores Psychosis
Philippe Jordan’s Monumental Beethoven
Robert Groslot’s Concerti
Beltramini Plays Françaix & Nielsen
Krenek’s Orchestral Music
The Orchestral Music of Winterberg
Barry Mills’ Mosaics Series Continues
Discovering Eugène Samuel-Holeman
New Beethoven Lieder Project
Revisiting Erroll Garner’s “Dreamstreet”
Garner’s “One World Concert” Reissued
Raymond Lewenthal: The Full Monty
For links to older blog posts (beginning March 2016) click HERE
Questions? Comments? Suggestions? Contact me at artmusiclady(at)outlook .com
Other sites of wonder to discover:
The Opera Scribe
Jazz in Europe
Emily’s Music Dump
Jazz Profiles (Gary Giddins)
The Music Parlour – Historical Releases
Composer Charles Ruggiero
Jazz Radio Network
WWFM Classical Streaming
Jazzbreak (many sound clips & videos available here)
John Todaro Photography