Music I'm checking out! - May 2025

Hello everyone and welcome to my blog page!

For a while now, I've thought about what to include on this page and figured this would be a good start. This blog (and hopefully series of blog posts) will include some of the music I've been listening to lately. A few short criteria I have for selecting pieces:

1. Genre does not matter, good music is good music!

2. I am inspired by a particular element, sound, or form of the piece

Before the first piece I will also say that I am not a music critic and/or somebody who is critically analyzing these pieces. The way I talk about these works will (hopefully) be very casual. I also take no credit for any of these amazing works, and am focused on highlighting the amazing qualities of these pieces! With that being said...

"On Being Wrong" by Christopher Cerrone

I was first introduced to Christopher Cerrone's music this past fall and he has quickly become one of my favorite composers. His music does a wonderful job of balancing accessibility with contemporary techniques/notation. I feel his work "On Being Wrong" is a prime example of this balance. The work balances two ideas: the ambient harmonics with the (dare I say) cinematic pulses from the D pedal. The versatility of the cello benefits this balance and helps tie in these two ideas to each other. The beginning harmonics create this ethereal feeling for the listener and perfectly makes use of the cello's natural resonance. The harmonic choice of focusing on the F#-G relationship creates a somewhat plagal cadence as the ambient section leans into the triplet figure of the faster tempo centered around D. This faster section centers everything around the D pedal point with hairpin crescendos generally happening every 4 measures. While some elements of this section remain the same, the changes in harmony and timbre propelled me as a listener to stay invested in the motion of the journey. Lastly, to state the obvious, the reverb and fixed media really elevate this work to a new level, and as a creation that feels truly contemporary. The long reverb creates rich counterpoint within the ambient sections, both regarding pitch and timbre. The fixed media blended in with the real cello provides another interesting aspect as a listener, especially from a recording. Sometimes it is hard to tell which is being performed live and which is pre-recorded, but I think this blurriness adds to the beautiful mystique of this work.

Of course, all of these compositional elements are brought to the forefront due to an exceptional performance/recording by Ashley Bathgate, for whom the work was commissioned.

If I had one sentence:

Cerrone's work beautifully accentuates the natural characteristics of the cello into the 21st century.

"Nimbus" by Ralph Towner

Ever since I found out what ECM is, I have enjoyed the experience of listening to a number of their records. This recording/composition by Ralph Towner exemplifies some of the beautiful qualities I associate with this "collection" of music. The beginning acoustic guitar gripped me as a listener through the rich timbre and harmony of the guitar. There almost sounded like there were 3-4 different types of sounds within a singular chord if it was nylon strings, harmonics, etc. This solo guitar sets the vibe of the tune and the ostinato figure leans into the character and drive of this composition. Most of it is felt in a larger 6/8 but the turnarounds double the speed into that of a faster 12/8, which is helped by the harmonic rhythm throughout. The balance of counterpoint between harmonics and "normal" guitar notes is also masterfully done. By the time the flute come in, I feel like is already in a completely different symphonic landscape from just a "jazz record." The change from the acoustic guitar to the electric for the first solo felt like a transformation of what the listener experienced previously. The drumming by Jon Christensen and bass figures by Eberhard Weber really drive the solo sections forward through the different sections. By the time Jan Garbarek solos, it feels that all four players are exploring and searching - a quality I love about much of ECMs music.

If I had one sentence:

"Nimbus" by Ralph Towner takes the listener on a rhythmic and timbral journey through the creativity of both the soloist and the rhythm section's drive.

"Angels of the Inmost Heaven" by Lucia Dlugoszewski

If you thought you had nailed down my aesthetics from these first two pieces, then I have a feeling this piece will prove you wrong. This work by Lucia Dlugoszewski kind of blows my mind. I came across this work on Instagram from a post promoting the performance of several of her works with Bowerbird Philadelphia. Brass instruments can obviously create a certain power and ferocity but this piece tests the limits of the brass quintet. In timbre, rhythm, texture, and register, this work challenged me as a listener. The very first measure of the piece really took me for surprise and set the tone perfectly. The fast articulated dissonant passages followed by the trumpet wails introduced two incredibly strong motifs which are referenced and developed throughout the work. Though much of the work is at least forte, the moments where instruments are playing quiet wailing gestures or textural figures really stand out and contrast. The use of dynamics and register really keep the listener on their toes and invested in the work. The use of rhythm within time (well duh) is integral to this work. The reason I specifically mention time is that the pulse always seems to change but it is due to the specific divisions of the beat (or if we're being fancy tactus). At first, I thought the very beginning was grouped in fast 16th or 32nd notes but in further discovery, is actually grouped in 5. This doesn't become more noticeable until later in the piece where the trumpets plays a 16th note figure, discernibly slower than the beginning gesture. The last thing I will mention about this work is how the polyphony creates such rich textures. There are moments when brass instruments are doubled for power and effect, but the contrast of rich gestures, technique, tempo, and (of course) notes, really pack a punch by the time a listener reaches the end of the 8 1/2 minute work.

If I had one sentence:

"Angels of the Inmost Heaven" creates incredible intensity and tension for brass quintet, and provides a wonderfully, challenging, and rewarding listen.

"The Tattooed Bride" by Duke Ellington

Recently, Jazz at Lincoln Center hosted its annual Essentially Ellington competition. I was fortunate enough to perform at this competition in 2019, and this year's competition reminded me of my love for Duke Ellington. Everybody knows Take the A Train and other tunes like that, but I was reminded of one of my favorite Duke compositions, "The Tattooed Bride." This tone poem seamlessly integrates classical music with the jazz/dancehall idiom. Works like Gershwin's Rhapsody in Blue are notorious for incorporating jazz into the symphonic form, but Duke's work approaches it from the opposite viewpoint. More than many big band works from this period, I feel like the work as a whole tells a story and takes the listener on a journey. Each section is memorable (and swingin' of course!) and contributes to the plot of the story. I also love the virtuosity of this composition, as it allows many members of the ensemble to shine. Jimmy Hamilton's clarinet sings throughout the work in both the ballads and up-tempo swing sections. Overall, I feel this work both transports me back to the 1940s while sounding as fresh and creative as ever!

If I had one sentence:

"The Tattooed Bride" beautifully and exquisitely demonstrates Duke's creativity and the work serves the virtuosity of the ensemble wonderfully.

"Hyperballad" by Jacob Collier (Björk cover)

When I first came across this recording, I was in awe. I am familiar with Jacob Collier's music and genius but this piece showed a side of him that I love, and feel like I don't hear enough of. This one take cover of a beautiful Björk song (which I have since become familiar with) captures such an emotional and patient approach. The very first chord, had me on the edge of my seat. The choice of an C7/F captured such a curiosity and wonder as the piece begins. Though much of the work is performed rubato, the freeing time and verse highlights the characteristics of "Hyperballad" in a very different way from the original version. His short piano interludes/figures help develop the performance as they get more and more full in texture. Once Jacob arrives at the first chorus, the piece goes into steady time and the texture thickens. I love how even though his interpretation feels like a "pop song" with the cycle/repetition of chords, his choices of chord extensions really highlight the emotional qualities of the work. The A melody note over the Eb chord moving into the F(add2) is both beautiful and nostalgic in my eyes. In the moments where the piano is more reserved, Jacob melodic interpretation shines brightly and highlights the powerful lyrics by Björk. Even the text painting of "slamming against those rocks" with the rolling in the piano is paced perfectly and teases what will happen at the end of the piece. By the time Jacob arrives at the chorus, the listener has already gone on an incredible journey which hits its emotion peak in the middle of the chorus. In the post chorus, Collier modulates to a different tonal center and truly feels like a unique post chorus, not just an extension of what was heard before. This modulation (in my opinion) feels like a completion of the journey that Jacob (through the lyrics by Björk) takes the listener on. This performance is truly one of the most beautiful things I've ever heard, and continues to inspire me every time I listen to it.

P.S. oh yeah, all of this was improvised in one take....

If I had one sentence:

Jacob Collier's cover of Hyperballad finds a beautiful emotional quality through his craftful choice of harmony and lyrical interpretation.