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      Travels Over Feeling: Arthur Russell, a Life review – down the rabbit hole with a musical maverick

      news.movim.eu / TheGuardian · 2 days ago - 06:00 · 1 minute

    He played cello for Allen Ginsberg, nearly joined Talking Heads and was sampled by Kanye West. Now the singular, genre-spanning Russell has the exhaustive study he deserves

    A secret hero of the dancefloor, the avant garde producer and musician Arthur Russell occupies a strange and silvery slot in the annals of music. He was a low-key cult figure in his lifetime, but one who has been increasingly celebrated. His prodigious output and his refusal to have that work pinned down has, in the decades since his death from Aids-related illness in 1992, birthed a small cottage industry of admiration and exegesis: compilations, reissues , covers albums, biographies and even a film . The Barbican in London has given over a night in May to celebrate Russell’s often confounding, genre-spanning work – and the publication of this latest account.

    Russell first became a minor legend among clubland cognoscenti thanks to a handful of woozy bangers he put out under names such as Dinosaur L ( Go Bang! ) and Loose Joints ( Pop Your Funk ) in the early 1980s – discs spun compulsively at hallowed New York clubs such as the Paradise Garage , before percolating out to Chicago, Ibiza and beyond. Unexpectedly, Kanye West sampled Russell’s tune Answers Me on his 2016 track, 30 Hours – but it wasn’t one of his dancefloor hits. Answers Me is almost gestural, a dub composition for cello, percussion and voice taken from World of Echo , Russell’s 1986 album, a record widely met with bafflement upon release that now occasionally crops up on best-albums-of-all-time lists.

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      Akon’s honest playlist: ‘The best song to have sex to? Smack That by Akon’

      news.movim.eu / TheGuardian · 2 days ago - 06:00

    The rapper would sing Bob Marley going to school and gets the party started with Black Eyed Peas, but which pop classic is he ashamed to admit liking?

    The first song I remember hearing
    I don’t know if it’s the first song I remember hearing, but the first song I remember singing was No Woman, No Cry by Bob Marley . I grew up in Senegal and I would sing it on my way to and from school.

    The song I stream the most
    I’m pretty versatile these days but I would probably say Costa Titch by Big Flexa featuring C’buda M, Alfa Kat, Banaba Des, Sdida & Man T.

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      Amadeus, Elgar, a bogus gold disc and Goldie Hawn: Neville Marriner’s best recordings

      news.movim.eu / TheGuardian · 2 days ago - 05:00

    The great British conductor was born 100 years ago today. His son Andrew picks his father’s most memorable recordings

    As a five-year-old, I sat spellbound on the stairs outside our living room. The furniture had been removed to to make space for a handful of string players, there to rehearse and play with no end in mind other than the pure pleasure of making music. The conductorless string chamber group founded by my father Neville was named “The Academy of St Martin-in-the-Fields” (ASMF), after the church in which it rehearsed, and gave its first concert in the Trafalgar Square church on 13 November 1959.

    I well remember the excitement when test pressings arrived of recordings by the newly formed group. Theirs was a fresh approach, bringing to works normally performed by the larger and weightier orchestral forces a sparkling clarity and refinement of balance – a style that characterises the Academy’s playing to this day.

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      Rico Wade, key figure in Atlanta hip-hop scene, dies aged 52

      news.movim.eu / TheGuardian · 3 days ago - 19:52

    Tributes paid to music producer who helped write TLC’s Waterfalls and worked on albums by OutKast and CeeLo Green

    Rico Wade, one of the architects of Atlanta’s “dirty south” hip-hop sound, who co-produced albums by OutKast, Goodie Mob and CeeLo Green and who co-wrote TLC’s 1994 hit Waterfalls , has died. He was 52.

    Atlanta mayor Andre Dickens paid tribute to Wade, saying he had “led in the creation of a hip-hop sound that has spanned decades and genres. Rico left an indelible mark on music and culture around the world and for that, the south will always have something to say.”

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      Leyla McCalla: Sun Without the Heat review – a freewheeling, joyous listen

      news.movim.eu / TheGuardian · 3 days ago - 14:00

    (Anti-)
    The American multi-instrumentalist combines a wide range of Black musical traditions on her beautifully crafted fifth solo album

    Multi-instrumentalist Leyla McCalla was exploring the Black legacies of country music and Americana long before Beyoncé’s Cowboy Carter made the idea mainstream. As a member of the group Our Native Daughters, she has highlighted the presence of Black female banjo players, while her work with the Carolina Chocolate Drops explored the Black songbook for strings.

    In her solo output, McCalla expands her purview to take in music from the African diaspora. On this, her fifth album, she provides 10 gorgeously crafted songs that veer from Afrobeat to Brazilian tropicalismo, as well as folk and country. Glittering, highlife-inspired guitars are a buoyant touch on celebratory tracks such as Open the Road and Take Me Away, while the plaintive plucking of Tree and the sweeping cello of I Want to Believe showcase McCalla’s storytelling songwriting, presenting hopeful tales of self-exploration.

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      New York v Norwich: what my move across the Atlantic taught me

      news.movim.eu / TheGuardian · 3 days ago - 13:00

    What happens when a native New Yorker uproots her life and moves to Norfolk?

    A guttural scream exploded from somewhere deep inside me as I stepped out of the car in New York City on my first visit back there since moving to the UK a year ago. I’d nearly planted my foot on two rats embroiled in a grudge-match over the right to eat the chunks out of a pile of vomit. I then spent the next hour pressed against the front of a building, because our Airbnb host had neglected to leave us the key. So we dodged Saturday late-night drunks until he finally arrived at 1am. Within 30 seconds, he and I were fighting.

    Any New Yorker will tell you to stay away during the dog days of summer, because the garbage-strewn streets will have reached maximum, eye-watering pungency. But my son’s UK school schedule dictated the timing. So this past August, I found myself touching down at JFK, terrified I’d feel remorseful about having left and pleasantly surprised to feel only a gentle tingling of familiarity as the glittering skyline came into view.

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      LSO/Pappano/Balsom review – elephant honks kick off Wynton Marsalis’s trumpet showcase

      news.movim.eu / TheGuardian · 3 days ago - 11:22

    Beacon, Bristol
    Soloist Alison Balsom delivered Marsalis’s playful new trumpet concerto with poise, expertise and wit – right down to the animal calls

    Rather like the American quilts whose fabric embeds a story, Wynton Marsalis ’s new Trumpet Concerto is a patchwork of the history of the instrument and some of its most celebrated exponents, from Louis Armstrong to Frenchman Maurice André. Over six movements, spanning 35 minutes, Marsalis has stitched together myriad styles and characteristics, jumping continents and name-checking composers and players en passant , with a metaphorical doffing of the “Derby hat” mute in tribute.

    Conceived for Michael Sachs, principal trumpet of the Cleveland Orchestra, and premiered last year by him, the multifaceted piece has been picked up by English trumpet soloist Alison Balsom. Her performance of it – first with the Swedish Radio Symphony Orchestra and now with the London Symphony Orchestra under Antonio Pappano – is testimony to her own virtuoso technique. In the Beacon Hall, Balsom delivered it with cool poise.

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      I value Brummie art, but who else does? | Stewart Lee

      news.movim.eu / TheGuardian · 3 days ago - 09:00 · 1 minute

    Only in Birmingham could a statue of King Kong be lost twice. The city’s relationship with its cultural history is complicated

    Why should the people of Birmingham have 100% arts cuts imposed on them ? Brummies are quite capable of devaluing their own art without official encouragement. In 2020, the director Michael Cumming and I completed King Rocker (“One of my all time favourite rock docs” – Mark Kermode; “the new gold standard for rockumentaries” – the Scotsman ), which interwove the tale of typically self-effacing Birmingham post-punks the Nightingales with that of a giant piece of neglected Birmingham public art. Nicholas Monro’s King Kong, an 18ft-high fibreglass ape, was a ferocious presence in a brutalist sunken square in Birmingham, subtly mirroring his namesake’s annoyance with the art deco architecture of 30s New York. In the King Kong movie, beauty killed the beast. But the giant ape I loved as a child was murdered by Birmingham. Twice.

    Hated by 1970s regional-news-television talking-head Brummies and sold into nomadic slavery by the ignorant city fathers only months after it was unveiled in 1972, the stupendous ape was eventually rediscovered in 2016, and critically rehabilitated, by Leeds’s Henry Moore Institute. Like all great Birmingham geniuses, Kong had to go elsewhere to get recognised. But for many Brummies, Birmingham’s fear of getting above itself is one of the region’s most endearing traits. The alternative, of course, is being Manchester, the city equivalent of an endlessly farting dog that expects nauseated passersby to applaud.

    King Rocker is newly available to stream . Stewart Lee vs the Man-Wulf opens in London in December before a national tour

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      Shabaka: Perceive Its Beauty, Acknowledge Its Grace review – an elegant rebirth

      news.movim.eu / TheGuardian · 3 days ago - 08:00

    (Impulse!)
    British jazz star Shabaka Hutchings drops the sax for reeds and flutes on an album exploring fear, courage and the power of breathwork

    Typical: you wait ages for a flute album from a musician famous for other things, and then two come along almost at once. Hot on the exhale of rapper André 3000’s New Blue Sun , released last November, comes another exploratory redefinition, this time from British sax phenomenon Shabaka Hutchings . André 3000 guests here.

    Hutchings stepped away from the saxophone at the end of 2023. Since the pandemic, this maven of the London jazz renaissance has been reassessing , exploring the gentler timbres of the shakuhachi, a Japanese bamboo flute whose breathwork takes time to master.

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