Sometimes records have to steep. Four years after it was recorded live in Lucerne, Switzerland, an album of six standards called Somewhere is finally getting a proper release. Keith Jarrett and his trio, including bassist Gary Peacock and drummer Jack DeJohnette, just weren't happy with the sound of the room or the circumstances at the time. Listen to Somewhere, however, and none of that comes across.
Bela Fleck and Abigail Washburn appear here on Mountain Stage, recorded live on the campus of West Virginia Wesleyan College. Although Washburn and Fleck have been on the show several times with numerous projects over the years, this was their first appearance anywhere as a duo.
This interview was originally broadcast on Nov. 5, 2001.
Quincy Jones is one of those people to whom the word "legendary" is often attached. So it was no surprise when, on May 18, the 80-year-old Jones was inducted into the Rock and Roll Hall Of Fame.
Jones grew up poor on the south side of Chicago during the Depression, but moved to Seattle when he was 10. It was there, as a teenager, that Jones befriended and began collaborating with Ray Charles — a friendship that would remain strong until Charles' death in 2004.
Alex Zhang Hungtai is a musician who has spent his life drifting from home to home. His parents were children of communist China, and since setting out, he's lived in places as far-flung as Honolulu, Montreal and most recently, Berlin.
Under the name Dirty Beaches, Hungtai makes washy, dreamy rock music that often feels nostalgic. Hungtai's whole last album was dedicated to his father; he was inspired after finding out his dad had been in a doo wop cover band during his youth in China.
When Scotty Moore, Elvis Presley's former guitar player, tells you check out the music of Marshall Chapman, maybe you should give it a listen.
Moore is just one of many to sing Chapman's praises, but it's especially fitting that a member of the King's entourage should endorse her. Chapman says it was a 1956 Elvis concert that convinced her, at 7 years old, to make music.
"They mark time like A.D. and B.C., right?" she says. "For me, it's sort of B.E. and A.E. It was a life-changing event."
If you think all the twitchy rhythms and random shards of melody flashing through Stravinsky's The Rite of Spring sound complicated, consider the poor musicians who have to learn it. And then there's the conductor, who needs to perfectly place every piccolo tweet and bass drum boom.