Music Patron is an exciting, fascinating and even provocative new arts-funding initiative. It not only examines and challenges the ways we can, and do, support musicians, but offers a solution that aims to achieve practical, positive outcomes in the face of ongoing financial and ideological attacks on the industry. The name itself deliberately conjures up…
Category: Contemporary Music
Retrospecstive 2023: Adrian Ainsworth’s 25 recordings of the year
At last! The wait is over. Here is my round-up of favourite releases from the previous calendar year. 2023 felt richer than ever and there were so many wonderful records to choose from. As usual, I’ve spared myself the agony of ranking the selections: democracy rules and the list is in alphabetical order, by artist…
Astral peaks: Raf and O, ‘We are Stars’
This is the most exquisite album yet from Raf and O, who I believe belong to that select group of artists who create not only great music, but also a universe in which that music can live and breathe. Open and upfront about their key influences – chiefly David Bowie and Kate Bush, more of…
Unbound: Mahan Esfahani & Carolyn Sampson on disc and in recital
For any listener, there’s a special kind of excitement reserved for when favourite artists – those you’ve been following separately for some time, collected their records and so forth – suddenly collaborate. Examples that spring to my mind include ‘The Marble Downs’, a masterpiece made by one of the UK’s greatest (and much missed, certainly…
Pretty good together: Barb Jungr and her Trio, ‘My Marquee’
To paraphrase Bob Dylan, one of her heroes and creative touchstones, Barb Jungr contains multitudes. Anyone familiar with her work will know what a versatile talent she is. She personifies what cabaret at its absolute finest can be. She’s a consummate jazz vocalist – commanding, beguiling and arresting whether working within that genre or careering…
Beat poetry: Rick Simpson, ‘Twice Shaded’
After a few listens, this album feels like a heroically original achievement: without doubt, a jazz record, but unpredictable in ways one wouldn’t have predicted. Warm yet inscrutable; modest in approach but confident and fizzing with ideas: it’s improvised music that feels as though it’s always existed. How can something so spontaneous feel so permanent?…
Past and present collide: Saariaho, ‘Innocence’, Royal Opera House, London
Perhaps the most compelling testament to the impact of ‘Innocence’ is that I’ve thought about little else since the curtain fell. Knowing I would want to write about it, I’ve felt the intricacies of the piece turning round in my mind, dovetailing with each other, not unlike the interlocking 3D jigsaw of a set that…
Retrospecstive 2022: Adrian Ainsworth’s 25 recordings of the year
I enjoyed so many great releases during the last year that merely the act of looking back, replaying some key choices, has taken quite some (pleasurable) time. I hope the 25 I eventually settled on include some new discoveries for you, and that you enjoy them as much as I have. The main list is…
(P)review: African Concert Series update
A quick look backward and forward: into the recent past, recalling my most recent visit to an African Concert Series event, and ahead, to let you know about theilr upcoming events. * I collected a new venue in mid-May, on my first encounter with the Africa Centre, slightly hidden away (especially at the moment, thanks…
Body horror: ‘The Handmaid’s Tale’, at English National Opera
This icy, subtle production presents Margaret Atwood’s terrifying vision with a clear-sighted, almost detached precision. Poul Ruders’s score gets under your skin, amping up the tension as events come to a head, while the heart-breaking performances relentlessly deal the emotional blows. Opera as commentary, catharsis and conscience: brilliantly done. * ‘The Handmaid’s Tale’ the opera,…
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