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Eva-Maria Westbroek sings the title role in Francesca da Rimini

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It's safe to say that without his opera Francesca da Rimini, Riccardo Zandonai would be but a footnote in the history of music. Was he a one-hit wonder? Perhaps, but calling Francesca da Rimini a hit might be an overstatement. It has held on in terms of complete performances, but only just. It's the recitals that have kept this opera alive, with a few plumb arias.

The Met trots out Francesca da Rimini this week, but only after having shelved it for nearly three decades.

But get set for a particularly sensational remount. In the title role of Francesca is the Dutch soprano Eva-Maria Westbroek. Westbroek is sensational, a soprano who's firing on all cylinders these days, really at the top of her game.

How big is Ms. Westbroek? Well, she's singing the role of Sieglinde in Wagner's Bayreuth birthday bash on May 22. If ever there was a place to be on Wagner's 200th birthday, Bayreuth would be it. I imagine she didn't hesitate in saying yes to that particular gig!

Starring opposite her in Francesca da Rimini is the Italian tenor Marcello Giordani.

The story of Francesca da Rimini has inspired some 19 operas and the fantastic symphonic poem by Tchaikovsky. Among the operatic inspirations, only the Zandonai and a short opera by Rachmaninoff have managed to stay in the repertory.

In fact, Bunny Watson-like, we could traipse all the way from Francesca, the historical 13th-century figure, to Ren and Stimpy and the films of Alfred Hitchcock.

Related:

The last Met Francesca da Rimini was in 1986, here's a look back at that production that starred Placido Domingo and Renata Scotto

NPR's The World of Opera provides a synopsis and a bit more info on this opera

Eva-Maria Westbroek discusses the role of Sieglinde



It’s Water Cooler Wednesday!

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It’s Wednesday already? Indeed it is! As per usual, every Wednesday this blog turns into the online version of a water cooler (sort of.)  Essentially, it’s your spot to chit chat, to share your favourite links and talk about music.

Here are some things to get the conversation started:

:: Check out the lineup for the first ever CBC Music Festival! 

:: Here's an infographic showing the drinking habits of of every character on Mad Men

:: The Facebook 'likes' that "most correlated w/ high intelligence were thunderstorms, The Colbert Report, science & curly fries." 

:: "Shark fin soup species to be protected worldwide."

:: Music passed through coat hangers sounds as good as expensive audio cables!? 

So, what's on your mind?
What has made you want to high five the internet lately?

Post your comments on the blog or tweet @CBCRadio3

Samba Squad: weird experiences playing drums in public places

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Samba Squad gets invited to play in public. A lot. The group has played at Caribana, Toronto’s Pride Parade, events for Pedestrian Sunday in Kensington Market and Blue Jays and Argonauts games. A large collective of drummers playing Afro-Brazilian music-meets-urban funk, etc., just seems to speak to people. Loudly.

The leader of the "seething cauldron" that is Samba Squad is percussionist Rick Shadrach Lazar. If you’ve never seen them in action, check this out. Then read on to find out about the band's weirdest experiences playing drums in public places, as told by Shadrach Lazar.

 


 

PLAYListen to three tracks from Samba Squad's new album, Que Beleza.

 


 

1. Drum as battering ram.

"One of our memorable moments was playing at the Governor General's Awards in Ottawa at the National Arts Centre as the special guest of Jesse Cook. We were to enter halfway through his performance, do a short feature and play along 'til the end of the song. At these events you’re at the beck and call of interns and producers who are ordering you around. We were told to wait in our holding area until called. We were then called to makeup, where staff leisurely did our makeup, wired us up with mics and got us ready to go onstage. Very high-end scene! Suddenly one of our members looked at the in-house monitor and screamed that Jesse was onstage performing already. After all the prep, the staff had failed to give us our cue!

"We were a long way from the stage and had to make our entrance from the furthest wing. We jumped up, began rushing to the stage, strapping our drums on as we ran. As we approached the stage, the coterie of flunkies tried to block our way. One of our surdo (big drum) players, Julie, said to the producer: 'Get out of my way,' then rammed her with the drum; we all ran behind the curtains along the side, back and up the other side of the stage and made our entrance exactly on cue.

"Jesse was surprised to see our intense energy as we burst out onto the stage, and the entire performance was great. Later he found out why. He told us later that he had kept looking over to the wings, saying to himself, 'Where are they, where are they?!'"

Watch Samba Squad perform with Jesse Cook in Montreal.



2. Drums as dinner music.

"One of our weirdest moments was being hired by a real estate company to play their function. We have done lots of these for 300 to 500 people, and assumed we would march through the banquet hall area as usual to excite the crowd. When we got there, we realized we were playing for three couples who were eating dinner in a tiny room, sectioned off from the banquet hall. The woman who hired us was truly enjoying it, while the others were grimacing and some had their hands over their ears. It was a surreal moment; we actually felt sorry for them, as it was thunderously loud and the thought of Samba Squad as 'dining music' is truly weird."

3. Drums as sexual magnet.

"We always end each night’s performance at the Salsa on St. Clair Festival with a parade. The crowd is young and excited and the drumming makes the passions higher. As we march, the crowd closes in around us and we have to constantly push our way forward as if we’re parting the seas. Some of our women players were being fondled by bystanders and this led to a fight almost breaking out between a bystander and a male member of the band who was protecting the women being touched. The police and volunteers finally helped make a path, but there were tense moments of bedlam ensuing."

Here is the band playing at Salsa on St. Clair — without the abuse.

4. Drums as rainmakers.

"[When we were] playing at Queen's Park for Muhtadi’s International Drumming Festival, rain threatened all day, but clouds opened as we started drumming. We continued playing; soon people were dancing in the mud, a true Woodstock moment. With every hit on the surdos (big drums), water bounced off the skins in a circle-splash that people still talk about. We kept playing; people kept dancing. It was wonderful. Later we had to take every piece of hardware off every drum, and wipe it down before it rusted!"

5. Drumming up dancers.

"One of the best moments was playing in Toronto on Queen Street at Soho Street. A car stopped, a Brazilian gal jumped out and ran to us and burst into a mad samba dance. Totally carried away! Her friends were forced to drive on, and after a few minutes she came out of her Samba Squad-induced trance and ran up the street waving back at us, laughing and blowing kisses, chasing her friends' car!"

6. Drums that set you on fire — literally.

"During our yearly Kensington Market Festival of Lights for winter solstice, the festivities always ended with a huge bonfire at the end of the parade in Bellevue Square Park. One year there was a very windy night and the wind was blowing embers in our faces as we were drumming up the finale. Suddenly a huge gust of wind sent a volley of sparks in our faces and one member was set on fire by an ember. She describes the experience in her own words: 'There were fire jugglers everywhere and a spark came flying through the air and landed on my unfortunately nylon and extremely flammable mitten, which burst into flame. The fire actually travelled impressively right up the arm of my coat, feeding off the lint maybe or just showing off. After my initial thoughts of 'hot!' and 'ow!' I bent down and stuck my arm in a conveniently situated snow bank to suffocate the flame. As I tried to soothe my poor hand, Rick looked over at me with a look of exasperation that said, 'What on Earth are you doing Jordan!? Stop playing in the snow!'”

Samba Squad is releasing its third album, Que Beleza, at Lula Lounge in Toronto on March 21.

Related:

CBC Music Exclusives: Jesse Cook performs songs from new his album

Uma Nota's fifth anniversary, tropical rhythm playlist

Lemon Bucket Orkestra's Lume Lume: album stream and track guide

Gilberto Gil's highs and lows

HAIM on the influence of ‘Bootylicious’

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If you were making a musical Venn diagram with two circles representing Fleetwood Mac and Destiny’s Child, in the overlapping portion you would find “Bootylicious,” the 2001 Destiny’s Child hit featuring the chugging guitar from Stevie Nicks’s “Edge of Seventeen.” You might also find HAIM, the indie pop group consisting of 20-something sisters Danielle, Este and Alana Haim.

“‘Bootylicious’ is kinda like where all of our influences lay,” jokes singer-guitarist Danielle on the phone from her home in Los Angeles. “That specific song. You found out our secret.”

Since releasing their debut EP, Forever, a year ago, HAIM has earned supporting slots on tours with Mumford & Sons and Florence and the Machine, and the band has just been announced as the openers on Vampire Weekend’s upcoming North American tour. HAIM was named the most promising band of 2013 by a couple hundred U.K. tastemakers, and the Forever EP was one of CBC Music’s top albums-that-wasn’t-an-album of 2012.

Most bands can point to the date of their first rehearsal, but when you’re sisters, it’s a bit tougher. The Haims grew up playing music together in different combinations, from a family band called Rockinhaim that featured their parents, to something called Valli Girls, a 2000s girl group that included elder sisters Este and Danielle.

The three sisters finally settled on HAIM in 2007. Danielle had just graduated from high school, and while her friends were moving to New York, she decided to stay in L.A. to pursue music.

“I think we kinda had to take [the band] seriously because I was gonna stay here,” she says. “We always thought we’d have a band, just the sisters and I, but we didn’t really know. We played covers in our family band. Once I graduated high school I was like, 'We should probably write some songs and see if we can start playing out.'”

HAIM has only released six songs, three of which have videos. The sisters are in a weird spot outside of the usual write-record-tour cycle. They’re signed to a record contract and are playing a ton of shows to essentially promote an album that hasn't even been announced yet, though Danielle believes it should be out in the spring or summer.

“Part of me wishes we would have already recorded the record like a year ago. But when we released the Forever EP, we had no idea what was gonna happen,” she says. “I kinda wish we could have gotten it over with a year ago ‘cause now there’s a little pressure.”

HAIM is a hard band to categorize. There aren’t too many groups that play their own instruments and still work on dance numbers for every video, but Danielle says that developed organically.

“Dance and playing our instruments were the two hobbies that we did when we were younger," she says. "It kinda started because Este, my older sister, had the most energy of any kid ever. And my parents were just like, ‘Put her into dance!’ We always danced. It was like a big part of our childhood.

“We kind of did it as a joke in the ‘Forever’ video. It’s funny. I think some people might think from looking at ‘Falling’ — because there’s no live shot of us playing guitar — I feel like some people might think we’re just some weird pop dance act or something.”

Which brings us back to “Bootylicious.” People hear different elements in HAIM’s music: some hear R&B influences like Destiny’s Child or En Vogue; others focus on the sibling thing, and hear Wilson Phillips or Hanson. But the comparison they get most often is Fleetwood Mac.

“I don’t hear it myself,” says Danielle. “Their melodies are reminiscent of what we do just because we love them and we’ve listened to them for so long. But I still can’t believe that we get compared to Fleetwood Mac.”

But seriously, what about Hanson?

“I don’t know about that one. That’s on the more bums-me-out side of things. I hope it’s just that we’re siblings and have long hair.”

Aw, where's the love?

 

Follow Dave Shumka on Twitter: @daveshumka

Related:

Top dumb fun summer songs of 2012

Top 5 pop albums of 2012

Buck 65, Humans, Said the Whale, Two Hours Traffic among Canadian acts headed for SXSW

Low goes 5 for 20

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When you’re an influential musician, people tend to ask you what you’ve been listening to lately. Here at 5 for 20, we’re just as keen to find out what records loom large in our favourite artists’ memory banks. So, we’re asking folks for their top five records of the last 20 years.

For their 10th album in 20 years, Minnesota’s Low travelled to Chicago to record with engineer Tom Schick and Wilco’s Jeff Tweedy at his band’s Loft Studio. The result is The Invisible Way, which co-founder Alan Sparhawk has said consists of “songs about intimacy, the drug war, the class war, plain old war war, archeology, and love,” with his bandmate Mimi Parker singing lead on five of the 11 tracks.

Low’s current tour finds them performing at the Great Hall in Toronto on March 16, and we asked Sparhawk to take some time to send us his top five albums released over the past 20 years.

In the Aeroplane over the Sea by Neutral Milk Hotel (1998)

“Revolutionary record for American indie rock, great songs, great imagery, great vocals, Robert Schneider's production is probably the best lo-fi had to offer.”


Time (The Revelator) by Gillian Welch (2001)

“Lyrically daring, structurally daring,” Sparhawk says. “She’s messing with some shit that no one wants to touch.”

“Alan, the songs are really beautiful,” Parker adds. 

 

Throw Down Your Arms by Sinead O’Connor (2005)

“A rare triumph in modern day reggae,” Sparhawk declares. “Produced by Sly and Robbie.”

 

The Death of Frequent Flyerby Psalm One (2006)

“Became obsessed with this record four or five years ago,” Sparhwak says. “Chicago hip-hop. More obsessed with this record than any hip-hop record in a while.”


Green Albumby Weezer (2001)

“All great songs. Especially the 'Girlfriend' song."

See Low play at Toronto’s Great Hall (1087 Queen St. W.) on March 16. 

Follow Vish Khanna on Twitter: @vishkhanna

Related:

Deathfix goes 5 for 20

Two Hours Traffic go 5 for 20

Hannah Georgas goes 5 for 20 with love songs

Dallas Good of the Sadies goes 5 for 20

Great Lake Swimmers go 5 for 20

Julie Doiron goes 5 for 20

B.A. Johnston goes 5 for 20

Father John Misty goes 5 for 20

Buck 65 goes 5 for 20

Dave Bidini of BidiniBand/Rheostatics goes 5 for 20

Selina Martin goes 5 for 20

Danko Jones goes 5 for 20

Corb Lund goes 5 for 20

5 for 20: Rich Aucoin

5 for 20: Sheezer on Weezer

5 for 20: Ron Sexsmith on Kyp Harness

5 for 20: Matt Murphy of the Super Friendz

5 for 20: Jenn Grant

5 for 20: Old Man Luedecke

5 for 20: Shotgun Jimmie

5 for 20: Cadence Weapon

5 for 20: Japandroids

5 for 20: Charles Spearin of the Happiness Project

5 for 20: Andrew Scott of Sloan

Bruce Springsteen 5 for 20 by superfan Jeff Cohen

5 for 20: Rob Benvie of the Dears and Camouflage Nights

5 for 20: Justin Peroff of Eight and a Half

5 for 20: YAMANTAKA//SONIC TITAN

5 for 20: Kathleen Edwards

5 for 20: Bahamas

5 for 20: Damian Abraham of F--ked Up

5 for 20: Dave Clark of the Woodshed Orchestra

5 for 20: Jayme Stone

5 for 20: PS I Love You

5 for 20: Michael Timmins of Cowboy Junkies

5 for 20: Bry Webb

5 for 20: Cold Specks

5 for 20: Dan Griffin of Arkells

5 for 20: Parlovr

5 for 20: The Dudes

5 for 20: Eleanor Friedberger of the Fiery Furnaces

5 for 20: Baby Eagle

5 for 20: Tamara Lindeman of the Weather Station

5 for 20: Dave Ullrich of the Inbreds

5 for 20: Patrick Pentland of Sloan

[CMW] 5 for 20: Mike O’Neill

5 for 20: John K. Samson of the Weakerthans

5 for 20: the Barr Brothers

5 for 20: Warren Ellis of the Dirty Three

5 for 20: Edgar Breau of Simply Saucer

5 for 20: Plants and Animals

5 for 20: Lynn Perko Truell of Imperial Teen

Songwriting lesson with Kate Nash in Studio Q

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Aside from being a talented and gracious guest, Kate Nash is the founder of the "Rock n Roll for Girls After-School Music Club" to help inspire teenage girls to get into songwriting and creating their own music. Kate was kind enough to share some tips with us in Studio Q on some basic tips on how she builds a song from the ground up.

SHIFT on March 13th 2013

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Welcome to Shift, where Tom Allen takes you on a daily musical journey from the stalwarts of Classical music to the cutting edge of Contemporary tunes. Join us here on CBC music for a round-up of the stories of the day, some videos of music (or maybe just videos interesting to music fans) and a place to speak your voice.

Today, Katherine Duncan is sitting in for Tom Allen.

From now on you'll be able to stream SHIFT at your convenience in its entirety. Click on the AUDIO tab on this blog to listen.

Mitsuko Uchida is a woman of the world. The concert pianist was born in Japan, but took her musical studies to Germany early in her career. Eventually, she found herself based in London, England. When asked about her nationality, she generally responds "European". Take a listen to an interview the Financial Times conducted with Uchida.

(our on-air broadcast featured only the 3rd movement of this performance)

Here's a heartwarming Northern story. Yesterday was the Iditarod, the Alaskan endurance dog sled race. In the end, Mitch Seavey came through first. He's a former winner, and at 53 years old he is officially the oldest Iditarod champion. The kicker? His son became the YOUNGEST champion by winning the Iditarod last year.

Michael Kiwanuka plays intimate music. He sounds like he could be singing right into your ear, sitting on the same couch as you. His videos evoke the same feeling. Watch his video for "Home Again," and you'll be transported to Michael's house.

A Vancouver park may be in the midst of a name change. Mount Pleasant's Guelph Park is known for having a large lounging sculpture of a man. One night, on the sly, some folks put up an official-looking sign that read "Dude Chilling Park," to reflect the sculpture's lazy nature. City officials took it down, but the residents want it back. Even Google Maps has changed to read "Dude Chilling Park".

Today, Canadian astronaut Chris Hadfield is being handed the keys to the International Space Station. It's a big deal for the man that has aspired for this moment since 14 years old. Considering he's a musician from orbit in his free time, there is almost nothing he can't do. 

You can contact us at Shift with your ideas, questions or anything else by sending us a message on our Facebook page. Through email, you can reach show producers Alison Howard alison.howard@cbc.ca, Alex Redekop alex.redekop@cbc.ca or Pete Morey peter.morey@cbc.ca 

Too much of a good thing...

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America loves Taylor Swift, right? They must - the country crooner turned pop superstar seems to pop up everywhere, selling a bazillion records one day and winning an armload of awards the next. Good for Taylor Swift - unless America suddenly loves her too much.

Somebody recently took a look at the numbers, and it turns out that ol' T. Swift might not be quite the draw everybody thought she was. You see, among all the magazine issues that came out last year (and if you've ever been to a supermarket you know that's a whole lot of magazines), issues that had T.S. on the cover were regularly among the lowest selling. Say it ain't so!

Of course, being the high falutin' musical connoisseur that you are, you've no doubt already hopped off the TaySwi Express, but the dangers of overexposure remain very real. That song you can't get enough of? You might in fact be getting too much! Ditto for the go to shirt or even that cute bus driver you flirt with every morning. 

When have you had too much of a good thing? Did you ruin it for yourself, or did society ruin it for you?


Radio 2 Morning story round-up, Thursday March 14

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Each day, Radio 2 Morning starts your day with music and stories about the interesting things going on in the world. Now, you can follow along at home. Here are the stories we're talking about today.

We're putting on the first ever CBC Music festival. Of Monsters And Men, Sam Roberts, Kathleen Edwards, Sloan and many more!

Vote for Canada's next big musical act. Searchlight on CBC MUSIC.

Check out the show Radio 2 Top 20, your votes count!

A road in Woodstock, N.Y. will be named for The Band's Levon Helm.

This time, Pauline saves Mario. Thanks to Dad.

The new Pope has been chosen! Here are 5 reasons to love Argentina.

A 71 year old man chose jail over paying a fine to check it off his bucket list.

Think baby stroller's are a bit pricey? Here's a $3000 stroller from Aston Martin.

Is it considered rude these days to leave a voicemail?

Come hang out with us on facebook. Lots of fun videos, stories and it's a great place for us to hear from you.

We'd love to hear your comments on any of these stories. Leave 'em below.

Rear-View Mirror: the salesman and his dad who gave us "Bus Stop" by The Hollies

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Every week, Rich Terfry looks back in our Rear-view Mirror at a great song from the good ol’ days. This week, The Hollies and "Bus Stop."

here

Listen to the audio version of Rear-View Mirror by hitting the Play button

 

 

In 2010, The Hollies from Lancashire, England were inducted into the Rock and Roll Hall of fame in Cleveland, Ohio. But their initial success in the states can be attributed to an amateur playwrite and his son who had a job selling men's wear. 

One rainy day, young Graham Gouldman was riding the bus home from work at a men's outfitters when he was struck with an idea for a song. When he arrived home he told his father, who wrote stories and plays in his spare time, about his idea and the old man offered to lend a helping hand.

A few days later, the elder Gouldman had an opening line:

"Bus stop, wet day, she's there, I say, 'Please share my umbrella.'"

His son had come up with a guitar riff by that time and completed the lyrics which, interestingly, giving his work in men's fashion, included a line about about shopping for clothes. 

The song "Bus Stop" was born and was offered to Graham Nash and the boys from The Hollies who turned it into an instant smash hit. 

Gouldman quit his job selling suits and started his own very successful band, 10cc.

The Hollies enjoyed greater longevity on the US Charts than many of their British invasion brethren, and it all started with this big hit from 1966.

The Hollies and "Bus Stop." 

 

Here are some other great editions of Rear-view Mirror:

Joy Division "Love Will Tear Us Apart"

Booker T and the MGs "Green Onions"

Jimi Hendrix "Hey Joe"

Neil Young "Rockin' in the Free World"

Dolly Parton "Jolene"

The Left Banke "Walk Away Renee"

Lou Reed "Walk On The Wild Side"

James Taylor "Fire And Rain"

The Clash "Should I Stay or Should I Go"

Marvin Gaye "Sexual Healing"

Radiohead "Paranoid Android"

M.I.A. "Paper Planes"

The Animals "We Gotta Get Out of this Place"

Dusty Springfield "Son of a Preacher Man"

Screamin' Jay Hawkins "I Put A Spell On You"

Cheap Trick "Surrender"

Mott The Hoople "All the Young Dudes"

Beach Boys "Sloop John B"

Amy Winehouse "Rehab"

New York Dolls "Personality Crisis"

Modern Lovers "Roadrunner"

George Jones "He Stopped Loving Her Today"

Bruce Springsteen "Born in the USA"

The Beatles "With A Little Help From My Friends"

Rolling Stones 'Miss You'

The Coasters 'Run Red Run'

Elvis Costello, 'Alison'

James Brown, 'Hot (I Need to be loved loved loved)'

Inner Circle, 'Tenement Yard'

Ray Charles, 'I Don't Need No Doctor'

Curtis Mayfield, 'Freddy's Dead'

Gang Starr, 'Beyond Comprehension'

Bo Diddley, 'Bo Diddley'

Aretha Franklin, 'Rocksteady'

CCR, 'Have You Ever Seen the Rain'

Howlin' Wolf, 'Smokestack Lightning'

Bobby Womack, 'Across 110th Street'

Roy Orbison, 'In Dreams'

Foggy Hogtown Boys, 'Man of Constant Sorrow'

Pink Floyd, 'Wish You Were Here'

Neil Young, 'Cortez The Killer'

Bob Dylan, 'Subterranean Homesick Blues'

Little Eva, 'Loco-Motion'

Elvis Costello, 'Watching the Detectives'

Jimmy Cliff, 'The Harder They Come'

The Verve, 'Bittersweet Symphony'

Roberta Flack, 'Killing Me Softly with his Song'

R.E.M., 'Radio Free Europe'

Radiohead, 'No Surprises'

Led Zeppelin, 'Ramble On'

Glen Campbell, 'Wichita Lineman'

John Cougar Mellencamp, 'Pink Houses'

Rolling Stones, 'Beast of Burden'

Junk in the Trunk: Drive Stories Wednesday March 13

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Each day, Rich Terfry and Radio 2 Drive wraps up your day with music and stories about the interesting things going on in the world. Today, Pete Morey fills in for Rich. Here are the stories we're talking about today.  

DRIVE ON DEMAND:

here

Listen to Hour 1 of Drive by hitting the Play button

 

here

Listen to Hour 2 of Drive by hitting the Play button

 

here

Listen to Hour 3 of Drive by hitting the Play button

 

HERE

Listen to Hour 4 of Drive by hitting the Play button

 

FEATURES:

Rear-View Mirror: Rich Terfry reaches into his record collection and takes a closer look at The Hollies and their famous song "Bus Stop". The track was originally written by an amateur writer and a men's wear salesman. Listen to the entire story here.

 
 
 
SHOWTIME:
 
4:20 p.m.
 
For this hero who fought a shark, the devil was in the details.

5:10 p.m.

Does thinking hard wear you out?  

5:20 p.m.

Louis Reil prints found in Australia.

5:40 p.m.

Caffeine gum

6:10 p.m.

Even mummies had high cholesterol.

New Music today from Los Angeles band The Mowgli's, surging act Half Moon Run, Germany's The Heathers and Serena Ryder.
 
 
 
 
 
JUNK IN THE TRUNK:
 

Knot in the floor looks like Jesus.

Ultrasound looks like the Emperor from Star Wars.

Dance Dance Dance! 
 

Pianist Jane Coop hosts This Is My Music

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Jane Coop never imagined she would become a pianist. She says she simply wanted to emulate her sister Elsbeth, who played the piano well enough to win the 1967 CBC National Radio Competition for Young Performers. In 1970, Jane followed her sister's lead. She too won the CBC competition, and that's where the similarity ends because Coop opted for a life in music.

Coop was born in St. John and raised in Calgary. She went to Toronto to study with Anton Kuerti, and continued studies with Leon Fleisher in the U.S. In Toronto, Coop met Greta Kraus, a harpsichordist and pianist who passed on her love of chamber music to Coop. Coop remains passionate about coaching chamber music at home in Vancouver and at many music festivals including North America's oldest - the Kneisel Chamber Music Festival in Maine.

Coop's career as a pianist has led her across Canada and around the world, from Bolshoi Hall in St. Petersburg, Russia, to Beijing Concert Hall in China. Coop also travels to adjudicate competitions and teach; one of her mementos is a photograph of the then 11-year-old Lang Lang who attended one of her master classes.

Jane Coop has recorded Beethoven sonatas with violinist Andrew Dawes and cellist Antonio Lysy. Her 16 CDs have garnered three Juno nominations. In December 2012, she was appointed to the Order of Canada.

Jane Coop hosts This Is My Music on Saturday, March 16, on CBC Radio 2 from 10:05 a.m. to noon in most of the country, 11:05 a.m. to 1:00 p.m. in Atlantic Canada.

Related:

Jane Coop's desert-island playlist reveals choral, chamber and orchestral treasures

Listen to CBC Music's 24/7 piano stream

Lions in the Street premiere fluorescent ‘So Far Away’ video

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Vancouver's Lions in the Street are tearing it up at South by Southwest right now, playing tracks from their new EP, On the Lam. And since we can't all be lucky enough to check them out in Austin, the band has just released a video for their track, "So Far Away."

The video is a DIY affair, produced, shot and edited by the band's drummer, Jeff Kinnon, with lighting by guitarist Sean Casey. Check out the video below to see the band performing inside a giant Lite-Brite.

Related:

Upcoming Canadian releases: a CBC Music guide for 2013

Luke Lalonde premieres sweet/sad ‘Undone’ video

The Zolas premiere cinematic ‘Escape Artist’ video

Is the truth out there?

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Do you believe in aliens? Extra-terrestrial life? Little green men from far, far away?

Whether or not you believe that the truth is out there, your government has decided that it's no longer their business. 

Used to be, if you believed you saw a UFO, you'd report it to one of the various government agencies who tracked that sort of thing, like Transport Canada or the Department of Defence. 

However, CBC News has uncovered documents  indicating that now, it's all up to civilian volunteers to investigate your mysterious sky-claims:

"Any information on UFO sightings received by the various agencies is passed on to Chris Rutkowski, a civilian science writer who has produced the Canadian UFO survey since 1989." (CBC News) 

The crazy thing is, apparently UFO sightings have gone UP in recent years! 

So, have YOU ever seen any UFOs? Do you believe? Have you had any close encounters of the third kind? 

And... if an alien spaceship landed... what would be the first song you played for them? 

Dido’s Girl Who Got Away: full album stream

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If all you know about Dido is that you heard her sing in that Eminem song, there are some other things you should know about her. Before Dido (yes, that's her real name, given to her in honour of the mythical founder of Carthage by her poet parents) carved out her path as a singer-songwriter, she was a classically trained musician who ducked out of law school to pursue life as a literary agent.

Thankfully, to her legions of fans, Dido left all of that behind, picked up a guitar and began making demos. Nearly two decades, several Brit Awards, a few Grammy and Oscar nominations later, Dido is set to release Girl Who Got Away, her fourth album of original material, and first since 2008. The new album features a few big-name guests, including Kendrick Lamar and Brian Eno.

Girl Who Got Away was released earlier this month in the U.K. but will not be available in North America until March 26 (you can pre-order the album from iTunes here). Until then, stream Dido's latest in full, here at CBC Music:

 

Related:

Dido, Kate Rogers Debut On Radio 2 Top 20

The Angriest of Angry Songs, from Eminem to Dixie Chicks

Q&A: Kendrick Lamar

Daniel Lanois discusses Brian Eno's Apollo 


The plague, Landini and the afterlife: artistic expression in 14th-century Florence

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On March 16, 2013, the Art Gallery of Ontario unveils a three-month exhibit entitled Revealing the Early Renaissance: Stories and Secrets in Florentine Art. On display will be the work of Florentine artists active between 1300 and 1350. This exhibition shows what people would have seen in 14th-century Florence, but what did they hear? First, some context.

Times were certainly different back then:

- Life expectancy (at birth) was around 30 years.
- People only washed their clothing once or twice a year.
- Unpopular in today's western diets, pigeon was a gastronomical delicacy.
- Pasta had not yet become synonymous with Italian cuisine.
- The Tower of Pisa wasn't yet finished (but it was already leaning).
- The bubonic plague wiped out more than 60 per cent of Florence's population. 

Tough times, to be sure. Like a phoenix rising from its ashes, Florence emerged as a centre of wealth and prosperity. This wealth was a cause of concern for Florentines; they were worried it would jeopardize their admittance to heaven. Thus, they poured money into religious art in an attempt to clear their conscience. 

As the AGO's exhibit shows, 14th-century Florentine art was borne from its patrons' preoccupation with death and the afterlife. As you'll see in the samples below, the surviving music of the trecento (as this period is known in musical circles) seems to dish out lighter fare, with themes of love, dancing and hunting — music that seemed to offer respite from the woes of mortality.

Ballata: songs of dance

Ballata is a composition for one to three voices, typically begun and concluded by a refrain. The term ballata is derived from the Italian term ballare (to dance). This example is by Florentine composer Francesco Landini (1325–1397).

Caccia: songs of hunting

Caccia is the Italian word for hunting, and these chase-like, three-voiced songs often contained texts based on the hunt. Two upper voices form a canon; the lower voice provides independent accompaniment. This example by Lorenzo da Firenze (who died in 1372/3) combines voices and instruments.

Landini: songs of love and lust, desire and hope, rejection and misery

Listen to Anonymous 4 performing love songs of Landini. A review of this album says that the song texts cover the "three L's of love, lust, and longing — for love that was possible, for love that wasn't, and, in the latter case, longing for death rather than suffer the pain of hopeless, eternal separation from the object of one's desire." 

Who performed trecento music in its heyday?

What little we know points to the presence of troubadours arriving in Italy from Occitania. These were the singer-songwriters of their day, often receiving patronage from nobility and residing with them at length, rather than constantly touring. Sounds like a decent gig! However, the black death affected the troubadours as well, and they fell from prominence as performers around 1350. After that point we can only guess who performed the secular music of the trecento.

Who performs Florentine trecento music these days?

As part of a general performance revival of early music over the past half-century, leading groups such as Lionheart (U.S.A.), Anonymous 4 (U.S.A.), La Reverdie (Italy) and Ensemble Micrologus (Italy) count among their repertoire works from the Italian trecento. Lionheart will appear at the AGO on April 6, and will be singing from the reassembled Laudario of Sant'Agnese, an illuminated Florentine hymn manuscript dating roughly from 1340. Twenty-four pages from the Laudario will be featured in the exhibition.

Are you a lover of the Renaissance? Does this music "take you back" a few years? As usual, we'd love to hear what you think.

Related:

Got pope fever? 

Gregorian Institute of Canada holds Montreal conference

Laudario of Sant'Agnese

The Background Check: 10 things you might not know about David Bowie

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Every Thursday on CBC Radio 2 Drive, Rich Terfry gives you a chance to win a great prize if you can separate the facts from the fiction about a famous artist. Rich will give you three clues, and one of them is true. Listen at 5:15 p.m. and send your answer on TwitterFacebook or Email: R2Drive@cbc.ca Today: David Bowie.




The Thin White Duke has returned. Who would have guessed we would see another album from David Bowie in 2013? The new record is called The Next Day hit stores this week, but how much do you really know about this man? To celebrate a career of this musical maverick and style trendsetter we are sharing some interesting facts about David Bowie.

1. David Bowie started his career as Davy Jones in his band Davy Jones and the Lower Third. He didn't want to be confused with Davy Jones of The Monkees, so he changed his name to Bowie after an American pioneer named Jim Bowie.

2. David Bowie grew up near a prison in his hometown of Brixton.

3. Always one to try new things, Bowie lived at a Buddhist monastery in Scotland in the mid-'60s.

4. In the early '70s, Bowie became a producer, guiding Lou Reed and Iggy Pop through their new albums. By 1973, he had disbanded his own live group and quit the concert business.

5. David Bowie's album Let's Dance featured promising guitarist Stevie Ray Vaughan on guitar. Vaughan did not take part in the tour. 

6. Bowie moved to Berlin in the mid '70s. He explained that the move was due to being broke and that no one recognized him there.

7. Bowie is a craftsman of song, but when he recorded his album Heroes, he not only used many first takes of his vocals, but wrote the lyrics as he was singing them.

Here is what he said in an interview. "Most of my vocals were first takes, some written as I sang. Most famously 'Joe the Lion' I suppose. I would put the headphones on, stand at the mike, listen to a verse, jot down some key words that came into mind then take. Then I would repeat the same process for the next section etc. It was something that I learnt from working with Iggy and I thought a very effective way of breaking normality in the lyric."

8. Iggy Pop and David Bowie had a close writing relationship in the 1970s and '80s. At one point Iggy claimed that the song "Lust For Life" was written by Bowie in front of a television in Berlin. Bowie was playing a ukulele, mimicking the rhythm he heard from the tapping Morse Code beat of the Forces Network theme. Bowie confirmed the story was true.

9. One of Bowie's most popular creations in the 2000s was nothing to do with music. Bowie created Bowie Bonds. These financial securities were backed by Bowie himself using royalties made from his pre-1990 recordings. He made a cool $55 Million off the deal.

10. Bowie's latest record, The Next Day, was a huge secret in the industry for months. Only one person ended up leaking it. Robert Fripp of King Crimson blogged that he had been asked to play on the record, but no one believed him.

Related Links:

The Background Check: Jeff Buckley

The Background Check: Tom Petty

The Background Check: Ringo Starr

The joys of moving

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I’m pretty sure that moving is a special little hell created out of one’s own belongings. It is, apparently, the third most stressful thing to deal with in life (after death and divorce.)

Some people seem to have it together, though. You know, those folks with organized Rubbermaid bins with numbers and descriptions on them made with a label maker. You can just imagine them, in their newly painted house, lifting off the lid while butterflies just fly out as the “Reading Rainbow” theme somehow plays out of nowhere.

I’m not that person. Last night I picked packing tape out of my hair while going through old cards from my Nana. Then I sat on a cardboard box crying and ate a box of crackers and half a jar of pickles, got up, tripped over a fan and yelled "I'M ABOUT TO SET THIS PLACE ON FIRE!" loud enough that my neighbours might be concerned... so then I yelled "Just kidding, guys!"

With dwindling sanity and a hefty amount of caffeine in my veins, it is here where I ask you for your help:

HOW MANY TIMES HAVE YOU MOVED? 
Any tips?
What is the best thing about moving?

Post your comments on the blog or tweet @CBCRadio3

 

Live from Festival au Désert: full album stream

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It’s hard to imagine a more enticing location for a festival than Timbuktu. Since 2001, the Festival au Désert has been held in or near that fabled city. It's attracted great musicians of various genres, from Tinariwen and Bassekou Kouyate to Robert Plant and Bono.

This year the festival had to be postponed because of the conflict in Mali. But despite the upheaval, the festival still managed to put together a compilation album, Live from Festival au Désert. It comes out April 16, 2013, and CBC Music is streaming it in advance of the release. Just click play.

 


 

PLAYListen to Live from Festival au Désert
Track Listing

 


 

The album: Live performances from the likes of Canada’s Kiran Ahluwalia backed by desert blues icons Tinariwen, guitarist Habib Koite, ngoni genius Bassekou Kouyate, Malian singer Khaira Arby and many other Malian musicians you may not know. Click here for full track listing.

The recognition: Freemuse, an organization supporting freedom of musical expression, gave its 2013 award to the Festival au Désert.

“In spite of extreme Islamists’ attempts to silence all music in Mali, the Festival defends freedom of musical expression and struggles to continue keeping music alive in the region,” said Marie Korpe, executive director of Freemuse, in a public statement.

The festival’s future: The hope is that the festival will take place in the fall (after the rainy season). There are also plans for a Festival-in-Exile international, with concerts in Scandinavia, North America, the Middle East, South Africa and Morocco.

Related:

Mali’s Festival au Désert in exile

Northern Mali's music ban sends its musicians into exile

Bombino talks about the Touareg uprising in the Sahara

From Peter Tosh to Thomas Mapfumo: when songs are political acts

CBC News: Mali's musicians defiant in face of music ban

Your brain on improvisation: insights from Michael Kaeshammer, Sonny Fortune, Jesse Cahill

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Jazz, more than other genre, is defined by improvisation, that seemingly magical ability to make up music on the spot. It's the act of spontaneous composing that goes on during improvised solos, in scat singing and in the riffing and embellishment that are all part of the creative arsenal every jazz musician brings to the bandstand.

When it's going well, really well, the stage disappears, the audience goes away and time stands still. It's called the zone, an altered state of consciousness nourished by a potent stream of jazz ambrosia that flows from a mysterious place.

Different people have different ideas about where improvisation comes from. As reported in the Baltimore Sun, a researcher at Johns Hopkins University takes some of the hocus pocus out of improvisation by showing links to regions inside our brains known to boost self-expression and attenuate inhibition.

Saxophone legend Sonny Rollins sees jazz improvisation as a kind of meditation. "I'm trying to get my mind blank. I don't want to think. That's the whole point," he says.

Great improvisers will take different routes to reach a state of improvisational nirvana, but once they arrive their stories are remarkably similar.

CBC Music spoke to three accomplished performers to get a sense of what happens to them when they improvise.

Michael Kaeshammer, pianist

"I lose track of time. I need to have a phone or clock onstage so I know when to stop the set because I'm really not there for that," says Kaeshammer, who can find the improv zone within moments of setting foot onstage. The spontaneous acts of improvising, interacting with the audience and even choosing a set list on the fly all contribute to Kaeshammer's experience.

"As much as I'm aware of what's going on around me, once I get into that zone, I forget. I don't think about how many people are there, or anything else. I'm just listening. I'm more like a bystander listening to what comes out, even when I'm speaking to the audience. If you're religious, which I'm not, or spiritual or anything like that, you can describe it as channeling through you or letting a higher power speak. In the end it's the same thing."

Jesse Cahill, drummer

Calming the mind is a familiar part of preparing to improvise for many performers, including Cahill.

"For me it's a matter of taking all of those distractions that might inadvertently come into my head for no apparent reason, and putting them aside. Your brain is a funny thing. You can be rolling right along and everything's great and a thought creeps in suddenly it's 'Did you lock the car? Or did I leave the stove on?'

"But when it's going well, it's almost like a state of nothing, a state of blankness where time stops and the audience disappears. And even in a way, other musicians, too. Their sound is there but it ceases to be three or four people and it just becomes this one big sound. And it doesn't happen all the time. In fact it doesn't happen nearly as often as I would like it to."

Cornelius 'Sonny' Fortune, saxophonist

A veteran artist who has recorded with Miles Davis, Elvin Jones and McCoy Tyner, Fortune has coined his own term to describe how he improvises. "I call it spontaneous improvisational music," he says. "It's like a conversation. You have a theme or topic, but you don't know ahead of time what you're actually going to say."

"In actuality we don't know anything past the spontaneous movement from 'Bam!' to 'Bam!,'" making his point with an Emeril Lagasse-like energy. "The challenge for me is to develop myself and my instrument to agree. Man, let me tell you, you better be in agreement before you head up that road together."

Fortune is widely respected for his fluid command of the saxophone, an instrument he plays with prodigious stamina. He and the late drummer Rashied Ali were known for epic-length improvisational sessions, often developing elaborate improvisations on a single tune for an hour or more.

"Rashied and I used to call it the gymnasium," Fortune says with a chuckle. "We played three times a week for eight years and it was shocking to me how time seemed to stop. It was completely mind-boggling the length of time we were playing because it felt like no time at all."

Related:

Oscar Peterson’s Night Train 50th anniversary concert videos

Five jazz artists to discover on CBC Music

The Jazz Evangelist: Norman Granz fights racism through jazz







 

 

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