Music and Recording Features

While it hasn't always made money or hit records, the music business has never been short on ideas. Most are nonsense, but every once in a while—the gramophone, onstage monitors, Les Paul's overdubbing—the biz comes up with a winner.

Many of the craziest ideas I've heard in 30 years of writing about music have been expounded on at the South by Southwest Music Festival, held each year in Austin, Texas. At SXSW, hope springs eternal. Secrets are whispered. Buzz bands gain momentum. Rumors ripple through crowds. Everyone has visions of morphing into a mogul. There's an intoxicating energy to it all.

As the decade draws to a close, many of us choose to gather with people we love so that together we can celebrate and give thanks for our blessings. In that spirit, I offer a new hybrid SACD/Download of a perennial favorite, Beethoven Symphony No. 9 in D minor. Op. 125 “Choral” (BIS 2451), whose memorable finale celebrates the joy of oneness with humanity and the divine.

The jazz world is accustomed to losing its greats too soon. Charlie Parker was gone at 34. John Coltrane at 40. Clifford Brown at 25. Rollins was, wonderfully, not one of them. He lived to 95.

Steve Earle was born in 1967. Well, that's not exactly true. Earle was in fact born on January 17, 1955, in Fort Monroe, Virginia, but the singer, songwriter, and master interpreter's musical awakening came in 1967, when he was 12 years old, growing up in his acknowledged hometown of San Antonio, Texas.

To write about music, you must first come to terms with your fanboy urges. You must brush off the fairy dust and see your heroes for who they really are—a picture that in many cases is all too human. Yet that first blush of idolatry is an experience you never quite forget, no matter how many times you interview a person.

There was a time, back in the St. Elmo's Fire 1980s, when Steve Earle's first album, Guitar Town, was an object of abject slobbery for a generation of rock critics. Turning a near-mint LP copy of that album over in his hands, Earle begins to reminisce about a record that changed Nashville and country-rock music and, for many, remains his undisputed career masterpiece.

Specific Live Streams (Scroll down for ongoing series):

• Thursday, May 7 10pm EDT: The Noe Music Listening Club features composer Jake Heggie discussing and performing his music and that of his music heroes. Sign up here.

• The Metropolitan Opera streams live performances for 25 hours. This week’s schedule is:
  May 6 Saariaho’s L’Amour de Loin
  May 7 Strauss’s Capriccio
  May 8 Puccini’s La Bohème
  May 9 The Opera House
  May 10 Mascagni’s Cavalleria Rusticana / Leoncavallo’s Pagliacci.

More...

If you really want to know how your favorite albums came to be, you can't go wrong talking with the men and women who are in the studio day in and day out with the artists—i.e., the producers and engineers. So we're doing exactly that. In Part 1 of our Studio Confidential interview series—there will be three parts this week, with perhaps more to follow—Mike Mettler talks with Chuck Ainlay, who has worked with Peter Frampton, Mark Knopfler (and Dire Straits), George Strait, and many, many others—about his production philosophy and who inspired him to get behind the board in the first place.