For a couple weeks I’ve suggested that once the dog days of summer were over the floodgates would open. With New In Music This Week: September 8^th, I’m able to prove that theory correct. This is perhaps the longest list we’ve had of great new recordings.

Our top pick for New In Music This Week: September 8^th is:

JAZZ:  Brilliant Corners – Thelonious Monk – Craft Small Batch Recordings

This vinyl release of Monk’s legendary 1957 recording should be on the top of any hard bop jazz fan’s list. With only 4,000 copies being made, you’ll need to move quickly to get this album.

Some of jazz music’s greatest musicians are found on Brilliant Corners with Monk:  bassist Paul Chambers, alto saxophonist Ernie Henry, bassist Oscar Pettiford, drummer Max Roach, tenor saxophonist Sonny Rollins and trumpeter Clark Terry. They don’t all appear together as the album was recorded over various sessions in 1956. But the end result is the stuff of legends.

Technically the album is only available for pre-ordering and at $109 it is an expensive proposition. Listen to the album on any streaming service and then figure out how great it wil sound completely remastered.

The rest of New In Music This Week: September 8^th includes all of the following recordings:

BROADWAY MUSICALS: Sweeney Todd – Original Broadway Cast Recording – Arts Music and Reprise Records

This is the OBCR of the 2023 revival of Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street that stars Josh Groban as Todd and Annaliehg Ashford as Mrs. Lovett. Maria Bilbao as Johanna; Nicholas Christopher as Pirelli;  Jordan Fisher (who has since left the production) is Anthony; Jamie Jackson as Judge Turpin; Gaten Matarazzo is Tobias; Ruthie Ann Miles as the Beggar Woman and John Rapson as Beadle Bamford.

This production and this recording uses the original 26-player orchestrations by Jonathan Tunick.

This is only available now on streaming and digital platforms. A physical releases and any vinyl releases have yet to have announced dates.

CHORAL: Scenes from Shelley’s Prometheus Unbound – London Mozart Players and Crouch End Festival Chorus – Chandos Records

British composer Hubert Parry is not as well-known as fellow countrymen Benjamin Britten or Ralph Vaughan Williams, but he’s a fascinating composer as this one-hour work makes very clear.

Conductor William Vann leads the ensembles listed above along with mezzo-soprano Dame Sarah Connolly, bass-baritone Neal Davies, soprano Sarah Fox and tenor David Butt Philip in this terrific recording of Parry’s work from 1880.

Also on the record is Parry’s 1887 composition Blest Pair of Sirens for orchestra and chorus.

CLASSICAL:  For Clara: Works by Schumann & Brahms – Hélène Grimaud and Konstantin Krimmel – Deutsche Grammophon

Perhaps the most intriguing love triangle in classical music is that of Robert Schumann, his wife Clara and up ‘n’ coming composer Johannes Brahms. As Robert’s mental struggles grew in intensity, Brahms became a close ally to both Schumanns, but a more romantic relationship developed with Clara.

Pianist Grimaud celebrates Clara Schumann with Robrrt Schumann’s Kreisleriana and Brahms’ 3 Intermezziand the 9 Lieder und Gesänge. Joining her for the lieder is baritone Konstantin Krimmel.

From the first movement of the Kreisleriana you know immediately how beautifully the whole album is going to be performed.

CLASSICAL: Bruckner Live – Royal Concertgebouw Orchestra – Warner Classics/Erato

This is a terrific idea for a collection of all 9 of Anton Bruckner’s symphonies:  nine different concert performances led by seven different conductors. Most of the recordings have been previously unreleased.

Bernard Haitink conducts the 1^st and 7^th symphonies. Riccardo Chailly conducts the 2^nd and 9^thsymphonies. Kurt Sanderling conducts the 3^rd; Klaus Tennstedt the 4^th; Eugene Jochum the 5^th; Mariss Jansons the 6^th and Zubin Mehta the 8^th. The concerts date from 1972-2012.

The recordings will be available as a physical box set and individual streaming albums for each symphony. What a great way for the Royal Concertgebouw Orchestra to celebrate Bruckner’s 200^th birthday.

CLASSICAL: Hommage – Sergio Tiempo – Avanti

Pianist Tiempo released an album of Chopin’s 24 Preludes in 1990. During a 33-year recording career he’s had significant mentors along the way. 

With his new album Tiempo celebrates and collaborates with this illustrious group of individuals. This includes pianists Nelson Freire, his sister Karin Lechner, Alan Weiss and cellist Mischa Maisky.

Perhaps no one has been more influential and important to Tiempo than the legendary pianist Martha Argerich who joins him for her first-ever studio recording of Franz Schubert’s Fantasy in F minor D. 940.

The album also includes works by Brahms, Chopin, Carlos Guastavino, Francisco Mignone, Ravel and Tchaikovsky.

CLASSICAL: Infinite Voyage – Emerson String Quartet with Barbara Hannigan – Alpha Classics

For 47 years the Emerson String Quartet has been one of classical music’s finest ensembles. This October they will officially end their careers, but not without this wonderful new recording as a going away present.

This 72-minute recording includes Paul Hindemith’s Melancholie, Op. 13; Alban Berg’s String Quartet, Op. 3; Ernest Chausson’s Chanson perpétuelle, Op. 37 and Arnold Schoenberg’s String Quartet No. 2, Op. 10.

Soprano Hannigan joins for the Hindemith and the Chausson features Hannigan and pianist Bertrand Chamayou.

CLASSICAL: Piano Concerto – Homage to Beethoven – Boston Modern Orchestra Project – BMOP Sound

Two days ago American composer/conductor/pianist Joan Tower turned 85. (Seems like a good week for people to have their birthdays celebrated in recordings.)

Pianist Marc-André Hamelin is the soloist for her 1986 piano concerto which runs just over 21 minutes. Anytime Hamelin is at the keyboard, you know you’re in for something good. Bassonist Adrian Morejon joins BMOP for Tower’s 2013 composition Red Maple. Flutist Carol Wincenc is the soloist for Tower’s Rising from 2010 and her Flute Concerto from 1989.

Gil Rose conducts BMOP. I strongly recommend this album.

CONTEMPORARY CLASSICAL: Starlighter – Kinan Azmeh & Brooklyn Rider – In a Circle Records

Elements of world music meet contemporary classical music in Starlighter.

Syrian composer/clarinet player Azmeh composed the three-movement suite The Element that opens this album.  The title track was composed by violinist Colin Jacobsen. The quartet Brooklyn Rider (who perform on all six tracks on the album) composed Dabke on Martense Street and the album closes with Russian violinist and composer Lev “Ljova” Zhurbin’s Everywhere Is Falling Everywhere.

There is incredible music on this album that is well worth your time.

CONTEMPORARY CLASSICAL: Vent – Catherine Gregory and David Kaplan – Bright Shiny Things

If you like your classical music from both the traditional repertoire and the contemporary repertoire you’ll enjoy this album featuring flutist Gregory and pianist Kaplan.

Vent features world premiere recordings of works by Gabriela Lena Frank (Five Andean Imposivations) and Timo Andres (Steady Gaze). Joining those works are Schubert’s Variations on Trockne Blumen, Prokofiev’s Flute Sonata in D and David Lang’s Vent.

This is a terrific album with work that certainly is rarely performed together and those world premiere recordings are well worth exploring.

CONTEMPORARY CLASSICAL:  Together – Carlos Simon – Decca Classics

Another artist who is pairing the old and the new on a recording is composer/pianist Carlos Simon. With the participation of mezzo-soprano J’Nai Bridges, violinist Randall Goosby, baritone Will Liverman and cellist Seth Parker Woods, Simon explores his own arrangements of spirituals and popular songs (including Sade’s Love Is Stronger Than Pride) with original compositions.

This is a beautiful album whose spirituality provides the emotional support that our challenging times require. 

CONTEMPORARY CLASSICAL: Between Breaths – Third Coast Percussion – Cedille Records

I’ll be honest, the idea of a percussion quartet has never inspired me. To be more honest, that’s too bad because if every percussion quartet sounded as good as this album by Third Coast Percussion, I’ve been missing out on some great music.

This album opens with Missy Mazzoli’s Millennium Canticles. That is followed by TCP’s own In Practice; Tyondai Braxton’s Sunny X; Ayanna Woods’ Triple Point and closes with Gemma Peacocke’s Death Wish.

All of these are world premiere recordings. 

If, like me, you find yourself a bit reluctant to explore music performed only by percussion artists, I encourage you to take Between Breaths out for a spin. It just might leave you breathless.

JAZZ:  On Becoming – House of Waters – GroundUP

You don’t often find a hammered dulcimer and six-string bass as featured instruments on a jazz album. But that’s precisely what Maz ZT and Moto Fukushima play as House of Waters. It’s a fascinating combination that is enhanced by drummer Antonio Sanchez and special guest appearances by vocalist Priya Darshini and guitarist Mike Stern.

For those willing to exploring beyond the standard trio, quartet, quintent, etc… format, this is an album for you.

JAZZ:  Natural Impression – Mafalda Minnozzi – MPI Records

One listen to this lovely album by Italian jazz vocalist Minnozzi will have you asking the question, “why haven’t I heard her before?”

Many of the tracks she performs will be familiar like Ne Me Quitte Pas and One Note Samba. Whether you know them or not, you’ll find this album on repeat.

Minnozzi is joined by pianist Helio Alves, bassist Eduardo Belo, drummer/percussionist Rogerio Boccato and guitarist and music director Paul Ricci. 

There are also some amazing special guests on the album: Doug Beavers on trombone; Don Byron on clarinet, Kassin on percussion; Joe Locke on vibraophone; John Patitucci on bass and Michael Wolff on keyboards.

JAZZ:  Frozen Silence – Maciej Obara Quartet – ECM 

Alto saxophonist Obara and his quartet first recorded for ECM with 2017’s Unloved. That was followed by 2019’s Three Crowns. Now with their third ECM record, Obara maintains the same line-up of musicians: Gard Nilssen on drums; pianist Dominik Wania and bassist Ole Morten Vågan.

The album title references the circumstances during with Obara composed the music on this album: being in isolation during the pandemic. Lest you think this will be a dark album without any relief, rest assured by the time these quick-moving 47 minutes of Frozen Silence is over, you will have traveled a wide breadth of emotions.

JAZZ:  Between Two Worlds – Terrell Stafford – Le Coq Records

Performing a streaming concert at the Village Vanguard in the early months of the pandemic resonated with trumpeter/composer Stafford in ways he probably couldn’t imagine in that moment. He was performing the song that serves as the title of this new record that features percussionist Alex Acuña; pianist Bruce Barth; drummer Jonathan Blake; saxophonist Tim Warfield and bassist David Wong.

Music by McCoy Tyner and Horace Silver are amongst the covers on this 63-minute album. My personal favorite is Blood Count by Billy Strayhorn. Several of the compositions were written by Stafford as tributes to family members.

I recommend fixing your favorite cocktail (if you drink), turning the lights down low and giving Between Two Worlds a true and thoughtful listen.

OPERA:  The Lord of Cries – Boston Modern Orchestra Project – Pentatone

Composer John Corigliano and librettist Mark Adamo’s The Lord of Cries had its world premiere on August 5, 2021 at Santa Fe Opera. The opera combines the story of Euripides’ The Bacchae with Bram Stoker’s Dracula. It sounds like a bizarre combination, but ultimately makes a lot of sense dramatically.

Counter-tenor Anthony Roth Costanzo, for whom the main role was written, sings the lead role of Dionysus in this recording. He is joined by Matt Boehler, Wil Ferguson, Kathryn Henry, Jarrett Ott, David Portillo with Gil Rose leading the BMOP.

This is a fascinating mash-up of stories and an even more interesting opera.

OPERA:  Turandot – Maria Callas – Warner Classics

Fans of soprano Maria Callas who are also vinyl collectors will definitely want to get this vinyl only release that documents Callas in this role that fits her like a glove. It is a mono recording, but her performances more than makes up for the lack of stereo sound.

Tullio Serafin conducts the Chorus and Orchestra of Teatro alla Scala di Milano. The cast also includes Mario Borriello, Renato Ercolani, Eugenio Fernandi, Giuseppe Nessi, Piero De Palma, Elizabeth Schwarzkopf and Nicola Zaccaria, 

This is the first of many upcoming Callas releases from Warner Classics.

VOCALS:  A Collective Cy – Jeff Harnar – PS Classics

For whatever reason composer Cy Coleman isn’t revered the way some of his contemporaries were. He was responsible for such musicals as Little Me, Sweet Charity, I Love My Wife, On the Twentieth Century, Barnum, City of Angels (which is overdue for a first-rate revival), The Life and The Will Rogers Follies.

Singer Harnar, whose 2022 album I Know Things Now: My Life in Sondheim’s Words used his own experiences to interpret Sondheim’s songs, turns his attention to 14 of Coleman’s songs. Along the way he is joined by vocalists Danny Bacher, Ann Hampton Callaway, Liz Callaway and Nicolas King.

As with his Sondheim recording, Harnar makes each of these songs personal to him and his life.

Alex Rybeck is music director and conducts the orchestra. 

So much to choose from in New In Music This Week: September 8th. Where will you start?

Enjoy the music and enjoy your weekend!

Main Photo: Selection from the album cover of Brilliant Corners by Thelonious Monk/Courtesy Craft Small Batch Recordings

The post New In Music This Week: September 8th appeared first on Cultural Attaché.

In June, cabaret and recording artist Jeff Harnar released a deeply personal album entitled I Know Things Now: My Life in Sondheim’s Words. He took over 25 of Stephen Sondheim‘s songs to create an episodic, but personal, look at his own life. In the process he takes songs out of their original context in the shows and fashions a way to reveal the ups and downs of his personal life as a gay man.

Harnar was not always open about his sexuality. Nor was he necessarily confident he could sing Sondheim’s music. It took the encouragement of fellow singer KT Sullivan for Harnar to embrace the challenges of the music and be able to sing songs on an album and in a cabaret show in which he declares his love for another man.

The album is available from PS Classics. Harnar is also doing a series of shows: two at the Laurie Beechman Theatre in New York (September 18th and 25th) and one at Middle C Jazz in Charlotte, NC on September 20th.

Last week I spoke with Harnar about Sondheim, his personal story and the satisfaction that has come from being alive, being gay and celebrating it all through Sondheim’s words and music. What follows are excerpts from our conversation that have been edited for length and clarity. You can see the full interview on our YouTube channel.

Do you remember the first time you ever heard any Stephen Sondheim song, what it was and how you heard it? 

What a great question. Well, I’m going to narrow the question down to Sondheim, both music and lyrics. Liz Callaway and Ann Callaway – we were in high school together – their parents took them to see Company in New York. Liz had us all sit down and listen to the album. And I thought, what angry people. What caustic, angry people. It was unlike any kind of musical theater I had ever heard. I was intrigued and dazzled and humbled and intimidated.

I pretty much stayed in that bucket until I was 51. It was the first time I really had the courage to venture into actually performing his music. I’ve always been intrigued and dazzled and humbled by the original cast recordings of his shows. I always feel like they belong to those singers. They belong in that world. And that was the first time I ever performed as an openly gay man onstage through the courage and ammunition that his lyrics gave me.

You might have been late to performing the songs, but had you always heard something in the songs that was maybe other than what other people were hearing? 

Yes. I had never heard human emotion. I couldn’t express it that way in high school. I had just never heard anything quite like that. Dazzled by it really is the word.

The first show I saw was Sweeney Todd and that 1979 production was all the bells and whistles. I grew up loving horror films. Back then it was not A Star Is Born [he has an original poster from the 1954 version with Judy Garland in his home] on my wall. It would have been Boris Karloff or Bela Lugosi. But that combination of a horror story with his writing and then that physical production with Angela Lansbury and Len Cariou, that was my first Sondheim Broadway experience. 

The interesting thing about Sondheim, which I find your recording completely upends in a beautiful way, is that he was very careful to write songs that were so closely intertwined with the book of the musical and specific to the characters that he was writing for. What was the process of building the structure to come up with something that was autobiographical for you so that you could express your life through Stephen Sondheim’s words and music?

As a performer in nightclubs or cabaret, whatever you want to call that, I am the narrator when I’m up there. Whatever I’m singing it is my story that I’m telling. So I always begin with lyrics. Sondheim’s lyrics, I just started combing through them for where do I find my story. I found it quite a bit and in quite a few songs. And they do live interestingly outside of the context. What we’re saying is really to try and express them in a way perhaps radically differently to how they were used in the context of a show, but authentically to my life. 

Near the end of your album, and I’m not trying to do a psychological profile of you here, but what goes on in your life that The Ballad of Sweeney Todd is part of your perspective of that life that you wanted to share on this album with that song?

I have dealt with a major eating disorder, a major alcohol problem, and ultimately a major drug addiction that finally got me to the help I needed to get. So that’s the sad part. But the good part is though I couldn’t figure it out at first, I’m really grateful to have figured it out at last. But what precipitated that getting sober was a particularly thick kind of nightmare. And it was wrapped around a relationship. That song allows me to give voice to the rage.

Did you find you had to make any real substantive changes to any of the songs beyond pronouns? 

The primary change that we’ve made – and we lived in terror when Sondheim came to see the show because he’s so specific about the voicings and harmonies of his songs – was that we were probably doing something that he would find not to his liking. I anticipated that he would think it was too disrespectful, perhaps to how he intended the songs to be.

He literally came to my second or third time ever performing his music. There he was. I just could hardly inhale oxygen. I am not kidding. He was very gracious about what he saw that night and very gracious to remain kind of an email pal right up to the end of his life and in communication about this album and the show. But the first thing he said to Jon Weber, my music arranger, was, I love the changes and I wish there were more.

How does this album and your show resonate with you in the months since Sondheim passed away?

I’m wildly disappointed, selfishly, that he didn’t live 16 days longer because I was checking in to let him know that my show was coming. The next night was my show and I was still holding the ticket [for him]. He wrote back and said, “I just sprained my ankle and I’m not optimistic.” But thank you for doing the show was the last word. So yeah, there’ll always be that wish that he had come. 

I want to ask you about something he said in a 2017 interview that he gave The New York Times Style Magazine in an interview Lin-Manuel Miranda did with him. And he said, “You’ve got to work on something dangerous. You have to work on something that makes you uncertain. Something that makes you doubt yourself.” How did your album, I Know Things Now, check off all those boxes for you and what have you learned in the process of creating, performing and recording it? 

I’m blown away by that. That’s exactly what this project is. It’s the courage that it took on the level of just singing his material and trying to feel worthy as a vocalist to the point of view I was taking with this material and the self exposure for me. I have never stood in front of an audience before and sung about loving another man.

The embrace that I’ve gotten everywhere that I’ve gone so far with this show has been extraordinary. And the exhilaration that I get for being this particularly authentic is unlike any other performing experience I’ve ever had. It’s not that I’ve ever denied my sexuality. I just have been crafty about choosing my songs up until now. So it ticks off all those boxes and I hope it’s interesting because it’s received a level of notice, I think, for the very reasons he just said.

To see my complete interview with Jeff Harnar, please go here.

All photos of Jeff Harnar courtesy of PS Classics

The post Cabaret Artist Jeff Harnar Knows Things Now… appeared first on Cultural Attaché.