When I was 12 years old, I discovered the music of Emerson Lake and Palmer, and with it, new powers of imagination, beauty, and creativity. ELP became both my refuge and my strength as I battled my way through the awkwardness, confusion, and loneliness of adolescence. So you can only imagine my surprise when I was contacted earlier this year by Carl Palmer’s tour manager asking whether we might host his final North American Tour performance. On November 21st, yet another dream became reality as Carl Palmer performed and recorded in front of a live studio audience.
This week we got permission to post the first of several videos we will be releasing over the coming months from that event: Welcome Back My Friends (Karn Evil #9 for the nerds).
Earlier this year Moogfest, which was born in Asheville, made its debut in Durham. The event was a world-wide sensation, bringing 10,000 people a day, for four days, into the funnest, funkiest, most fabulous venues in Durham to share and experience electronic music innovations and inventions. It created an estimated 1.3 billion media impressions and earned a very encouraging New York Times review.
But the heartbeat of Moogfest doesn’t stop after four days of performances and partying. It simply goes underground and travels around in the form of dial-tones events. These events bring Moog leaders together in cities around the world, connecting performers with educators, entrepreneurs with artists, community leaders with community creators.
Normally, Dial-Tones events are held in large cities, but the Moogfest team was so impressed with our space that they decided to host an event close to home. It was a great success! Here’s a little mosaic of images showing the events of the day, from the get-together before Mary Lattimore‘s performance, some words from the Moogfest team, a wonderful performance, and a chance for people to talk with Mary after the performance.
We are so proud to have co-hosted this event, and look forward to more exciting collaborations with the Moogfest community!
In my book, the greatness of Dylan’s genius is not that it stands alone, but that it supports the work of other geniuses, such as Taylor Mac and Wayne Krantz. Their ability to take the familiar and make us experience it completely new ways gives us insights, hopes, and confidence that we, too, can take our familiar selves and change the goddamn world. That’s not only an exciting message, but it’s an empowering and transformative experience!
Once upon a time, there existed a very special kind of music that cast a magic spell upon its listeners. Beyond sheer beauty and raw excitement, this music bestowed powers of creativity beyond imagination, revealing a transcendent possible beyond any conventional reality. I first encountered such music when I was 12 years old, in the form of Emerson, Lake, and Palmer’s Tarkus. I had grown up in a music family and had listened to a wide range of music all my life, but this album challenged and inspired me like nothing I had ever experienced before. It was magic for me. Continue reading “Carl Palmer’s ELP Legacy Tour 2016”
Wayne Krantz first visited The Miraverse February 15th, 2015 after receiving the All Clear from Jimmy Herring and others. That night we recorded Wayne playing with long-time collaborator Keith Carlock on drums and Grammy-winning legend Anthony Jackson on bass. And we have the video to prove it:
It was an incredible evening, listening to a mix of older songs as well as several new selections from his just-released album Good Piranha / Bad Piranha. These new songs were an exploration of what might happen if Wayne used some well-known hooks as the kindling for his virtuoso pyrotechnics. Songs like MC Hammer’s “U Can’t Touch This” and Ice Cube’s “Check Yo Self” never sounded so progressive!
So here’s the exciting news about Wayne’s return to The Miraverse on October 19, 2016:
Guitar virtuoso and teacher Wayne Krantz and his trio are coming to the Miraverse February 15, 2015, and we are so excited! I first learned about Wayne from the AbstractLogix catalog. My love of the music created by John McLaughlin, Jeff Beck, Jimmy Herring, and others of that sort predicted I would like Wayne’s music. Not because he imitates them–he most certainly doesn’t! But because he is as boldly original as they are, bringing together an exciting mix of classic and alien, funky and beautiful, harmonic and angular. I bought the self-titled album Krantz Carlock Lefebvre and it spent weeks in the player as I listened to it over and over and over again.
When Wayne released a book (An Improviser’s OS), I found myself falling down a rabbit hole of nearly infinite complexity. And infinitely beautiful. And that’s how I learned that in addition to being a creative composer and master player, he is also a teacher.
So it is fitting, then, for him to come to the Miraverse both to play, and to teach…and you can attend his lessons and/or performances by clicking here.
Still reading? Then here’s some more motivation to come…
It has been a while since my last blog posting, which means there is much, Much, MUCH to tell. I’m not sure that I can do it all justice in one evening, but there are some highlights I want to hit.
In early November, pianist Kimiko Ishizaka performed Bach’s Well-Tempered Clavier in the Music Room of Manifold Recording. The event was recorded in front of a live studio audience and webcast around the word, presented by The Miraverse. We produced two videos, one for studio geeks showing all our microphones, microphone locations, and all sorts of other studio gear that would be involved in the session, and one of Kimiko’s actual performance (which was magnificent). Thanks again to Robert Douglass for doing the legwork to make this event possible, and to Ms. Ishizaka for sharing her life’s study and practice of Bach with us.
It was very much my intention to write a blog posting shortly after the session–especially because it was such a great experience for all who participated, but we got too busy with all that this event put into motion for us. Continue reading “Progress Report (Video)”
I have been talking for some time about the virtues of kickstarter funding for music recording projects. The indie album Move by Matt Phillips and the Philharmonic could not have been made without kickstarter funding. But the more I learn about the world of music kickstarters, the more I see there is to learn.
The Set Chopin Free project reached its $75,000 goal scarcely two weeks into its seven week funding schedule. It is already more than $5,000 above its funding goal, and could well surpass $100,000 by the time its funding window closes. And the Open Well-Tempered Clavier project (launched by Robert Douglass) has already reached 50% of its $30,000 fundraising goal from more than 450 supporters in its first 5 days! That kind of strong start virtually guarantees funding success, and leaves us only to wonder whether it will achieve 160% (like Open Goldberg Variations), 200% (like Fractal Journeys and the Twelve Tones of Bach), 350% (like the Well-Tempered Clavier Tour), 600% (like Musopen’s Set Music Free) or more than 1100% (like Amanda Palmer did in her amazing 2012 record). The possibilities are quite wide open. But real questions remain: how did this happen? what does it mean?
A press release today invites the press itself to consider some more pointed questions:
If both Open Goldberg and Musopen succeed with their Kickstarter campaigns, collectively raising over $100,000 for new recordings of standard repertoire, it is probably worth asking “Who is holding classical music in shackles?” and “Why do so many people feel it is so important to set Bach and Chopin free?” Continue reading “Success Stories”
We are proud and fortunate to have created the inspiring space that is Manifold Recording. But we always envisioned achieving something more than what we can do for artists, engineers, and producers. We believe that there is a larger public sphere that is curious, excited, and even ravenous for new ideas, new experiences, new musical performances and productions. We wanted to also create a space in which a newly-engaged public could bring new energy, new interests, and new resources to create a healthier, more vibrant, more sustainable future for music and musicians.
One thing I have learned as a former Trustee of a model Montessori school is the importance of the prepared environment. Characteristics of the prepared environment include: beauty, order, reality, simplicity and accessibility. It may have required the genius of Maria Montessori to explain why these are crucial to child development (compared with, say, efficiency, authority, policy, technology, and convenience), but as adults, it is obvious to most of us that such environments are conducive to our own development, too! Like fertile ground ready to bring forth an abundant harvest of whatever may be planted, prepared environments known as Salons helped bring about The Enlightenment by injecting academic discussion and debate into a newly formed public sphere (that was also a by-product of the Salon experience). Adam Smith and Benjamin Franklin presented and refined their ideas at salons, “inventing” large parts of modern capitalism and modern democracy in the process.
But commerce and politics were not the exclusive subjects of salons–they were but two of myriad subjects that excited those who participated. Frédéric Chopin and Franz Liszt were proof of that. Chopin, in fact, preferred the environment of the salon to public performances. Continue reading “The Miraverse: A Salon for the 21st Century”