Caleb Mcclung

Tom McClung's piano style displays a broad spectrum of musical and emotional colors. Whether playing blistering bebop, sizzling salsa, down-home blues, pastoral folk or avant-garde, McClung’s expressive touch and vivid imagination present a unique and exciting musical experience for all who listen.

Tom McClung's piano style displays a broad spectrum of musical and emotional colors. Whether playing blistering bebop, sizzling salsa, down-home blues, pastoral folk or avant-garde, McClung’s expressive touch and vivid imagination present a unique and exciting musical experience for all who listen.

Trumpet player Caleb Hudson, following a decade-long tenure with Canadian Brass, embarks on a new artistic venture with the release of his debut solo trumpet album, "Nothing Less." This recording represents a significant addition to Hudson's career. We hear him as a composer and arranger, blending the seemingly disparate sounds of violin, cello, flute, clarinet, and trumpet. It is not just a showcase of virtuosity and expansive creativity, but also a collaborative effort that brings together world-class chamber musicians, each a respected soloist in their own right.

Caleb Landry Jones, the enigmatic and multi-talented artist, releases his highly anticipated fourth album, Hey Gary, Hey Dawn, on the esteemed Sacred Bones label.

'Four Nocturnes' (1992-3, revised 2010; perf. London Voices & National Symphony Orchestra Chamber Ensemble, conducted by Ben Parry) contains settings of Byron’s night poetry. The range of subjects and moods is enormous, from gothic black to risqué farce, and this provides the composer with a rich quarry for an extended piece. In 'Viola Sonata' (2012, revised 2015; perf. Caleb Sibley, viola & Aleksander Szram, piano) the long melody heard at the beginning of the sonata is reintroduced many times in different guises. This gives the piece its unity, while the re-imagining – retrograding, inversion, canon, rhythmic compression, reduction to chords, etc – provides the variety.

Two Worlds Called Home is inspired by composer Caleb Vaughn-Jones’s nine-year journey as an American living abroad in South Africa. In 2011, Vaughn-Jones was a gifted cellist from Baltimore who felt a calling toward the unknown. He abandoned the traditional path of an American musician building a career and instead moved to Port Elizabeth, South Africa to teach music. In this album, Vaughn-Jones employs his skill as a cellist to express the joys and sacrifices he encountered on this incredible adventure. Ava’s Lullaby, for example, was written for his daughter when pandemic restrictions kept him from returning to the United States.

Like the sprawling branches of a tenured Magnolia, Caleb Elliott’s sophomore album Weed, Wine & Time is beauty and grit personified. From the first track of the record (Sweeter Paradigm) Elliott lays bare a thesis of hope and healing that continues throughout the album’s entirety. Elliott’s opening chorus states that, “You learn as you go along, simple as a song,” and this theme courses like blood through each of the 11 tracks that follow.

Hauser describes the project as “a collection of seminal 20th century works for oboe and piano, from an international assortment of composers that spans the globe.” The album features compositions by Pavel Haas, Henri Hauser, Ulysses Kay, Paul Ben-Haim, and Makota Shinohara. Jared Hauser maintains an international stature as a performer, teacher, and recording artist. Appointed to the faculty of the Blair School of Music in 2008, he also serves as principal oboe with the Nashville Opera and Music City Baroque.