Max Tegmark L'universo Matematico

In 1939, Steiner was borrowed from Warner Bros. by Selznick to compose the score for his next film, Gone with the Wind (1939), which became one of Steiner's most notable successes. Steiner was the only composer Selznick would consider for scoring the film, states Thomas. Despite 1939 being Steiner’s peak year for the number of scores he composed—twelve films in all—he was given only three months to do it. When the film was released, it was the longest film score ever composed, at nearly three hours. The composition consisted of 16 main themes and almost 300 musical segments. To meet the deadline, Steiner sometimes worked for 20-hours straight, taking Benzedrine pills to stay awake.

Other than a trio set with the legendary pianist Hasaan Ibn Ali, this set was Max Roach's only recording as a leader during 1963-67. Three of the six numbers ("Nommo," "St. Louis Blues" and "In the Red") find Roach heading a group that includes trumpeter Freddie Hubbard, altoist James Spaulding, pianist Ronnie Mathews, bassist Jymie Merritt and, on "St. Louis Blues," Roland Alexander on soprano. Their music is essentially advanced hard-bop with a generous amount of space taken up by Roach's drum solos. The other three selections ("The Drum Also Waltzes," "Drums Unlimited" and "For Big Sid") are unaccompanied features for Max Roach and because of the melodic and logically-planned nature of his improvisations, they continually hold on to one's attention.

Max Cooper's latest album project 'Unspoken Words' is available on Mesh, alongside an epic immersive film project.

Max Richter announces his ninth studio album ‘In a landscape’. The new album marks a significant evolution in Richter’s musical journey, as he delves deeper into the themes of optimism and human emotion accompanied by an innovative exploration of electronic sounds and field recordings. It is a record about reconciling polarities, bringing together the electronic and the acoustic, the human and the natural world, the big questions of life and the quiet pleasures of living – a fleeting self-portrait of a musician in constant motion. He says: “the music on the record is about connecting or reconciling polarities. The electronics with the acoustic instruments, the natural world with the human world, and the big ideas of life with the personal and intimate”.