Aaron Lordson

Aaron Copland may well be the best-known, the most loved, and the all-around greatest of twentieth century American composers, but his music from the '20s and '30s is still relatively unknown, still relatively unloved, and of still questionable greatness. Was Copland the Modernist too far out to connect to a big audience so he re-created himself as Copland the Populist to become the best-known, most loved, and greatest American composer? But was his Piano Concerto from 1926 really too jazzy and vulgar, his Symphonic Ode from 1928 really too cerebral and severe, his Piano Variations from 1930 really too harsh and austere, and his Short Symphony from 1934 really too rhythmic and complex or was it lack of familiarity made them seem so? From this 1996 recording by Michael Tilson Thomas and the San Francisco Symphony, one would have to vote for the latter because Copland the Modernist is every bit as great a composer as Copland the Populist.

For the second ECM album by Aaron Parks – following the solo release Aborescence, which JazzTimes praised as “expansive, impressionistic… like a vision quest” – the prize-winning pianist has convened a trio featuring bassist Ben Street and drummer Billy Hart. The rhythm pair, which also teams in Hart’s hit quartet for ECM, blends fluidity and strength – what Parks calls “an oceanic” quality, producing waves of energy for the pianist to alternately ride and dive into. Find the Way has the aura of a piano-trio recording in the classic mold, from melody-rich opener “Adrift” to the closing title track, a cover of a romantic tune Parks grew to love on an LP by Rosemary Clooney and Nelson Riddle. Parks also drew inspiration for this album from the likes of Alice Coltrane and Shirley Horn (for whom Hart played); space and subtlety are a priority.

The three Copland classics on this disc–Billy the Kid, Appalachian Spring and Rodeo–are all ballet scores, and from the very first bars of Billy, with its evocative depiction of the wide-open prairies, you are firmly in the territory of music that tells a story. But you don't need to follow all the ins and outs of each story to enjoy music which paints as vivid a picture of rural America as you could hope for. If the sprightly "Hoe Down" from Rodeo brings a splash of colour to concert programmes, the remarkable thing about so much of the music in these three pieces is how quietly sensitive it is. And while Michael Tilson Thomas does not hold back in wringing every last ounce of splashy razzmatazz, he is equally the master of introspective music which clearly demonstrates that you don't need to be loud to be a populist. The recordings were made in the San Francisco Symphony's home, Davies Symphony Hall. You couldn't hope for more authentic performances than this–more than 76 minutes of dyed-in-the-wool Americana.

Originally a member of electronica duo clickits, John McCaffrey moved from Accrington in the north west of England to Melbourne, Australia and started a solo project as Part Timer. Concentrating on a mixture of delicate folk flavours and electronic augmentation, Part Timer has released albums on moteer, flau and lost tribe sound. Collaborations with multi-instrumentalist Aaron Martin have been released on mobeer and under the spire. McCaffrey has also released music under the names Scissors and Sellotape (on cotton goods) and Upward Arrows (on under the spire)…

Aaron Cassidy is a composer and conductor with a growing international reputation and his works have been performed by leading contemporary music specialists. He joined the composition faculty of the University of Huddersfield in 2007 and is coordinator of the MA in New Music. This collection also includes Three Studies for Figures at the Base of a Crucifixion and other works.

An enjoyable collection for White fans, although one might prefer one's spirituals on a bigger scale. That said, Willard White makes these well-known songs seem much more intimate and reflective, private rather than public. Swing low, pressed into service at last year's rugby world cup, is sung rather faster than usual. That's no bad thing, as the song can be made to sound rather lachrymose. For White there is a sense of eager anticipation, that heaven really is at hand. The Copland songs are enjoyable too and are sung with apparent enjoyment. They were all new to me and I can see myself returning to them for their witty lyrics and sense of fun. The Chandos recording is good and the voice is well caught. The accompaniment is discreet and intelligent, making this a delightful disc all round.

Lee Aaron is on a roll. The award winning, songwriter, producer and Canadian vocalist blazed back onto the rock scene in 2016 (after a ten year hiatus to raise her family) with a wealth of original material and more firecracker energy than artists half her age. She's since produced 6 new releases, including a 'live' CD/DVD, with ELEVATE being the latest and possibly coolest addition to this renewed chapter in her illustrious career. ELEVATE was written during the Covid lockdown, but rather than allowing that isolation to push the band into a negative place, Lee booked a studio lockout for the fall of 2021. "I'd witnessed so many friends and colleagues become depressed and lose their focus. We couldn't properly tour our last album (Radio On! 2021) and the downtime seemed like it would never end, so we decided to book studio time before the songs were even written.

18 Albums into her career, Aaron has written, recorded and produced music achieving gold and multi-platinum sales. Recognised as one of Canada’s top rock vocalists she’s also made forays into jazz, blues, and even opera, receiving numerous awards and accolades and most recently, a 2023 induction into Canada’s Walk of Fame.
Taking a nostalgic journey, Tattoo Me pays homage to musical trailblazers who helped shape her own artistic path. As a reflection of her eclectic taste, yet in keeping with a profound respect for the greats, these 11 tracks are a unique tapestry of influences tending to transcend era and genre…

Aaron Cassidy is a composer and conductor with a growing international reputation and his works have been performed by leading contemporary music specialists. He joined the composition faculty of the University of Huddersfield in 2007 and is coordinator of the MA in New Music. This collection also includes Three Studies for Figures at the Base of a Crucifixion and other works.