The Juniper Tree is an opera composed by Philip Glass and Robert Moran with a libretto by Arthur Yorinks, and is based on the tale by the Brothers Grimm. The opera was first produced in 1985 at the American Repertory Theater in Cambridge Massachusetts.
This very grim story of death, rebirth, and love is accompanied by wonderful music. This collaboration between composers Philip Glass and Robert Moran yielded an incredibly lyrical and compelling score
Boundary-pushing pianist Jason Moran expands his sound yet again with a blend of modern electric and acoustic blues on Same Mother. Featuring longtime bassist Tarus Mateen and drummer Nasheet Waits, Moran's seventh album also includes guitarist Marvin Sewell. An equally adventurous musician, Sewell adds a modern blues sound to Moran's usual mélange of post-bop, classical, New Orleans jazz, and funk. The results are raw, inspired, and frankly not wholly pleasing as Sewell's crisp acoustic attack does not always blend well with Moran's equally naked piano chops.
This double-CD reissues two Bethlehem albums by pianist/vocalist Pat Moran, plus a couple of "mystery" cuts not listed on the set. The music is certainly diverse, including boppish instrumentals by Moran and her trio (bassist John Doling and drummer John Whited), features for singer Beverly Kelly, and group vocals with singing by all four of the participants. The latter is the most dated, sounding a bit like the Four Freshmen style-wise, and is certainly an acquired taste. But since Moran only recorded three albums as a leader (the other was for Audio Fidelity) and there is some excellent straight-ahead playing on this set, the two-fer is of interest to jazz collectors.
The adventurous pianist, composer, and bandleader Jason Moran added guitarist Marvin Sewell to his band on 2005's Same Mother. Sewell is back and melding further with his own funky blues-based playing on Artist in Residence, which is a far-reaching jazz record combining elements of post-bop, New Orleans jazz, funk, blues and even post-20th century classical music to Moran's array of shades and colors to play with. The repetitive sampled spoken word loop by Adrian Piper which acts as the ground for both the opener "Break Down" and "Artists Ought To Be Writing" is a bit h jarring when the band lights up under her. As she chants "Break down the barriers/Break down, misunderstanding/Break down, the artworld/Break down, the artist/Break down, the general public . .," the band uses it (looped continually through the piece, even in the solos) to ground everything in a circular rhythmic principle…