Maria Jean Sullivan

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  • PREMIERE: Slim Wray's "The Way I Get By" Off 'Post No Bills'

    Garage surf-rock trio Slim Wray's forthcoming EP, Post No Bills, out July 14, proliferates that 1960's beach babe sound. Recorded in Bunker Studios in South Williamsburg, Brooklyn, Post No Bills is the gritty, cymbal-heavy, blues infused answer to Brain Wilson's surf pop.

  • Classicalite Q&A with Colleen

    Much like myself, french multi-instrumentalist Colleen aka Cécile Schott takes sonic influence from Terry Riley, Arthur Russell, traditional African and Jamaican music and, naturally, the Wu Tang Clan. All of which she delved into on her edition of VF Mix 14, a vinyl-only mix series hosted by The Vinyl Factory, quoting “Bells of War” as her choice Wu cut. These influences trace back to Cecille’s childhood obsession with her parents cassette tape “The Kings of Reggae”, mostly consisting of Lee “Scratch” Perry tracks from 1976 to 1979. In her own work, she uses her voice and the baroque instrument treble viola da gamba to recite intricate tales of the human mind and heart. Her latest release, Captain of None on Thrill Jockey Records is possibly the most experimental album in her repertoire featuring tracks heavily influenced by her Jamaican and African music obsession, embossed bass lines and, new to her, percussive effects. Recorded, mixed and produced entirely by Cecille in her San Sebastian, Spain music studio, Cecille imparted dub production techniques, a melodica, a Moogerfooger and delay pedal and echo effects. Another intricacy of Captain of None: rather than bowing the instrument in a traditional manner, Cecille tunes the viola da gamba like a guitar and plucks it for a fresh perspective on what a string instrument is and can be. I had an e-conversation with Colleen on her Thrill Jockey release, where her love of the viola da gamba came from and the very real struggle for non-American artists to tour in the States.

  • Classicalite Q&A with R.B. Schlather

    For all the bogus boilerplate about how classical music is dead or even well-intentioned words regarding how she can stay breathing, precious few--performers, ensembles and institutions--are actually doing anything to change both conversation and prognosis. Moreover, when it comes to remounting baroque opera in our digi-epoch, fewer still have the informed perspective, due diligence and, well, cojones to really make a difference. Save for one R.B. Schlather, of course.

  • MATA Festival Q&A Spotlight with Wang Lu

    Founded by Philip Glass, Lisa Bielawa and Eleonor Sandresky in 1996, the MATA Young Composers Now! Festival strives to present emerging compositional talent sourced from across the globe. The 2015 edition at The Kitchen continues in that very tradition, featuring quite the varied array of exemplary young voices. So, with a nod to the spirit of MATA, itself, Classicalite has chosen three composers to speak with about that career-defining opportunity: a MATA Fest commission. First, we chat with Chinese composer Wang Lu, a 2014 Guggenheim composer and pianist whose work Urban Inventory opened on Tuesday--as part of the "Curiouser and Curiouser" program, featuring performances of Lu's work by Sweden's Curious Chamber Players.

  • Classicalite Q&A with Robert Sirota

    With both European bona fides (that Watson fellowship with Nadia Boulanger in Paris) and studies with composers that can sound European (those PhD lessons with Leon Kirchner at Harvard), American composer Robert Sirota remains precisely that: a quintessentially American composer. In his mature works, thorny chromaticism often plays nicely within rounded, deliberate forms. And there's always a true economy of means -- no motive where none intended. European-inspired, maybe, but his is a curious blend, no doubt informed by Sirota's many academic appointments up and down America's eastern seaboard (NYU, BU, Peabody, Manhattan School of Music). Not that Robert Sirota is an ivory tower, himself. Case in point: Sirota's brand new, beguiling work for Sandbox Percussion, Spindrift.

  • Classicalite Q&A with Loren M. Connors

    The one, true guitar hero, Loren Connors is nothing if not prolific: 50-plus records as far flung as Drag City to Ecstatic Peace/Father Yod to Table of the Elements, as well as countless more via his own imprints (Daggett, St. Joan, Black Label, etc.) under at least as many aliases (Loren MazzaCane Connors, Loren Mattei, Guitar Roberts, ad inf.). Despite being diagnosed with Parkinson's in the early 1990s, live and in-person, Connors continues pretty much unabated (cf. with Keiji Haino at the Whitney, with Tim Hecker at the Wick, that sold-out show at ISSUE Project with girl-in-a-band du jour Kim Gordon). Faster than Derek Bailey, more powerful than Rhys Chatham and Glenn Branca combined, able to leapfrog over Ry Cooder with a single, boundless bar of blues, his 65-year-old l'éminence grise answered some of Classicalite's none too pressing queries via e-mail.

  • Classicalite Q&A with Banjo Player Jake Schepps

    Banjo player Jake Schepps sure is opening up the possibilities for his instrument: contemporary classical bluegrass? Yes, a thousand times so. In fact, his latest album, Entwined (Fine Mighty), is the perfect manifestation of a seemingly non-existent genre. Featuring new compositions from the likes of Marc Mellits, Gyan Riley, Matt McBane and Matt Flinner, Schepps' traditional, five-band string band sounds anything but trad here. Curious how Schepps & Co. got wise, Classicalite got on the horn with this Scruggs-slash-Stravinsky to talk process, commissioning and what's next for him, instrument and ensemble.

  • [WATCH] 'Cubanacán: A Revolution of Forms,' First New Cuban Opera in 50 Years

    'Cubanacán: A Revolution of Forms' is indeed the first new Cuban opera in nearly five decades. Itself some twelve years in the making, this new production comes to fruition via American filmmaker Charles Koppleman to kick off the 2015 Havana Biennial on May 22, under the curious theme “Between the Idea and the Experience.” Featuring a libretto by Koppleman, music by Cuban composer Roberto Valera (who will also conduct) and stage direction by the Parisian upstart Charles Chemin, 'Cubanacán' looks at moment in the history of Castro’s reign that you've likely never read about before.

  • Arthur Russell Tribute at BAM to Feat. Scissor Sister Jake Shears, Arcade Fire's Richard Reed Parry and Dev Hynes

    Following the release of Master Mix: Red Hot + Arthur Russell tribute album featuring Hot Chip, Sufjan Stevens, Phosphorescent, Blood Orange and 16 more via Red Hot Organization and Yep Roc; BAM is hosting an evening of performances in honor of the late composer, cellist and electronic musician. Paying tribute to Russell is Devonté Hynes, Richard Reed Parry, Jake Shears of the Scissor Sisters, Sam Amidon, Cults, Lonnie Holley, Redding Hunter, Little Scream, Thao Nguyen of Thao & The Get Down Stay Down and Rubblebucket.

  • Classicalite Q&A with Ian Williams

    Ian Williams, erstwhile guitarist in math rock pioneers Don Caballero, has been busy as of late--working on a new Battles record, writing his first piece for the American Composers Orchestra to perform at Carnegie Hall, fathering his first child. With Classicalite favorites George Manahan behind the podium, Theo Bleckmann on vocals and members of the Meredith Monk Vocal Ensemble lending support, Williams debuted his Clear Image work during the ACO's Orchestra Underground: Monk's Sphere, opening night of that storied ensemble's 38th season. We recently caught up with Williams to chat about his rocker past, the ACO collaboration, having a daughter and even his cameo in High Fidelity.
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