Watch Steve Martin with the Steep Canyon Rangers sing a special song, since they say atheists don’t have any.
This year, Lincoln Center announced that its fall festival for the first time would be produced around a unifying concept: that of “spiritual expression and the illumination of our large, interior universes,” according to Jane S. Moss, Lincoln Center’s Vice President of Programming. The series, dubbed the White Light Festival, began October 28th and includes an array of musical experiences and tastes, ranging from Brahms’ requiem to Meredith Monk, to the Tallis Scholars, and from Antony and the Johnsons to the Latvian National Choir.
I’ve been holding on to this performance for a few days now, keeping it in reserve specifically for a Friday morning or afternoon. And what better way to kick off the back stretch to the weekend than with the delightful intensity of jazz musician Esperanza Spalding. In this video, she captivates the room at National Public Radio with her intimate Tiny Desk Concert.
I particularly enjoyed the way Patrick Jarenwattananon paints a lush scene of her commanding presence, including when she doffs her cap to reveal her magnificent shock of hair. But, I best like his rundown of her set list:
Native Deen releases a music video for the My Faith, My Voice campaign "in response to the rising tide of Islamophobia facing America, especially in the wake of the New York Islamic cultural center controversy."
As if Morocco and the Fes Festival of World Sacred Music weren't enchanting enough. A guest contribution with video by Hussein Rashid on the magical intimacy of Sufi Nights.
Which piece of music would you choose to complement Wendell Berry reading his poems?
Some of the best story lines coming out of this year’s World Cup aren’t about sport at all. They’re about people rising above their circumstances, creating something new, defying their genre, being recognized for their talents.
A Somali-born Canadian who grew up in Mogadishu before immigrating to North America at the age of 13, he takes an unexpected
tact tack when writing lyrics. K’naan doesn’t see much sense, he says, in glorifying the violence and strife that surrounded him in his childhood like many American rappers:
“There wasn’t a voice that understood the, ya know, the gratitude that comes from survival. There wasn’t a voice in music that was doing that.”
One song had the power to "unite all African people" during the struggle against apartheid.
A hip-hop street dancer from Rio says that it is a gift to know not only your own personal history, but also the history of others.
Replace notes with words and you might say that reading Miller is similar to Mingus "thinking on a piano."