The Broadway cast recording of the Tony Award–winning musical Dear Evan Hansen earned a Grammy nomination for Best Musical Theater Album on Nov. 28. Produced with Atlantic Record’s President of A&R (artists and repertoire) Pete Ganbarg ’88, along with music supervisor and orchestrator Alex Lacamoire, creators Benj Pasek and Justin Paul, and Broadway producer Stacey Mindich, the album had debuted at No. 8 on the Billboard 200 when it came out last February.
Tag Archive for music
by Cynthia Rockwell •
This year the list of Grammy nominations includes work by Gail Marowitz ’81. Founder of The Visual Strategist, a company devoted to designing for music, Marowitz is not a first-timer on the coveted list. Her work has garnered her three nominations in the Best Recording Package category, with a win in 2006.
Now in the running is Marowitz’s work on Jonathan Coulton’s Solid State.
Marowitz, who claims “a misspent youth, looking at albums in record stores” and sends e-mails under the name “childorock,” says that her fascination with album covers began when she was 6 and her older brother brought home the Beatles’ Revolver. “There was so much to look at—drawings and collage. I remember staring at it for long periods of time.”
by Cynthia Rockwell •
Lin-Manuel Miranda ’02, the Pulitzer Prize winner, MacArthur Genius, and Tony Award winner for Hamilton and In the Heights was honored with the Latin Recording Academy President’s Merit Award at the 18th annual Latin Grammy Awards on Nov. 16. This is a special award, not given annually, and it was presented to the well known composer, lyricist, and performer by Latin Recording Academy President/CEO Gabriel Abaro to honor Miranda’s many outstanding contributions to the Latin community.
Abaroa told Billboard, “Lin-Manuel’s urban and social poetry have provided strength and encouragement to every Latino motivated to get ahead. He has brought pride to our community by reminding us of the resilience and fortitude we demonstrate on a daily basis.”
Most recently he composed and released “Almost Like Praying—Relief Single for Puerto Rico,“ (Atlantic Records, Oct. 6, 2017). Miranda, who performed the song with various artists, donated all proceeds to The Hispanic Federation’s UNIDOS Disaster Relief Fund to help the survivors of Hurricane Maria
Additionally, when the Grammy nominations were released on Nov. 28, Lin-Manuel Miranda’s work appeared in two categories, both related to his work on the soundtrack for Moana, Disney’s animated adventure-comedy. Moana: The Songs, a compilation of works by various artists, including Miranda as singer and performer, appears in the category of Best Compilation Soundtrack For Visual Media. Additionally, a song he wrote for that film, “How Far I’ll Go” (performed by Auli’i Cravalho), appears in the Best Song Written For Visual Media category.
In an interview with Hollywood Reporter Melinda Newman, Miranda explained that the insight into creating “How Far..” for the title character of the film came in recalling his own teenage years:
Where she [Moana] and I met was having a calling — not necessarily even understanding the calling, but knowing that it’s there inside. I knew I wanted a life in some creative endeavor for as long as I can remember. For me, I think the song took the final turn it needed when I realized it’s not a song about a young woman who hates where she is and needs to get out, it’s a song about a woman who loves where she lives and her family and her culture and still has this feeling. So what do you do with it? I related to that as well and so that was the final insight we needed to get that moment to really strike a chord because it’s messier, it’s complicated.
by Lauren Rubenstein •
Tyshawn Sorey MA ’11, who joined Wesleyan’s faculty this fall as assistant professor of music, has been awarded a fellowship—better known as a “genius” grant—from the John D. and Catherine T. MacArthur Foundation. The announcement was made Oct. 11.
The fellowship is a “$625,000, no-strings-attached award to extraordinarily talented and creative and creative individuals as an investment in their potential,” according to the MacArthur website. Fellows are selected based on “exceptional creativity,” “promise for important future advances based on a track record of significant accomplishments” and “potential for the Fellowship to facilitate subsequent creative work.”
by Cynthia Rockwell •
Next time you’re seeking a caffeine fix in Starbucks, keep your ears open for a song by J.R. Rhodes ’90. Hers is a haunting alto voice—with a throatiness and rich, emotional depth reminiscent of Joan Armatrading—and the song, in a minor key, “Your Pillow,” was the first single released from her album I Am, due out Nov. 3.
A music major at Wesleyan and a singer/songwriter since then, Rhodes had released three albums previously: Elixir (2011), Afriqueen Stare (2003) and Songs of Angels (1999).
The high-profile single placement, however, is something entirely new.
“A career in music can definitely be a winding road,” she says. “You have your days when you want to give up. And then you get a little help. And sometimes—you get a lot of help.”
by Olivia Drake •
Inspired by Fete de la Musique (also known as World Music Day), the sixth annual The MASH festival on Sept. 9 highlighted Wesleyan’s student music scene, with multiple stages on campus featuring everything from a cappella ensembles to student, faculty and alumni bands.
Stages were set up at Foss Hill, outside Olin Library and North College. More than 20 groups and soloists performed at Wesleyan’s The Mash including Bonanza, Good Morning CT, McCleary McCleary, MEG, Saint Something, Jal, The Basukes, Smokin’ Lilies, Jess Best ’14, Prometheus, New Group, Gabe & Brien, Savannah Jeffreys ’18, Johnny Gilmore ’18, Anna Savage ’18, Quasimodal, Sloane Peterson, ethereal whoosing, The Purple Windsounds, LAZ, Cicero Presley and Tasty Desert Creatures.
The MASH was held in conjunction with the City of Middletown’s Main Street Stroll, a family-friendly celebration of Middletown’s Main Street and the new Wesleyan RJ Julia Bookstore. The stroll featured music, street performers, specialty workshops and more.
by Olivia Drake •
The Mattabesset String Collective is a five-piece Wesleyan-affiliated acoustic ensemble playing an eclectic mix of bluegrass, blues, folk, mountain, country and rock, all in a string band style.
The group’s name, Mattabesset, is the Algonquian name for the region that became Middletown. “Since our music reaches back into history, we thought it was appropriate. We were attracted to the term collective because it suggests the egalitarian nature of our enterprise,” said band member Marc Eisner, dean of the Social Sciences Division, the Henry Merritt Wriston Chair in Public Policy, professor of government, professor of environmental studies.
The band performed July 29 in Higganum, Conn. Photos of the concert are below: (Photos by Olivia Drake)
by Lauren Rubenstein •
Tyshawn Sorey MA ’11, assistant professor of music, is called a “preternaturally talented multi-instrumentalist who has built a career in the territory between standard definitions” in an extensive profile in The New York Times.
“In some circles, he’s thought of as a jazz drummer; in others, he fits in more as an avant-garde composer,” the article says of Sorey, who is about to release his sixth album, “Versimilitude.”
The article discusses Sorey’s background, from his modest upbringing in Newark—where his public schools offered little in the way of arts education and his father “helped foster his affinity for music”—to his study of jazz drumming at William Paterson University.
by Catherine Abert '18 •
Only two years out of Wesleyan where they met, Hana Elion ’15 and JJ Mitchell ’15, the duo who are Overcoats, have enjoyed several markers of success this spring. While both Elion and Mitchell describe the formation of the band as something that “just sort of happened,” Elion adds that a career in music seemed like “a faraway dream that I didn’t expect to happen in reality.” But it is.
Their debut album, Young, released on April 21, 2017, is what they consider work-in-progress since their graduation, The title, they say, reflects the album’s emotional content: the confusion and wonder of the recent college graduate. The out-in-front vulnerability has a purpose: “By sharing these feelings through music, it will make you stronger: you can create a community and connection around these hard feelings, which everyone has but doesn’t talk about.” One of the issues that Young explores is the newfound adult perspective on childhood— rediscovering the significance of “the tough love that our fathers would give us,” as well as “what our mothers went through, as we come into the world as women and experience what it means to be an adult.”
In Young, the two connect the personal nature of their lyrics with different musical influences than they’d previous explored—from folk-like harmonies to pop and synth beats—allowing Overcoats an expanded vocabulary in which to reach their audience. “A good dance beat makes you heal faster,” is how they describe the eureka moment of embracing mainstream instruments in pop music.
In an earlier highlight this spring, National Public Radio invited them to give a Tiny Desk Concert, the intimate video concerts that are recorded live at the desk of “All Songs Considered” host Bob Boilen. “To actually do a Tiny Desk Concert and sing the music we had written and be totally ourselves—It’s something we will never forget,” says Mitchell.
On tour across the United States, with several venues in Canada this summer, the Overcoats say that the nomadic life of a musician has required them “to find a home in each other on the stage.” Now, with the release of Young. Overcoats offers their fans the opportunity to share in the sound of this home that Elion and Mitchell have created for each other, through the journey of their music.
by Catherine Abert '18 •
“Wait, turn that up! What is that song?”
If you’ve ever watched a commercial that became more significant the second you heard a song you just had to hear again, chances are Jonathan Hecht ’04—founder of Venn Arts—was behind its discovery.
His interest in pairing music with picture was inspired by the Paul Thomas Anderson film Boogie Nights: “I realized how different some of the musical selections were, but how they all fit together to create a sound and musical character for the film.”
He began to wonder if he could create a career out of this observation—which became Venn Arts, the music supervision company specializing in curating and procuring licensed music for commercial projects. Hecht took the name from a Venn diagram, with its “intersection or coming together of two things to make something unique,” he said. For Hecht, one of those “things” is always music: “There are so many nuanced emotions that can be inflected when you find the right music.”
Now, collaborating with brands such as Under Armour, Free People, Mercedes, and most recently, supervising the music for Subaru’s phenomenally effective “Love” ad campaign, he is gaining attention: Forbes recently wrote about his work as a music supervisor to Subaru’s marketing and rapid sales growth. “I’ve been working with Subaru’s ad agency, Carmichael Lynch, since 2011 and have placed more than 30 songs into national TV ads for the brand,” he says. The campaign was also highlighted as “Ad of the Day” on Adweek.
by Andrew Logan ’18 •
It turns out that Lin-Manuel Miranda ’02 is not the only Wesleyan alumnus presenting history through the sounds of hip-hop. Just upstream from Wesleyan, in Amherst, Mass., Michael Lawrence-Riddell ’98 has worked to bring hip-hop music from the stage into the classroom with the help of several other Wesleyan alumni.
So far, this middle school language arts teacher has written and recorded more than a dozen original songs, each intended to engage students while offering context and analysis of literature and history. Some historical topics mentioned in his work include the Harlem Renaissance, Hurricane Katrina and the Stono Rebellion. His songs also tackle American literary classics like The Great Gatsby, Catcher in the Rye and To Kill a Mockingbird. One song “Descendants of Cain,” about John Steinbeck’s famous novella Of Mice and Men, focuses on the many allusions found throughout the work, as well as its central theme of solitude. For many of these 15 songs, Lawrence-Riddell also offers unique lesson plans intended for use by other teachers.
Lawrence-Riddell has received plenty of support for his project, called Mind Your Music, including the skills of Wesleyan friends Kimani Rogers ’97, Tarik Holder ’98 and Keith Witty ’99, as well as financial backing from a Kickstarter campaign.
As an African American Studies major at Wesleyan, Lawrence-Riddell always sought ways to communicate the complex history of race and racism in America. Music would become a conduit for this mission. In the unapologetically political and pro-Black stances of many of his favorite hip-hop groups he found a call to action and inspiration to create socially conscious art.
Attending Wesleyan during a ‘golden age’ of independent hip-hop, he remembers returning from class with his friends to their Nicholson and Hewitt dorm rooms on Tuesday afternoons to discuss and listen to the latest albums. Together, Rogers, Holder and Lawrence-Riddell also worked for the student hip-hop publication Off Tha Top. When Rogers and Holder formed the hip-hop group The Masterminds, Lawrence-Riddell served as their manager, touring the country with hip-hop legends like A Tribe Called Quest, Mos Def, MF Doom and others.
“The experiences and memories that we built were incredible…those guys were, and are to this day, my brothers,” he says.
For those who’d like a sample of the hip-hop art of Mister El-Are, Lawrence-Riddell notes that YouTube offers a video for the song “Firebrands (Stand Up!)” about the Stono Rebellion, Nat Turner and his insurrection, Denmark Vesey’s plotted rebellion, and John Brown and the raid on Harper’s Ferry. Lawrence-Riddell, Holder, Rogers and Akrobatik provide bombastic lyrical delivery and hard hitting beats that align with the radically progressive message of the subject matter.
by Lauren Rubenstein •
University Professor of Music Sumarsam and several PhD students and alumni recently presented papers at the 4th Symposium of the International Council for Traditional Music Study Group on the Performing Arts of Southeast Asia (ICTM PASEA). The symposium was hosted by Universiti Sains Malaysia in Penang, Malaysia, from July 31 to Aug. 6.
Sumarsam presented a paper titled, “Religiosity in Javanese Wayang Puppet Play,” and demonstrated puppet movements.