With no disrespect to any of the superb recordings that preceded it, self-released or otherwise, Vol. 0 is the ideal entry point for anyone not yet acquainted with Yarn/Wire, as well as an essential acquisition for those who follow and admire the group already.
About Steve Smith
I've been involved professionally in music and media for close to 30 years, and personally for perhaps a decade longer. Apart from a two-year sojourn in Boston, I've been based in or around New York City since June 1993. After a long string of roles and positions in mass media, I've recently taken up the role of director of publications at National Sawdust, a revolutionary young performing-arts venue and incubator in Wiliamsburg, Brooklyn. You can learn more about that venture at nationalsawdust.org.
My work email address, for press releases, pitches, potential contributions, and whatnot, is firstname.lastname@example.org.
Prior to joining National Sawdust, I spent just over two years as an assistant arts editor at the Boston Globe, where I had the privilege of overseeing that esteemed newspaper's coverage of music and the visual arts. Before that, I served for 13 years as a music editor (first classical music, and then everything) for Time Out New York, and for seven years concurrently as a freelance classical-music reporter and reviewer for The New York Times.
While nearly all of my work is now focused on National Sawdust, I continue to contribute interviews and concert and CD reviews for RollingStone.com. My writing has appeared previously in the Washington Post, Village Voice, Billboard, Musical America, The Wire, Signal to Noise [RIP], Decibel, Jazziz, Jazz Times, Down Beat, Chamber Music, and Symphony magazines.
Before turning to journalism full time, I was a classical radio DJ in Houston, and then worked as a publicist at BMG Classics, the Knitting Factory, Third Floor Media (representing the Columbia Records jazz roster, the Village Vanguard, select projects on Blue Note Records, and more), and other NYC organizations. Artists with whom I worked directly include Tim Berne, Bobby Previte, Dave Douglas, and Ellery Eskelin.
I trained formally as a classical percussionist, and then put those skills to use with jazz and rock bands in Houston and New York. I graduated from Clear Creek High School in League City, TX, in 1984, and from Trinity University in San Antonio, TX, in 1988. I'm married to Dr. Lara Pellegrinelli, an accomplished journalist, critic, and academic. Our daughter, Annina, is a budding singer, dancer, painter, and social-media superstar.
If you want to send something to me via snail mail, please drop me a line via email first to determine the best destination.
Entries by Steve Smith
Du Yun was chilling out in a Dubai bar after a long day of networking at Culture Summit 2017, when her phone suddenly went berserk. From one friend or colleague after another came the same message: The Chinese-born American composer had just been awarded the 2017 Pulitzer Prize in Music for Angel’s Bone, her challenging, provocative, and stylistically groundbreaking opera. By phone from Shanghai, she spoke about the experience.
Zachary Woolfe started attracting attention immediately when he came to The New York Times as a freelance classical-music reviewer in 2010, having written stylishly and persuasively already for numerous publications and outlets in New York City and elsewhere. In March 2015 the Times named Woolfe its classical music editor, even as the paper was undergoing one of the most penetrating periods of self-evaluation in its history: the so-called 2020 Group, tasked with re-imagining the way this venerable institution envisioned and engaged its mission during a time of seismic change and financial straits throughout the entire media industry. In a recent interview at The New York Times offices, Woolfe addressed those changes, large and small, during an exceedingly generous and wide-ranging conversation.
I’ve wondered occasionally whether the position of arts critic – self-appointed or otherwise – should be subject to term limits. The thought occurred to me most recently while attending… no, while immersed in Grace Nexus, the simultaneously bewitching and bewildering presentation mounted at Issue Project Room on April 15 by Quantum Natives: either a British digital-media collective or “an abstruse net-label run by two art school-educated Londoners,” according to Resident Advisor. Maybe both.
One of the best known and most respected journalists and critics in the realm of classical music and opera, Anne Midgette has also been among the more tenacious advocates of changing with the times, embracing new media platforms, techniques, and modes of storytelling – including Facebook and Twitter.
Midori Takada, Kelly Moran, Sarah Hennies, Olivier Alary, Gov’t Mule, Ecstatic Vision, Allan Holdsworth (RIP), and other striking sounds heard lately at Night After Night HQ.
Formed in 2013, Bearthoven has built up an estimable repertoire of fresh pieces for an instrumentation that’s canonical among jazz circles, but uncommon within the concert-music world. Listen to an exclusive stream of a Fjóla Evans piece on Bearthoven’s debut album, ‘Trios,’ courtesy of Cantaloupe Music.
The four members of PRISM Quartet have been singleminded in their pursuit of new sonic and stylistic frontiers for their mutual instrument of choice, the saxophone. Alongside strictly four-part inventions, PRISM has engaged in eye- and ear-opening collaborations with other artists and ensembles. Disparate though all these projects might be, what they all share in common is an enviable combination of integrity, individuality, and instant appeal.
What does a breakthrough sound like? To borrow a tetchy old turn of phrase, you might not know how to define it, but you know when you hear it. And bloodroot, newly released by Kelly Moran, a New York-based composer and multi-instrumentalist, absolutely qualifies.