- October 14, 2022
The Blue Hour is a song cycle born of a collaboration among five composers—Rachel Grimes, Angélica Negrón, Shara Nova, Caroline Shaw, and Sarah Kirkland Snider—commissioned and performed by the chamber orchestra A Far Cry, who are joined by singer Shara Nova. Set to excerpts from Carolyn Forché’s epic poem On Earth, the music follows one woman’s journey through the liminal space between life and death via thousands of hallucinatory and non-linear images. Exploring memories of childhood, war, love, and loss, The Blue Hour amplifies the beauty, pain, and fragility of human life from a collective female perspective.
In These Times, the new album by percussionist, producer, and composer Makaya McCraven, has been in process since 2015. It’s the album McCraven’s been trying to make since he started making records, an appropriately career-defining body of work. The eleven-song suite was created over seven-plus years, as McCraven strived to fuse odd-meter compositions from his working songbook with orchestral, large-ensemble arrangements and the edit-heavy “organic beat music” he’s honed over the years. With contributions from over a dozen musicians and creative partners from his tight-knit circle of collaborators—including Jeff Parker, Junius Paul, Brandee Younger, Joel Ross, and Marquis Hill—In These Times highlights McCraven’s unique gift for collapsing space, destroying borders, and blending past, present, and future into poly-textural arrangements of post-genre, jazz-rooted 21st-century folk music.
Evergreen, performed by Caroline Shaw and Attacca Quartet, is five original works written by Shaw: two suites written for string quartet—Three Essays and The Evergreen, which Shaw describes as an offering to a tree she encountered in an evergreen forest on an island off Vancouver—two pieces written for string quartet and voice, including Other Song, which she also performed on her 2021 album Let the Soil Play Its Simple Part; a piece for string quartet. Also included is an interpretation of a 12th-century French poem for quartet and voice. Nonesuch Store pre-orders include a limited-edition, 8”x8” print of the condensed score for The Evergreen.
Grammy Award–winning, multi-platinum-selling singer-songwriter Michelle Branch makes her Nonesuch debut with her fourth solo album, The Trouble with Fever. Created during the pandemic lockdown, The Trouble with Fever, co-produced with her husband, The Black Keys' Patrick Carney, follows her critically acclaimed 2017 album, Hopeless Romantic. The time at home gave Branch the opportunity to stretch herself creatively.
In 1994, the original Joshua Redman Quartet—Redman (saxophone), Brad Mehldau (piano), Christian McBride (bass), and Brian Blade (drums)—released MoodSwing, an instant classic that helped launch each member’s career as a leader. The members of the quartet reunited for the critically acclaimed album RoundAgain in 2020 and now for a new album, LongGone, featuring original Redman compositions from the RoundAgain recording sessions, plus a live performance of the MoodSwing track “Rejoice,” captured by SFJAZZ at the San Francisco Jazz Festival.
To celebrate the 35th anniversary of their 1987 hit song “Bamboleo," Gipsy Kings released this EP of four remixes of the famed track: Pumped Up Mix by Nick Patrick, THRDL!FE REM!X, Miami Mix by Andy Clay, and an acoustic version remixed by Gildas Boclé & Jean Baptiste Boclé.
The forty-disc box set John Adams Collected Works features recordings spanning more than four decades of the composer’s career with the label, plus two extensive booklets with new essays and notes by Timo Andres, Julia Bullock, Robert Hurwitz, Nico Muhly, and Jake Wilder-Smith. Nonesuch made its first record with John Adams in 1985; he was signed exclusively to the label that year, and since then the company has released forty-two first recordings and thirty-one all-Adams albums. Collected Works includes thirty-five discs of Nonesuch recordings and five from other labels.
This first recording of Steve Reich’s 2019 piece Reich/Richter is performed by Ensemble intercontemporain and conducted by George Jackson. The composition was originally written to be performed with Gerhard Richter and Corinna Belz’s film Moving Picture (946-3), for which Richter’s book Patterns served as source material. “Reich’s music ... expands from minimalist austerity to more full-bodied passages and back again,” says the Financial Times. “Reminiscent of his earliest work, it is very beautiful.”
Rhiannon Giddens performs “Julie’s Aria,” a song from Omar, the new opera she wrote with Michael Abels, on this recording with multi-instrumentalist Francesco Turrisi and guitarist Bill Frisell. Omar is based on the life and autobiography of enslaved Muslim scholar Omar Ibn Said, who was forcefully brought to Charleston, SC, from Africa in 1807. “My work as a whole is about excavating and shining a light on pieces of history that not only need to be seen and heard, but that can also add to the conversation about what’s going on now,” Giddens says. “This is a story that hasn’t been represented in the operatic world—or in any world.”