Musical Space

Musical Space is a look at all things music, by KMUW Music Commentator Mark Foley. Mark is Principal Double Bass of the Wichita Symphony Orchestra and Professor of Double Bass and head of Jazz Studies at Wichita State University.

He has been a featured soloist with the Wichita Symphony Orchestra, performs extensively as a jazz artist is also an avid bluegrass player. Passionate about promoting new and diverse music, Mark is the founder and music director of the Knob Festival of New Music, a series of concerts held in Fisch Haus Studios every Fall.

The Musical Space commentary airs on KMUW on alternate Tuesdays. You can subscribe to the Musical Space podcast on iTunes or Google Play

wichitariverfest.com

Top ten lists are cliche, but there are so many reasons to congratulate the organizers of this year’s Riverfest music line-up that I needed to itemize them. So please forgive the format and see if you agree the 2017 Wichita Riverfest concert schedule is the best ever.

10. The price. A button will get you into all the shows, and they’re only ten bucks - the price you would pay to hear a cover band.

9. Go big or go home. These are not little county fair acts. A Flaming Lips’ live show is as big as it gets.

npr.org

Every year the U.S. Library of Congress compiles a list of 25 important records to be placed on the National Recording Registry, with a mandate that they be preserved for future generations.

Lots of actors and actresses try their hands at being musicians. It shouldn’t surprise me I suppose, but once I started researching it, my list of names became unmanageably long.

Singing “Mack the Knife” to a live audience, Ella Fitzgerald realized she had completely forgotten the lyrics and had to ad-lib four whole choruses. The result was a brilliant display of improvising that ended up on the Grammy-winning 1960 album Ella in Berlin.

 

The battle continues.

 

 

We’re hearing an example of a tenor battle--two jazz tenor sax players going head to head, taking turns trying to one-up the other. This one is John Coltrane challenging Sonny Rollins on a tune whose name sums up the spirit of the competition: Tenor Madness.

Cory Norton

  

Last time I talked about musical geography - how style springs up from places that artists and audiences can identify with. I gave lots of examples from all over the country, but the most important aspect of this is that there is a musical nexus right here.

Music becomes distinctive when it reflects its own geographic space. This could be a neighborhood, a bar, a church, or even a sports arena; things click when a group of musicians feel a connection to a particular place.

As I was saying last time, immigration is the driving force of American music. Many American immigrants are now from Mexico; sales of tomato salsa have famously overtaken those of ketchup. It’s inevitable that Mexican-American music will also have a cultural impact.

Other than what was here before Columbus arrived, all American music is the result of migration. It’s been happening since Plymouth Rock; music is carried in with waves of immigrants and thrown into a Darwinian mosh pit, subjected to opposition, transformation, juxtaposition, synthesis, and evolution. And the sounds that survive change from being “World Music” into “American Music.”

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