Originally published on Mon March 30, 2015 4:18 pm
13 min 39 sec
It was December 1990 — more than a year before the first Anonymous 4 album was released — when NPR invited four slightly shy women into our studio to sing 13th-century Christmas music. Back then, we already knew the manifold beauty of their sound, its purity and accuracy, was something unique.
Now, some 25 years and 21 albums later, the a cappella vocal quartet is calling it quits at the end of 2015. But not before one final visit to NPR.
In South Africa, the major art of resistance during apartheid was jazz: a melting pot where folk songs and hymns defiantly mixed with influences from South Asia, America and West Africa. South African jazz's central formula — its equivalent to the 12-bar blues — is a buoyant, four-chord progression that even seems to evoke a blending motion.
Tune in for the upcoming edition of All This Jazz, right here on Public Radio 89.5 (KWGS-FM). Our show begins at 10pm on Saturday the 28th, and it's also conveyed via live stream at PublicRadioTulsa.org.
For those unfamiliar: ATJ airs every Saturday night on Public Radio 89.5, from ten till midnight. We always thereafter offer a 7pm re-airing of the program on the following Sunday evening, on Jazz 89.5-2, which is our station's all-jazz HD Radio channel.
Jazz vocalist and pianist Dardanelle Hadley was born Marcia Marie Mullen, the daughter of vocalist and pianist Marcius Mosely "Buck" Mullen. In the 1940s, she formed a trio that played regularly at the Copacabana Club in New York, and she went on to work with jazz greats such as Bucky Pizzarelli and Grady Tate.
Kristin Andreassen returns to Mountain Stage, recorded live on the campus of West Virginia University in Morgantown. While this is Andreassen's first Mountain Stage appearance as a solo artist, she's no stranger to the show, having appeared with the string band Uncle Earl and the "folk noir" trio Sometymes Why. She also has a background as a dancer, having worked extensively with the traditional percussive dance ensemble Footworks.
The genre choro — a word which means "cry" in Portuguese — is often described as "the New Orleans jazz of Brazil." Like its U.S. counterpart, both are Afro-Western hybrids which emerged in the early 20th century; both call for jam sessions showcasing improvisation and virtuosity. Both jazz and choro are also the domains of clarinetist and saxophonist Anat Cohen. Her newest band, the quartet Choro Aventuroso, culminates an affinity and intense study of Brazilian music — one which began as part of an international community of jazz students at Berklee College of Music in Boston.
Here's a special retrospective program with a couple of sneak previews at the end - upcoming shows with The King's Singers and Avi Avital and the Venice Baroque Orchestra. The program opens with Louis Lortie talking with the Oklahoma City Philharmonic.
Performance Oklahoma is heard Saturday evenings at 8pm on Classical 88.7-1!